Premier Post In Moscow - Audio Media

AUDIOMEDIAPROFESSIONAL AUDIO IN PRODUCTIONCineLabSoundMixPremier PostIn MoscowAKG K702iZotope Alloy 2CEDAR DNS LiveAphex HeadPodJBL M2 MonitorsIK Multimedia ARC 2Soundcraft Si ExpressionPreSonus Active IntegrationA NEWBAY MEDIA PUBLICATION9 7 7 0 9 6 0 7 4 7 0 2 40 2WORLDWIDE EDITIONISSUE 267 • FEBRUARY 2013 • UK £3.80[TECH] ]FOCUSDOUBLELoudness Tools &Broadcast Consoles

SD7BSD10B SD11BDiGiCo Broadcast SeriesAt this year’s IBC, DiGiCo will not only be showing our proven range of dedicated broadcastconsoles, we’ll also be bringing along the SD9, which is proving to be every broadcaster’s musthave console along with the (predictably), stunning new SD5.DiGiCo Broadcast Mixing Console Application Highlights:Direct console to MADI router connectivity5.1 ingest routing and balancingFully customizable fader layout for fast access (put any mono/stereo/5.1 channel anywhere)Alternate music mixesSmall OB events (Rackmountable SD11B)www.digico.bizDiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600SD11B Digital Broadcast ConsoleSD9 Digital Mixing ConsoleSD8B Digital Broadcast ConsoleSD10B Digital Broadcast ConsoleSD5 Digital Mixing ConsoleSD7B Digital Broadcast Console

A NEWBAY MEDIA PUBLICATION9 7 7 0 9 6 0 7 4 7 0 2 40 2WORLDWIDE EDITIONISSUE 267 • FEBRUARY 2013 • UK £3.80AUDIOMEDIAPROFESSIONAL AUDIO IN PRODUCTIONCineLabSoundMixPremier PostIn MoscowAKG K702iZotope Alloy 2CEDAR DNS LiveAphex HeadPodJBL M2 MonitorsIK Multimedia ARC 2Soundcraft Si ExpressionPreSonus Active Integration[TECH] ]FOCUSDOUBLELoudness Tools &Broadcast ConsolesContentsAudio Media | February 2013 | Issue 267NEWSTechnology News 8PreSonus launches a range of new StudioLiveproducts at NAMM, while Behringerannounces a quad of new consoles to its X32range, and Harman also has a busy show withits new Si Expression collection.Recording News 12Gonzales guns for Lexicon, Abbey Roadannounces an Avid upgrade, and MPG holdsits second Q-Time at the Hospital.Post News 13This year’s Golden Reel nominations areannounced, Technicolor spies a good showin Warsaw, and audioEngine becomes thebaby of one.Broadcast News 14Jünger Audio normalises Spain’s nationalbroadcaster, Richmond gears up for recordingthis year’s BRIT Awards, and Bexel airsObama’s second inauguration.AMSR News 16The show goes on with Optocore in Poland’sTeatr Rozrywki, and Walter-Storyk DesignGroup has the world in its sights, startingwith Brazil.Game Sound 18Sony’s Journey is completed with a TEC Awardfor outstanding creativity, and we highlightsome of the top billings for the 2013 GameDevelopers’ Conference.What’s Up UK 20Library music with its long cult history getsthe recognition it deserves at this year’s BVE,and with the release of a compilation album.GeoFocus 22Dubai’s Media City has grown and grown, andnow offers a newly completed sound stageto add to its host of ‘free zone’ benefits thatappeal to both regional and global customers.Special Report:The Oscars 24JO FLETCHER-CROSS reports on the soundaward nominees given the nod forrecognition at this year’s Academy Awards.Special Report:Empire Atmos 30Dolby Atmos is ‘right at the top of the pile’of emerging technologies that have beenwelcomed with open arms by cinemas andcinema-goers alike, reports PAUL WATSON ofLeicester Square’s Empire re-fit.TECHNOLOGYnammhot fromNAMM Preview:PreSonus33The underlying foundation of all PreSonus’offerings was unveiled at NAMM, with ActiveIntegration – a new technology that meansall PreSonus products will be able to senseand interact with one another.NAMM Preview: JBL 32A new Master Reference Monitor, in the guiseof the M2, was revealed at this year’s NAMM;which has been heralded as set to “takestudio monitoring to another level”.NAMM Preview:DiGiGrid 34DiGiCo and Waves have joined forces to launchthe DiGiGrid concept – but what exactly is it?NAMM Preview:Soundcraft 37Harman’s latest welcome to its broad stable isthe Si Expression, three models of which havebeen launched aimed at a range of audioapplications.Tech Focus Special:Loudness 36The subject of ‘loudness’ has stirred muchcontroversial debate over the past few years,but here we delve into some of the productsavailable that will mean less controversy andmore control.Tech Focus Special:Broadcast Consoles 42Broadcast consoles have evolved into adiverse and multi-functional breed – herewere take a scoop at just a handful of theoptions out there.Cedar DNS 8 Live 46BEN BURNS is not just surprised, but ‘blownaway’ at the DNS 8 Live’s ability to evaporateunwanted noise.IK Multimedia ARC 2 48ALAN BRANCH puts his studio set-up to thetext with ARC 2, IK’s new room measurementand correction system.iZotope Alloy 2 50Alloy 2 is a complete channel strip plug-in –but so much more, too, argues SIMON ALLEN.AKG K-702 51PAUL MAC tries out the 65th AnniversaryEdition of these headphones that feel,somehow, naturally native to his head.Aphex Headpod 2 52Aphex’s V.2 HeadPod is a perfect little desktopmonitoring tool: compact, great-soundingand visually striking says STROTHER BULLINS.FEATURESCineLab Post 26CineLab SoundMix in Moscow is well indeserve of some high praise: a place ofexcellence without compromise. PAUL MACfinds out the reasons why on his visit to theRussian capital.Video Guide 54The Hobbit – love it or hate it – has broughtthe issue of frame rates and heightenedreality to the fore. KEVIN HILTON explores theflickering ins and outs of FPS.Classic Cut:The Matrix 58Sound plays a key role especially in the earlierscenes of the now-classic Matrix, and KEVINHILTON finds out just how the surreal andcybernetic audio worked to best effect in thisstark, alternative world.audiomedia.com | February 2013 3

PERFECT SOUNDforPERFECT PICTURES.Sennheiser has the solutionfor video journalists.The new MKE 600 camera microphone is capableof mastering even the toughest video soundchallenges. Its high level of directivity ensures thatit picks up sound from the camera direction whilereliably avoiding unwanted background noise.Wind noise is minimised with a switchable low-cutfilter and the MKE 600 can be powered by either astandard AA battery or by phantom power.Inspire your audience with lifelike, full-bodiedsound, great bass response and speechreproduction with high levels of intelligibility.MKE 600 – perfect sound for perfect pictures.www.sennheiser.co.ukVisit us at BVE26 − 28 February,Stand D64, Excel London.Sennheiser UK Ltd, 3 Century Point,High Wycombe, Bucks, HP12 3SL01494 551551@Sennheiser_UK

„The tiniest details are there.Awesome headphones!“(CeCe Rogers)www.ultrasone.comDon Dexter Agency ©THE headphone company

A lesson for all involvedin business who use socialmedia – check you knowhow to operate the Twitteraccount before you sackthe person who set it up.Head honchos at HMV gotinto a bit of a tizz whena disgruntled employeetweeted from the officialHMV @hmvtweets account‘live from HR where we’reall being fired! Exciting#hmvXFactorFiring’. Thesoon-to-be-ex staff memberthen went on to say: ‘Thereare over 60 of us being fired at once! Mass execution of loyal employeeswho love the brand #hmvXFactorFiring’.An explanation came next: ‘Sorry we’ve been so quiet for so long. Undercontract, we’ve been unable to say a word or – more importantly – tell thetruth #hmvXFactorFiring’.Then a final, poignant tweet read: ‘Just overheard our Marketing Director(he’s staying, folks) ask, “How do I shut down Twitter?” #hmvXFactorFiring.The tweets were quickly removed from the @hmvtweets page, but notquickly enough... oops.Focusrite RedNetis now shippingIn the UK? Call 0845 894 0874 or e-mailrednetuk@focusrite.com for more informationabout studio networking over Ethernet using Dante.REDNET 1 – 8 channel A-D/D-A interfaceREDNET 2 – 16 channel A-D/D-A interfaceSubscriber Prize Draw WinnerCongratulations to to Ben Costerton from HighWycombe, who is this month’s lucky winner of theAM subscriber’s draw. Every month throughout2013, one randomly selected subscriber will winan sE 4400a microphone. To be entered into thedraw, you must have a current digital or printsubscription. To get one, go online to the addressbelow. Good luck!www.audiomedia.com/subscribe.htmlREDNET 3 – 32 I/O digital interfaceREDNET 4 – 8 channel remote controlledMic preamp and A-D interfaceREDNET 5 – 32 I/O HD Bridge addsRedNet to your Pro Tools HD system*REDNET 6 – 64 I/O MADI Bridge**Don’t forget to check out our website. You can keep up to datewith industry news, whatever your particular interest – you’llfind recording, post production, broadcast, live sound news, andevents. There are features about all aspects of audio, and blogsfrom a variety of contributors. Available for download from thewebsite are our very useful indeed International Buyers Guides,each focused on a specific area of technology; and back issues ofAudio Media itself. Come and visit us at www.audiomedia.com.REDN E T PCIe Card – 128 I/O lowlatency RedNet interface for PC and Macwww.focusrite.com/RedNet00 February 2013 | audiomedia.com*Shipping Q1 2013 **Shipping Q2 2013

TECH NEWSPreSonus Premi eres ProductsFostex launched the PX-5professional monitor speakerat NAMM. The PX-5 is a monitorconsisting of a 5.2-inch Crimsonwoofer and one-inch tweeterpowered by 35W and 18W fulldigital amplifier. It featuresDigital Network Filter (FIR type)linear phase filtering claimed toenable sound positioning almostidentical to a full range driver,plus 440 step level control byvolume/trim adjustments. It alsohas +/- 3dB step tweeter levelcontrol and +/- 20 step LF roll offfrequency adjustment.www.fostexinternational.comApogee Electronics has announcedSymphony 64|Thunderbridge – a64-channel Thunderbolt interfacefor Symphony I/O, RosettaSeries and X-Series converters.The interface will connect Apogeeconverters to any Thunderboltequipped Mac computer. Capableof up to 64 channels of input andoutput of up to 192kHz, it offerslatency of 1.8ms at 96kHz/32 buffer.The device has two Thunderboltports for connecting additionaldevices, and two PC-32 ports forconnection to Apogee interfaces.www.apogeedigital.comPreSonus has launched anumber of products at NAMM.It introduced the StudioLive32.4.2AI 32-channel performance andrecording digital mixer to its StudioLiveseries. The new mixer features nextgenerationActive Integrationtechnology, including a dual-corecomputing engine that offers over 64times the processing power and 10,000times more RAM than the previoustop-of-the-line StudioLive 24.4.2.Its integral communications makewireless control of the mixer possiblewithout the need for an externalcomputer. It has 32 Class A XMAX micpre-amps with individually switchedphantom power, 32 line inputs, 14 auxmixes, four subgroups with variableoutput delay, Fat Channel dynamicsprocessing and parametric EQ, and a48x34 FireWire S800 audio interface.Also revealed was the newStudioLive AI-series Active IntegrationLoudspeakers, which PreSonus claimsare the first active loudspeakers thatdeliver ‘studio monitor accuracy onstage’ and are equipped with completewireless or wired remote control andmonitoring using an iPad or laptop.All the AI-series speakers incorporateFulcrum Acoustics TQ TemporalEqualisation algorithms.PreSonus also unveiled its newEris-series studio reference monitors.The ‘ultra-affordable’ two-way,bi-amped monitor speakers can be useradjusted to the acoustic space, and offeran accurate response with tight bass andclear upper end. The new Sceptre-seriesCoActual studio reference monitorswere also announced, featuring anadvanced coaxial design thatworks integrally with a 32-bit,96kHz, dual-core processor,which also uses FulcrumAcoustic’s TQ TemporalEqualisation technology.The company alsoannounced Capture 2.0,a major upgrade to itsaudio recording softwarefor Mac and Windows.Designed for live recording,Capture is bundled with all PreSonusStudioLive-series digital mixers and ispreconfigured for instant use. Version 2further streamlines workflow and addssignificant new safety features.Other announcements includedthe news that PreSonus has licensedAudinate’s Dante digital medianetworking technology and willincorporate Dante into optionalnetworking cards for several of itsnew products.www.presonus.com“The newmixerfeatures nextgenerationActiveIntegrationTechnology…”Get On the GridDiGiCo, its studio sound sistercompany Soundtracs, andWaves Audio have introducedDiGiGrid; hardware and softwareprocessing solutions to digitalproduction needs that enableusers of Native DAWs, Pro Tools,and MADI-enabled live andbroadcast mixing consoles tohave access to Waves SoundGridaudio networking and real-timeprocessing. DiGiGrid offers a fullline of SoundGrid I/Os, Pro Toolsto-SoundGridI/Os, and MADI-to-SoundGrid I/Os.Also introduced at NAMM wasthe Waves Audio eMotion Mixerfor SoundGrid systems. The firstproducts are the eMotion LV1for live sound front-of-houseand monitor applications,and eMotion Studio, forrecording, mixing, and postproduction facilities.Waves also announced theIR-Live Convolution Reverb,customised for live sound use,the Manny Morroquin SignatureSeries Collection, and the GEQgraphic equaliser plug-in,developed for live users.www.waves.comwww.digigrid.netFidelity at A-TAt NAMM, Audio-Technica wasshowing its new high-fidelitySystem 10 2.4GHz digital wireless,aimed at those looking for easeof use at an economical pricepoint. Also on the stand was theAT2020USB+ cardioid condensermicrophone. Equipped with aUSB output, the microphone isdesigned for digitally capturingmusic or any acoustic audio sourcewith the user’s choice of recordingsoftware. It features a built-inheadphone jack with volumecontrol that allows users to digitallymonitor their microphone signal inreal time, and a built-in high-outputinternal headphone amplifier.The ATH-M50RD professionalstudio monitor headphones wereon display, ared limitededitionversionof A-T’s flagshipA T H - M 5 0headphones.The companyalso displayedthe first in itsflagship 50 Series of elite studiomicrophones, the AT5040 cardioidcondenser microphone.www.audio-technica.comUniversal Plugs InUniversal Audio has announcedthe impending release of the API500 Series EQ Plug-in Collection,featuring emulations of the API550A three-band and API 560graphic equalisers. Also announced>8 February 2013 | audiomedia.com

Behringer BountyBehringer has announced the additionof four new models to its X32 productline. The X32 Compact, X32 Producer,X32 Rack and X32 Core all share the flagshipX32’s performance specifications, with digitalconnectivity, a range of virtual FX, Midasdesignedmic pre-amps, and a wide variety ofinputs and outputs. All models include KlarkTeknik-engineered AES50 ports, which can beconnected to Behringer S16 digital snakes forexpanded I/O regardless of mainframe size,and can be controlled using XControl for PC/Mac/Linus, XiControl optimised for iPad, andXiQ for iPhone/iPod Touch. The Compact andProducer are both 40-input channel, 25-busdigital mixing consoles with 16 programmableMidas pre-amps and 17 motorised faders; theCompact has a slimmed down chassis for usein applications where space is limited, while theProducer has a high-resolution five-inch TFTscreen to provide complete visibility into themix. The Rack mixer features 16 programmableMidas pre-amps and a five-inch TFT, housed in3RU housing. The Core puts all of the mixing,routing, and FX power of the X32 into a 1RUrack-mountable chassis.The company has also launched the iQ seriesnetworked loudspeaker line as its flagship rangein the live speaker market. The series consists offour full-range cabinets – iQ15, iQ12, iQ10, andiQ8 – that share a common set of features butdiffer only in low-frequency driver size. All arepowered, two-way design,with 1.75-inch titaniumdiaphragm compression drivers. Two poweredsubwoofer cabinets – the iQ18S and iQ15S– complete the series, using Turbosound18-inch/15-inch long excursion transducerswith high temperature voice coils.Behringeralsointroduced its new iStudiofamily of professionaldocking stations forApple iPad versions with30-pin and Lightningconnectors. iStudioprovides straightforwardand direct connectivityfor microphones,guitars and basses,MIDI devices, line levelsources and turntables,all with adjustable gain,independent output andheadphone controls, plusmonitoring option. MIDIaccessibility is provided“…digitalconnectivity,a rangeof virtualFX, Midasdesignedpre-amps,and a widevariety ofinputs andoutputs.”via standard and USB MIDI sockets. It iscompatible with all CoreAudio and CoreMIDIapps in Apple’s app store.www.behringer.comTurbosounddebuted itsre-engineeredMilan seriesof poweredloudspeakersat NAMM.Encompassinga total of five loudspeakers includingthe brand new 12-inch two way M12and compact 15-inch bandpass M15Bsubwoofer, the Milan series hassignificantly uprated and efficientClass D amplifiers. Full-range modelsfeature 1000 watts of bi-amplifiedpower coupled with Klark Teknikdigital signal processing.www.turbosound.comAllen & Heath has launched the MEPersonal Mixing System, a personalmonitoring solution, universallycompatible with A&H and otherdigital mixers. Central to the system isthe fully-customisable ME-1 personalmixer, powered and connected viaCat5 and capable of managingup to 42 sources. A&H also addedto its range of iPad apps with thenew GLD mixing system controller,GLD Remotewww.allen-heath.com>was the Teletronix LA-2A ClassicLeveller Collection, modelledon the entire electronic path ofthree hardware units: ‘Silver, ‘Gray’and the original LA-2 model.In addition, the companyannounced the debut of Softube’sVintage Amp Room, Metal AmpRoom, Bass Amp Room, andAcoustic Feedback Deluxe plug-ins.Universal Audio also unveiledfuture enhancements for theApollo High-Resolution Interface.Among the new Apollo interfacefeatures is multi-unit cascading,which combines two Apollointerfaces into a single systemvia FireWire or Thunderbolt.Multi-unit cascading providessimultaneous use of 16 analogueinputs/outputs, including eightApollo mic pre-amps, plus 12 digitalinputs and outputs, navigated viaa redesigned Console application.www.uaaudio.comCherry Picking BugsRadial’s NAMM offerings includedthe StageBug SB-1 Acoustic, adirect box that has been optimisedfor acoustic guitar, and the CherryPicker: a studio pre-amp selector,which employs ‘straight wire’relay based switching to enablethe engineer to instantly switchand compare up to four preamps.There are no transformersor buffers in the circuit and 48Vphantom power is generatedinternally to reduce switchingnoise. The Gold Digger lets the usercompare up to four microphonesand quickly switch between themusing radio-style push-buttonselectors. Like the Cherry Picker,it generates 48V phantom powerinternally to reduce switchingpops to an absolute minimum,and there are no transformers oraudio buffers in the signal path.To ensure a fair comparison, trimlevel controls allow the engineerto match the level.www.radialeng.comGet d:facto StraightDPA has introduced the d:factoII vocal microphone, offeringimproved audio performancewith linear frequency and phase,both on and off-axis. The d:factoII guarantees users ‘exceptionalDPA sound’ with popular existingwireless systems such as Sony,Lectrosonics, Shure, Wisycom, andSennheiser. Its state-of-the-artadapter system allows for seamlessintegration with these systems.The microphone is designed forsound reinforcement and recordingapplications, with simple plug-andplayfeatures. DPA says that thed:facto II provides superior gainbefore feedback, while a robustthree-stage pop protection gridbuilt into the microphone removesunwanted noise. The cabledversion, as well as the adaptersfor Shure, Sony, Lectrosonics, andWisycom, are available this month.The adapters for the Sennheisersystems will be available in March.www.dpamicrophones.comSaid The Raven: MTiSlate Pro Audio used NAMM tolaunch its Raven MTi MultiTouchdesktop production console,with DAW control and analoguemonitoring. Its 27-inch LED-backlitHD LCD panel display adjusts from10º to 30º, and has a 178º viewingangle. The 5ms response timeis faster than motorised faders.The DAW controller software offers24 simultaneous channels, anddirect DAW touch – where theusers finger becomes the mouse.User-customisable Raven Toolbarsand floating tool palettes are afeature. The analogue monitorcontroller has high resolution andtransparent, digitally-controlledanalogue circuits. Four stereoanalogue and digital sourcesare available, plus independentspeaker, console headphone andstudio headphone outputs.www.slateproaudio.comaudiomedia.com | February 2013 9

New Harman ProductsThe Harman brands had a busyNAMM, with various launches takingplace. Soundcraft has introducedthe Si Expression digital console range.Available in three frame sizes, Si Expression 1,2, and 3, offering 16, 24, and 32 fader and micinputs respectively, all three are capable of up to66 inputs to mix by connecting any Soundcraftstagebox, or by connecting additional inputsover MADI or AES/EBU. The mixer is loadedwith processing from BSS, dbx, Lexicon, andStuder, and features a colour touchscreen, iPadViSi remote control, and Soundcraft FaderGlow.The DSP engine provides four-band parametricEQ, delays, gates and“JBLProfessionallaunchedthe M2MasterReferenceMonitor…”compressors on everyinput, parametricand 30-band graphicEQ, compressors anddelays on all outputs,as well as four Lexiconstereo effects devices.Freely assignablefader layers allowinputs and outputs tobe placed anywhereon any layer. JBL Professional launched theM2 Master Reference Monitor, which utilisesJBL’s new D2 Compression Driver, which usestwo annular diaphragms and two voice coils todeliver extended high frequency response andvery low distortion at very high sound pressurelevels. The D2 is paired with JBL’s new 2216NDDifferential Drive 15-inch woofer, also withdual voice coils, incorporating a patented wireapplication that reduces power compression forlinear output regardless of playback level.AKG has introduced a new line of digitalautomatic microphone mixers, DMM6 andDMM12. DMM12 offers 12 inputs, while easilyadjusting the mic to line level. Its four lineoutputs (two stereo) are individually assignablefor each input.AKG has also released its updated C1000S multi-purpose condenser microphone,which now runs on two AA batteries; and thesuccessor to its B18 condenser microphonebattery power supply, the B48 L. It features lownoise level, frequency response of 20Hz-24Hz,an inverse polarity protection feature againstincorrect battery insertion, and provides morethan 20 hours of use on two AA batteries.www.harman.comAvid has launched the Pro Seriesline of AAX Native and AAX DSPplug-ins. Pro Compressor is basedon the Avid System 5 console andChannel Strip plug-in, enablingthe user to shape sound andenhance tracks. Pro Expander isalso based on the Avid ChannelStrip plug-in, giving the abilityto give mixes more energy, gatenoise and duck signals. Pro Limiteris a transparent-sounding limiterthat enables the user to maximisethe loudness of any mix, withoutdistortion or harshness.www.avid.comSonodyne has released the newSM 300 three-way studio monitor.The speaker has over 300 watts ofpower and is aimed at recordingand post facilities, for near andmid field applications. It is the firstSonodyne product with internalDSP circuitry. Also just released isthe SRP 500, the first from a newrange featuring four models, SRP400, 500, 600 and 800. These arean upgrade from the SM range,with customised HF wave-guidesand internal DSP balance.www.sonodyne.comRØDE Microphones hasannounced a strategic alliancewith UK-based audio accessorymaker Rycote. Under the details ofthe agreement,RØDE willhave access toimplement theLyre suspensionelement acrossa wide range ofmicrophonesand accessories,on an external and internal level.The RØDE VideoMic with Lyreonboard marks the debut productof the RØDE Rycote relationship.Its new form factor using theintegrated Lyre suspension givesthe microphone a lower profileand also features an upgradedall metal cold-shoe mount forincreased rigidity. RØDE alsoannounced the second of itsiOS microphones. SmartLAVis a profesional grade lapelmicrophone is compatible withiPhone, iPad, and iPod Touch.Simply plug in the smartLav tothe audio connector and set thedevice to record. Any recordingapp that uses the headphoneconnector will work, but theRØDE Rec app is, of course,recommended.www.rodemic.comWhat A PerformanceQSC has launchedAcousticPerformance, a range ofprofessional, two-way, full-rangeloudspeakers, aimed at installedsound reinforcement applicationsrequiring high power in a ‘stylish’enclosure. All models features athree-inch voice coil compressiondriver combined with highoutputwoofers. DirectivityMatched Transition (DMT) givesa uniform power response;the design approach matches thecompression driver to the naturalcoverage angle of the woofer inthe crossover region. Axisymmetricwaveguides deliver consistentcoverage with smooth andaccurate reproduction on and offaxis.The speakers may be used inpassive mode to minimise amplifierchannel count, or bi-amp mode forgreater control and performance.www.qscaudio.comAphex Reaches 500Aphex has introduced the USB 500Rack, a four-slot API 500 Series rack.It can function as a USB interface,allowing users to connect their 500Series modules to their preferreddigital audio workstation via USB.Any configuration of processorsinstalled in the rack can be appliedas inserts into a DAW via USB.The Aphex USB 500 rack can actas a computer audio interface,or as a set of inserts into a DAW,always monitoring the DAW fromthe monitor section of the rack.It can also function as aconventional analogue rack.www.aphex.comGaining TracktionMackie has announced the saleand transition of Tracktion musicproduction software to theTracktion Software Corporation(TSC). TSC is led by three principals;Tracktion creator Julian Storer,James Woodburn, and DaveChristenson.It was also announced theTracktion 4 is now available.The latest version builds on thepopular features of Tracktion 3,with a significant upgrade in thatthe Tracktionengine has beencompletelyrewritten to befully optimisedfor the latestoperating systems– both Mac andPC – along with64-bit processing,WMA, AU, andWASAPI support.www.tracktion.comRupert Neve Designs hasannounced two new 500 Seriesmodules: the 511 Mic Pre with Silk,and the 542 True Tape Emulatorwith Texture. The 511 incorporatesthe pre-amp circuitry from the512, the sweepable high-pass filterfrom the 5012, and the power of avariable Silk circuit derived fromthe flagship Portico II Channel.The 542 is a follow-up tothe Portico 5042. It includesgenuine tape drive circuitry, andincorporates a number of newmethods for adding analoguecolour to tracks and mixes.www.rupertneve.com10 February 2013 | audiomedia.com

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RECORDINGNEWSLexicon GunningFor GonzalezGabriel ‘The Gun’ Gonzalez, hasinstalled a Lexicon MX400XLfour-in/four-out reverb/effects processor and I-O FW810S10-input/12-output FireWire AudioInterface in his home studio. Gonzalezis a trumpeter, percussionist, producer,Pro Audio specialist KMR Audio hassupplied an SSL AWS948 console toOrgone Studios in Barnet, London.The studios are owned by heavy metalproducer and musician Jaime GomezArellano, who has worked with PlanB, The Buzzcocks’ Steve Diggle, Ulver,Mellow Candle, Incredible Hog, IronMaiden, and Ghost. “I have used theAWS948 console before in Music 4 inSoho,” said Arellano. “It’s a beautifuldesk. It works instantly with Pro Toolsand the after sales support is amazing.”The console joins a range of modernand vintage equipment in the studio,including Neve pre-amps, Lavry and Lynxconverters, a Studer A80 tape machine,and outboard units by Manley, CraneSong, and more.www.orgonestudios.comwww.kmraudio.comDrum and bass Producer and DJ Breakhas bought a pair of EVE Audio SC208monitors for his own studio in Bristol, UK.“If I close my eyes when listening throughthe SC208s it sounds like I’m in a largemastering studio,” said Break. “I openmy eyes again and cannot believe thesespeakers only have eight-inch cones.The depth and clarity is phenomenalfor the price.” The monitors are thelatest model in EVE’s two-way systemseries, starting with the smaller SC204.The SC208s are similar to the other twowayEVE monitors, but with a largerwoofer and more powerful amplifiers.They feature a full frequency bass thatgoes down to 36Hz.www.eve-audio.comThe EMI Publishing Studios have recentlybeen fitted with Genelec active monitors.The site, on Rathbone Place in London,houses two UAD-2 powered Pro Toolsmixing rooms, which surround anintimate live room. The studios are wellstocked with equipment, but monitoringwas not up to scratch. “We now havethe 8240s in Studio B and a set of 8250sin Studio A,” said Scott McCormick,EMI Engineer. “Both studios can beacoustically difficult, but the Genelecswere a massive help – they just work.”www.genelec.com12 February 2013 | audiomedia.comand arranger who co-founded NoDoubt with Gwen Stefani in 1986. He iscurrently with the BackBeat Brawlers,a reggae/ska band with jazz andsoul influences.Gonzalez and his musical partner,Mel Scott of Blue Room Studios,have recorded close to 200television and film scores.“When we installed theLexicon MX400XL and I-OFW810S, the differencein sound quality wasimmediately apparent notjust to me but to everyonepresent,” said Gonzalez.“The sounds we couldachieve became cleaner, crisper, andmore refined – in a word, stunning.”He is currently working on hisnew BackBeat Brawlers album, withthe Lexicon components becomingan integral part of the production.“I’ve also done several film submissionsrecently. Over the years, I’ve tried ahuge amount of outboard processinggear and the reverbs, effects, delays,and dynamic capabilities of LexiconMX400XL and I-O FW810S hands-downblow everything else out of the water.There are tons of AD/DA recordinginterfaces out there, but only Lexiconhas that trademark monitoring reverbthat lets you monitor the performanceAvid At Abbey RoadAvid and Abbey Road Studios have announced a studiowideupgrade of Avid’s flagship music and audio postproduction workstation to Pro Tools|HDX. The studioshave used Pro Tools|HD for a significant period, butthe upgrade to the more powerful HDX cards and HDSeries audio interfaces will enable faster performanceand improved sound quality.“The accomplished artists and producers that use ourfacilities expect sonic excellence and the very best tools towork with their recordings. This means we need to use themost up-to-date, highly specified, and intuitive recordingsystems available to us,” said Simon Campbell, Head ofTechnical Services at Abbey Road Studios, “Upgradingto Avid Pro Tools|HDX has enabled our clients to runlarger sessions at high sample rates with as much plug-inprocessing as required, while operating faster than ever.”www.avid.comIt’s Q-TimeThe Music Producers Guild has held its second Q-Timeevent at The Hospital Club in London’s Covent Garden.Nearly 100 people attended the debate on pressing issuesaffecting music producers, artists, recording engineers,mixers, and all those involved in the production ofrecorded music.The panel comprised producer Jake Gosling;producer, songwriter, and DJ Tommy D; producer andmanager Ros Earls; music academic and author AndrewDubber, and Nude Records creator Saul Galpern.BBC 6 Music presenter and singer/songwriter TomRobinson moderated the event.www.mpg.org.ukwith reverb while it’s being recorded,”said Gonzalez. “This really helps artistsfeel more comfortable and very oftenwe’ll get a better take. Also, the built-indbx compression and EQ has provento be invaluable. For my work thismeans that we can slightly compressand EQ the tracks while recording toget that sound we want instead ofusing all kinds of additional gear andeffects afterward. In a project studio,it might be the reverse of how a lotof people do it but for me it makesrecording easier and faster.”www.lexiconpro.comDean Street UpdatesSoho’s Dean Street Studios has installed a pair ofATC SCM50 monitors to replace the previous pair inStudio 1. The SCM50 ASL active monitors have recentlybeen modified to include an upgraded tweeter andenhanced port profile. “It’s a pleasure to have theSCM50s back in Studio 1 here at Dean Street Studios,”said Studio Manager Jasmin Lee. “We see ATC as a topend monitoring system and are happy to invest in theirgrowing reputation.”The new monitors were installed following requestsby engineer Austen Jux-Chandler that the ATCs removedfrom Studio 1 be replaced with a new pair. “The room hasits own characteristics, and although we have only hadthe new set of ATCs for about a month, they are alreadysounding pretty incredible,” said Jux-Chandler.www.atcloudspeakers.co.uk

POSTNEWSGolden ReelNominationsThe Motion Picture Sound Editors hasannounced nominees for the 60th MPSEGolden Reel Awards. “2012 was a spectacularyear for sound,” said MPSE President Bobbi Banks.“We offer our sincere congratulations to thisyear’s Golden Reel nominees who, once again,have astounded us with their creativity andartistic excellence.”Nominations for Best Sound Editing: SoundEffects and Foley in a Feature Film are: Argo,Django Unchained, Life of Pi, Marvel’s The Avengers,Prometheus, Skyfall, The Dark Night Rises and TheHobbit. Best Sound Editing: Sound Effects, Foley,Dialogue and ADR in an Animated Feature Filmnominees are: A Cat In Paris, Brave, Dr Seuss’The Lorax, Frankenweenie, ParaNorman, ThePirates! Band of Misfits, Rise of the Guardians andWreck-it Ralph.Best Sound Editing: Dialogue and ADR in aFeature Film nominations go to: Argo, BeastsTechnicolor SpiesPost production sound for the recent BBCmini-series Spies of Warsaw, directedby Coky Giedroyc, was carried out atTechnicolor’s sound facility in Perivale,London. Supervising Sound Editor HarryBarnes and Effects Editor Martin Cantwellhandled the sound design.The sound mix was carried out onTechnicolor’s main TV stage, Theatre Two,by Re-Recording Mixer Richard Straker.“From speaking to Coky before themix, it was clear that she was after a boldsoundtrack to go with the filmic style grade.Coky allowed us the freedom to try outdifferent ideas during the mix, and we wereall very happy with the end result.”www.technicolor.comof the Southern Wild, Life of Pi, Lincoln, MoonriseKingdom, Silver Linings Playbook, Skyfall andThe Hobbit. Nominees for Best Sound Editing:Music in a Feature Film are: The Cabin in the Woods,Argo, Django Unchained, Life of Pi, Lincoln, Skyfall,The Dark Knight Rises and The Hobbit.Best Sound Editing: Music in a Musical FeatureFilm nods go to: Joyful Noise, Les Miserables,Pitch Perfect and Rock of Ages; while Best SoundEditing: Sound Effects, Foley, Dialogue, ADR andMusic in a Feature Documentary nominees are:Bully, Climate Refugees, Jiro Dreams of Sushi, Marleyand Searching for Sugar Man.Best Sound Editing: Computer EpisodicEntertainment nominations went to: BattlestarGalactic: Ep5 ‘Blood and Chrome’, Cybergeddon,DRONE, H+ The Digital Series: EP28 ‘African Aid’,Halo 4: Forward Unto Dawn, while nomineesfor Best Sound Editing: Computer InteractiveEntertainment are: Call of Duty: Black Ops 2, HaloElectric Flow With MarquisElectric Entertainment has used Marquis Broadcast’sX2Pro Audio Convert on workflow for the productionof US television series Leverage. Electric Entertainment,which produces the popular drama, has recently developedand streamlined its workflow and now edits all the contentin house, at its Hollywood-based facility, using Apple’sFinal Cut Pro X and Marquis’ X2Pro Audio Convert foraudio finishing.“We shoot many audio tracks,” said Brian Gonosey, Editoron Leverage. “X2Pro takes the FCP X XML and lets us take allthe audio tracks into Pro Tools. Marquis’ solution uses BWFmetadata to ensure the labels remain the same as when thefiles were recorded throughout the workflow, making it easyto find and access any audio track at the audio workstation.”www.marquisbroadcast.comaudioEngine AcquisitionUS audio post-production facility audioEngine, which hasstudios in New York and Phoenix, has been acquired in full byfounder Bob Giammarco. The company’s remaining foundingpartners – Tom Goldblatt, Rex Recker, and Brian Wick – will remain with the company, continuing in theircurrent roles as senior mixers and Chief Engineer respectively.“My primary mission has always been maintaining the high quality of our work and our facility, as well asmaking sure aE is a great place for our clients and our staff”, said Giammarco. “As we considered the future ofthe business and how best to advance those principles, we unanimously agreed that this was the best move formy partners and for audioEngine.”www.audioengine.net4, Resident Evil: 6, Spyro: ‘Skylander Giants’, and Worldof Warcraft: Mists of the Pandaria Cinematic Trailer.Best Sound Editing: Long Form Dialogue andADR in Television nominees are: Coma, Game ofThrones, Season 2: ‘Valar Morghuils’, Steel Magnolias,The Newsroom: ‘We Just Decided To’, and Titanic:‘Mini Series 4’.The full list of nominations is available on theMPSE website. The ceremony will take place onFebruary 17 in LA.www.mpse.orgDolby Laboratories has announced thatSony Pictures Home Entertainment,Universal Pictures and Warner Bros. HomeEntertainment will encode thousands offilms and television programmes in theUltraViolet Common File Format (CFF)using Dolby Digital Plus. UltraVioletallows consumers to use the cloud todownload and stream their entertainmentcollections anytime, anywhere, forviewing on TV screens, personalcomputers, tablets, and mobile phones.Once the UltraViolet CFF launches laterthis year, these companies will delivermovies and TV shows with Dolby DigitalPlus sound.www.dolby.comMiloco Studios has teamed up with SNKStudios to offer a complete range ofaudio post production services for thefirst time in Miloco’s history. SNK’s studiosare based in newly-built premises onTottenham Court Road, in central London.The company’s services include soundto picture, voiceover recording, ISDN, TVand radio commercial dubbing, broadcastPR/radio days, audiobook production,computer game sound, bespoke musiccomposition, and creative sound design.SNK has been working in post sound fornine years.www.miloco.co.uk/snkPinewood Studios has announcedthe submission of a new £200 millionplanning application for expansion.The application, known as The PinewoodStudios Development Framework,comprises a substantial expansionof the existing Pinewood Studios byadding a total of 100,000 square metresof new facilities, including studiosand stages, workshops, productionoffices, and streetscapes for filming.The application is now with South BucksDistrict Council for its consideration.The application documents will beavailable on the council’s website withinthe next few weeks.www.pinewoodgroup.comaudiomedia.com | February 2013 13

BROADCASTNEWSTV SoundIn SpainSpain’s national broadcasterTVE has made a significantinvestment in Jünger Audio’sloudness control technology, whichit is using to normalise the audioacross a number of its televisionchannels. TVE has been usingJünger Audio technology since2003, but during 2012 it has rolledAll India Radio (AIR), the national radiobroadcaster of India and a division ofthe Prasar Bharati group, is replacingits existing news and radio automationsystem with the NETIA Radio-Assist8.1 family of digital audio softwareprograms. The installation of NETIAsoftware at AIR’s national broadcaststation and across 48 local stationsinvolves more than 1,000 workstations,and is being coordinated by Delhi-basedsystems integrator Progressive Infotech.www.netia.comA Yamaha CL5 has been installed onGermany’s longest-running televisiontalk show. Aired live since 1974 by RadioBremen, 3nach9 is broadcast one Fridaya month and features a wide rangeof national and international guests.The programme’s technical production ishandled by Bremedia, who have recentlyreplaced the studio’s analogue mixingsystem with a Yamaha CL5 console, twoRio3224-D I/O units, plus a Dugan audiomic mixing card and two MY8-DA96analogue interfaces.www.yamahacommercialaudio.comSeattle-based broadcastcommunications and media company,Fisher Communications, has announcedthat Digital Nirvana’s Monitor IQEssentials 3.0 is the station group’schosen platform for complianceand loudness monitoring. “All of ourstations will use Monitor IQ primarilyfor regulatory compliance andloudness monitoring of our off-air HDand SD DTV channels,” said Lee Wood,Regional Director of Engineering forFisher Communications.www.digital-nirvana.comCalrec has surpassed 100 installationsof its Bluefin2 high-density signalprocessingtechnology with a sale toBBC Wales. BBC Wales installed a 40-faderArtemis Beam console with Hydra2 audiorouting capability in a newly renovatedstudio at its Cardiff, facility. It joins nineother Artemis desks and one Apollodesk – all equipped with Bluefin2 –in BBC operations throughout theUnited Kingdom.www.calrec.com14 February 2013 | audiomedia.comout High Definition broadcasting,and as a result upgraded its JüngerAudio B40 and B46 processors toincorporate SDI boards, making themmore compatible with its existingDolby products.TVE has also bought an additionalnine Jünger Audio frame-basedC8000 systems, bringing the totalnumber of C8000 systemsin use at its broadcastfacilities to 35.The new equipmentis primarily being usedfor play-out and for theeditors’ rooms at TVE’sTorrespaña broadcasttower in Barcelona. A number ofsystems have also been installed inTVE’s production centre in San Cugatdel Vallés, Barcelona.Alberto Palazón, CommercialManager at Jünger Audio’s Spanishdistributor ASPA, which supplied andinstalled the new equipment, said:“TVE initially chose Jünger Audioequipment because it was lookingfor a transparent processor thatcould normalise audio across variouschannels without compressingthe signal or distorting the sound.Jünger Audio’s LEVEL MAGIC-basedC8000 system proved to be the idealsolution as it didn’t alter the originalBrit BroadcastingRichmond Studios Productions, with Toby Alington at thehelm, will be recording the BRIT Awards 2013 for broadcast, onFebruary 20. Alington – who has worked on the Brit Awardsbroadcast for 19 years – and his audio team will mix the music forthe live-to-air show from Floating Earth’s state-of-the-art mobilerecording unit, which is equipped with an SSL C200 digital console,linked to over 100 remote mic amps connected by fibre-opticcable, which provide the feeds to be mixed and broadcast live ontelevision. This will be parked alongside the picture OB trucks atthe 02 Arena in Greenwich, London, where the event is being held.Highlights this year include expected performances from Beyonce,Robbie Williams, Muse, and Emili Sande.www.richmondstudios.comsound of the audio in any way.”“We are very happy with theJünger Audio C8000 systems andwith the upgrades we have made toour B40 and B46 units,” said PalomaSampedro, Head of TVE’s audiovisualproduction unit. “With Jünger Audio,we now have a complete solutionthat allows us to decode SDI signals,process audio and sum and codeagain. This is a great solution andone that is incredibly easy to use.Jünger Audio’s Loudness controltechnology is very stable anddelivers high quality audio.”www.junger-audio.comSSL for StamfordThe Stamford Media Center, a whollyowned subsidiary of NBC Universal,recently installed a Solid State Logic C100HDS Digital Broadcast Console, in itsaudio/video control room, replacing ananalogue console. The new C100 HDSis used to handle the audio for The JerrySpringer Show, Maury, Trisha Goddard, andthe Steve Wilkos Show. The studio produces20 shows a week between these four titles.All four productions feature a host, guests,and a live audience of approximately 200.“There is no rehearsal for any of theshows we produce here, so having a consolethat allows us to make changes while we areworking on a show is a big advantage”, saidRob Alexander, Senior Audio Engineer forStamford Media Center.www.solidstatelogic.comObama On AirBarack Obama’s second inauguration as 44th president of the United States tookplace on January 21 in Washington, with Bexel Equipment and Engineering Servicessupporting several major broadcast networks by providing clients with microphonepackages, wireless intercoms, and headsets. Bexel provided Sennheiser MKH416 and MKH 418 shotgun microphone packages to capture audio from theprocession following the swearing-in ceremony and inaugural luncheon down,down Pennsylvania Avenue to the White House. The Newseum, a 250,000-squarefootmuseum of news and journalism, was the central location for media coveringthe inauguration, with Bexel providing wireless audio equipment and several RFwireless mic systems for use at the facility.www.bexel.com

MORE ME PLEASEDesigned for use with iLive, GLD and otherprofessional digital mixers, the ME Personal MixingSystem puts the musician in control of their ownmonitor mix. Each performer’s ME-1 personal mixercan be set up to work perfectly for them, whether theycrave maximum control over the fine details of their mixor just want the minimum of keys to press. ME-1 is easyto use, with straightforward controls, a clear display andcustom naming for instant familiarity. The end result -slicker soundchecks, quicker setups, lower levels onstage and more engineer time devoted to enhancingthe audience experience.Fully customisableIntuitive operationCompact, smart design40 sources from GLD or iLiveCompatible with MADI, Dante TM or EtherSoundDaisy chain or use PoE Ethernet hubs16 assignable keys to suit applicationALLEN&HEATHALLENHEATHOFFICIALALLENANDHEATHUK

LIVENEWSPolish TheatrePolishes AudioOptocore has played a vitalrole in the audio upgradeof Teatr Rozrywki, in thePolish city of Chorzow. Specialisingmainly in staging popular musicalproductions, last year it underwent afull renovation, and at the end of 2012ArcLight Cinemas’ newest locationin La Jolla, California, has installed aMeyer Sound system in its new widescreen, Dolby Atmos auditorium.Five Meyer Sound Acheron 100 screenchannel loudspeakers are placedbehind the curved 50-foot screen,with low-frequency energy suppliedby six X-800C cinema subwoofers.Precise positional imaging is providedby 30 HMS-10 cinema surroundloudspeakers mounted on the walls andoverhead, with dual 500-subwooferssupplying bass management for thesurround channels. The entire systemis controlled by a Galileo loudspeakermanagement system with two Galileo616 processors.www.meyersound.comThe New York City Performing ArtsCentre has recently undergone majorrenovations, where TiMax2 Soundhubwas specified as the overall systemprocessor to provide routing, EQand zone management, plus audiolocalisation using its automateddynamic delay-matrix. The audio chainat the theatre was updated and nowincludes a Studer 5 Vista 5 console,which provides 42 channels of digitalmixing and links via AES to the 48 in/out TiMax SoundHub matrix. The d&bloudspeaker system is driven by D6 andD12 amps fed via AES connections fromthe TiMax.www.outboard.co.uk16 February 2013 | audiomedia.comcompleted the modernisation of itsaudio infrastructure.The work was done by PiotrKozlowski and Wojciech Grzadzielfrom integrators PracowniaAkustyczna, who have beenresponsible for all acousticaland electro-acousticalmodernisation undertaken atthe venue in the last few years.One of the main challengeswas providing independentgain control from the FOHand monitor positions.“We have been using digitalaudio networks in our designsfor almost ten years,” saidKozlowski. “Many systemsBush Beats Around MidasSound Engineer Mark Woodcock hasrecently mixed FOH for Richie Sambora’ssolo tour, and for long-time client Bush,using Midas digital consoles for both.“I’ve always loved the MIDAS sound,but had been carrying another consolefor several years, basically because ofthe easy access to all the plug-ins,” saidWoodcock. “But then I found myself on aPro6 when Bush was heading to Asia to dosome shows with Evanescence. I’ve beenon Midas ever since. I don’t use anythingexternally, purely just the console.”Richie Sambora’s show runs to over twohours. “You never know what’s going tohappen,” said Woodcock. “I mean, there’s aset list, but on any given night, he’ll call anaudible and everyone just has to be ready.With the POP Groups and VCAs on theMidas, I’m not in layers anymore, whichmakes everything quicker and easier.”www.midasconsoles.comtoday use much more digital kit thananalogue, so it is natural to want touse some kind of digital cable to glueall this signal jungle together.”The solution used at Teatr Rozrywkiwas an Optocore X6R-DualMictopology, with the consultants basingtheir system design on three X6R-FX-DualMic and nine X6R-TP-DualMic,creating 96 mic connections withindependent gain control for everysingle channel. In addition, two X6R-TP-16LO interfaces were deployed asreturns devices from the consoles.All X6R units were located in thestage rack.For the FOH position, the theatrecommissioned two Yamaha M7CL-48Your Disco Needs JBLThe World’s Largest Disco, the annual charity fundraiser event heldat the Buffalo Convention Center in New York, this year used 84 JBLVerTec line array loudspeakers. “We had to move 7000 people withloud, bass-heavy sound in a room that’s the biggest dance floor in NewYork State,” said Ray DiBiase, President of Northeastern ProductionSystems, which provided the sound system for the event. The systemcomprised JBL VerTec VT4889 full size line array elements, VT4886sub-compact line array elements and VT4880 full size arrayablesubwoofers. “Getting even and consistent coverage was a must,” saidDiBiase. “It was also a total party atmosphere with everyone making alot of noise, and the system had to be heard above all that.”www.jblpro.comdesks and these are equipped withOptocore YG2 and YS2 I/O cards thatallow direct connection of Yamahaconsoles to the Optocore network.The same card combination was usedwith a M7CL-48 at the stage end.All three Yamaha consoles are able tocontrol the Optocore preamps via theYamaha Emulation Mode.The third section of the system wasinstalled in the amp room, where twoYamaha DME64N processors, fittedwith YG2 cards, provide feeds to theL’Acoustics amplifiers, with a furtherOptocore DD2FR-FX MADI interfaceenabling the MADI connections.www.optocore.comScoring Work In BrazilWalter-Storyk Design Group’s international team has completedwork on the Mineirao Stadium renovation in Belo Horizonte,Brazil, in preparation for the 2014 World Cup. WSDG was retainedto design the acoustic program and complete audio and videosystems for the entire stadium including all the public areas.“Our primary concerns focused on the level of sound comfort andintelligibility in relation to the RT60 reverberation time required tomeet stipulated FIFA STI mandates,” said Renato Cipriano, GeneralManager of WSDG Brazil. “Our sophisticated simulation programsenabled us to assess and ‘auralize’ the entire complex. We identifiedextensive sound reflections throughout the arena and concludedthat acoustical absorption be installed at the inner ring of theaudience sector to achieve the required STI values.”www.wdsg.com

Horace Ward Gets DangerousFront of House engineer Horace Wardhas been using the Dangerous Music2-Bus. The 2-Bus is usually used in therecording studio, to bring in the tone, feeland headroom of an analogue console todigital mixes suffering from ‘in-the-box’summing. Ward has found a way to usethe 2-Bus to get a similar enhancementover his live mixes. “I don’t understandhow the 2-Bus has been in the studio solong but hasn’t gotten to live shows,” saidWard. “The feel is different with analogueand digital summing output. Using theDangerous 2-Bus and summing stems youreally hear the difference.”www.dangerousmusic.comSnow Joke For TechnomadThe largest ski resort in NorthernEurope, SkiStar in the Åre municipalityin northern Sweden, is giving skiers aninteractive experience on the slopes witha new multi-zone entertainment systemwhich uses Technomad advanced audiospeakers. The Technomad loudspeakers,provided by systems integration companyWatt & Volt Sverige AB, communicate thehistory of SkiStar and deliver atmosphericaudio in eight locations. The synchronisedsystem delivers audio originated throughzoned DMX-controlled MP3 players.www.technomad.comPopulaire Move For YamahaOne of France’s most culturally importanttheatres, the Theatre National Populaire(TNP), in Villeurbanne, has undertakena comprehensive refurbishment whichhas seen a Yamaha digital audio systeminstalled in the theatre’s two performancespaces, the Grand Theatre and PetitTheatre. The Petit Theatre now featuresan Ethernet-based system, with a YamahaDM2000 digital mixing console andDME63N and DME24N digital mixingengines. Testing proved the success ofthe design and a ‘scaled up’ version wasinstalled in the Grand Theatre, whereeither a DM2000 or a PM5D can beused, depending on the complexity ofthe production.www.yamahacommercialaudio.comLiverpool-based rental specialistAdlib supplied a Coda AudioViRAY system for the most recentUK tour by vocal harmony groupThe Overtones. In its largestformat on The Overtones, 16ViRAY speakers were flown perside, together with three SCV-Fflown subs at the top of eacharray, with four Coda SCP-Ddual 18 subs a side augmentingthe bottom end on the floor.Coda C10 comparator amps andDN260 crossovers were usedto drive all the Coda elements.Working on a sensor feedbacksystem, this helped fine-tune thewhole system.www.adlibsolutions.co.ukwww.codaaudio.comA Midas PRO1, supplied andinstalled by South AfricanMidas partner Prosound, tookDurban’s Elizabeth SneddonTheatre digital for its Christmasproduction, Beauty and theBeast. “We installed a Midas PRO1to ensure that this particularpanto’s scene changes, many ofwhich have to happen almostinstantaneously, will work,”said Ryan Selby of Prosound.“The desk responds exceptionallyfast,” said Sound Designer MeganLevy. “The automation hasgreatly simplified the operationof an otherwise complex show.Boogie Woogie iLiveAn Allen & Heath iLive digital mixingsystem is currently on a national tourof the UK with the musical BugleBoy, which traces the life, career andmysterious disappearance of GlennMiller. The system is based around aniLive-T112 Control Surface and an iDR-48 MixRack fitted with a MADI networkcard. “When the compact fixed-formatiLive-T Series came along, I decided totake the plunge and purchase a system.It has eliminated a 20U rack of outboardat FOH, made the FOH footprint muchsmaller and made fit-up/get-out times somuch quicker,” said Andy Onion, BugleBoy’s sound designer and operator.www.allen-heath.comThe PRO1 has proved to be themost theatre friendly digitalconsole I have used so far.”www.midasconsoles.comRick Wakeman recently playedtwo full orchestral shows inBuenos Aires, complete witha five-piece rock band, a choir,narration and solo singers.“The two orchestral concertsin Buenos Aires involved morethan 90 channels, of whichmore than a third used DPAmicrophones,” said FOH EngineerIan Barfoot. “Although some ofthe equipment I wanted wasnot available in South America,I did insist on DPA microphones,especially for the orchestra. Weneeded so many that we had toship the majority of them with usfrom the UK.”www.dpamicrophones.comClear-Com is sponsoring theJohn Lennon Educational TourBus by supplying the crew withits HME DX10 digital wirelessintercom for its productions andworkshops. The Bus is a nonprofit,state-of-the-art mobileaudio and HD video productionfacility that travels across the USand Canada, offering songwritingand multimedia productionworkshops to young people.In addition to recording musicalperformances, students learnhow to produce and shoot musicvideos and documentaries.They are also trained to operateand manage the productionequipment, including using theDX210 intercom.www.clearcom.comThe Higher People’s Court ofGuangdong Province in China,famously the venue for theApple and Shenzhen ProviewiPad trademark dispute,recently updated its PA system.Reverberation is high in themarble-clad courtroom andmultiple gooseneck microphoneswith high input gain make for anunstable feedback environment.Integrators Acejet Technologyarranged for d&b EASE modellingof the courtroom, and thendetermined a system designusing elements of the d&bE-Series and added a number of8S loudspeakers from the d&bWhite installation range to beembedded in the walls of theaudience area.www.dbaudio.comMonitor Engineer MichaelProwda used the Sensaphonics3D Active Ambient IEM Systemon Radiohead’s latest tour. “Theyunderstood the active ambientconcept immediately and knewthat they wanted it,” said Prowda.Singer/songwriter Thom Yorke,guitarist Ed O’Brien and drummerPhil Selway all ordered the 3DActive Ambient. Bass player ColinGreenwood, who had never usedin-ears before, started off with apair of Sensaphonics 2MAX, andmoved onto the ambient in-earsafter a few shows.www.sensaphonics.comaudiomedia.com | February 2013 17

newsGAMESOUNDSony’s Journey Scoops Tec AwardThe winners of the 28th Annual TEC Awards wereannounced January 25, 2013, in Anaheim, California.The prestigious ‘Outstanding Creative Achievement’prize for ‘Interactive Entertainment Sound Production’went to Sony Computer Entertainment for its intriguingand innovative PlayStation 3 title, Journey, developed bythatgamecompany.Keith Leary, Score Producer for Sony PlayStation toldAudio Media: “We are absolutely delighted to receivethis award. When Jenova Chen (Creative Director,thatgamecompany) first explained the story of Journey,and how it would have universal appeal and encompassall of life’s emotions, but that the story would becommunicated without dialogue, we realised wehad an amazing opportunity to tell the story throughmusic and sound. Strong collaboration between theSony PlayStation Music Department, Composer AustinWintory, and Lead Sound Designer, Steve Johnson, waskey to our success. We worked together throughout the“…werealisedwe had anamazingopportunityto tellthe storythroughmusic andsound. ”Keith Leary,Sony Playstationthree-year developmentcycle to ensure themusic and sounddesign complementedeach other perfectly.Of course, AustinWintory’s beautiful,lyrical (and Grammynominated)musicperfectly underscoresthe emotional arcof (your) Journey. The score adapts to how you playthe game, with each player’s Journey appearingto be custom-scored specifically for them.I am so proud of what we achieved working togetheras a closely integrated audio team.http://tecfoundation.com/http://thatgamecompany.com/games/journey/Game Developers Conference 2013The Game Developers Conference returnsto San Francisco March 25-29, 2013(Monday-Friday), claiming to be the world’slargest and longest-running professionalsonlygame industry event attracting some22,500 attendees. It features five daysof lectures, panels, tutorials, and roundtablediscussions on a comprehensiveselection of game development topicsaddressed by leading industry experts,and provides a forum where programmers,artists, producers, game designers, audioprofessionals, and business decision-makerscan gather to exchange ideas and shape theindustry’s future.Running alongside is the GDC expothat showcases game development tools,platforms, and services; plus the fourteenthannual Independent Games Festival whereoriginal games compete for the attentionof the publishing community, and also thetwelfth annual Game Developers ChoiceAwards – among the industry’s premieraccolades for peer-recognition in the digitalgames industry.GDC’s Audio Track is renowned by gameaudio practitioners the world over as aunique opportunity to share knowledgeand experience from the real-world, andaddress the key aesthetic, technical, business,and logistical issues around music, sound,and dialogue development forinteractive media.Session highlights this year include:AAA Audio Quality in a Mobile Indie Game:Holy Shield Case StudyAmaury La Burthe (AudioGaming)This session will focus on the audiochallenges often faced by indie productionswhen they have limited means and time, buthigh ambitions. Through practical examplesspanning from conception to production ofthe mobile game Holy Shield (Journey toHell), this session will show how past AAAexperiences have been used to the benefitof the game. Live demos will demonstrateand give methodologies for effective, butsimple, real-time mixing and buss design,music systems and in-tempo events, assetmanagement, simple procedural audio, realtimespecial effects, and the methods used toproduce original assets.Crossing the Streams: Game Audio RuleBreakers of the Past DecadeScott Selfon (Microsoft Corporation)In the hectic world of game audioproduction, programming, and overallgame development, it’s easy for the audiocreator’s head to get buried in capturing andimplementing the daunting spreadsheetof cues right in front of them. This talkchallenges us to break free of audio as partof a ‘post-production’ world highlightingsome of the unique and innovative audiodevelopments of the past decade wherethe audio has turned around the equation,and instead been a key ‘pre-production’component, driving the implementationrather than the other way around.While some of the illustrations will be wellknown, others include tricks and tips not seensince their initial demonstrations, challengingus to continue to push on that fourth walland provide sound that not only matchesthe visuals, but provides surprises to the user.Contextually Driven Interactive Musicin SSXGordon Durity (Electronic Arts – EA Sports)What would it sound like if a virtual DJcould take any user-provided music trackand re-mix/re-arrange it in real-time, whilesyncing it with the game-play action ofan over-the-top snowboarding game thatinvolves racing, tricking, and survival?This is the exact scenario proposed to createthe interactive music system for the latestSSX. This talk will take you through thecreative, design, and technical considerationswhen coming up with an interactive musicsystem that is context sensitive, audio artistdriven, end user accessible, powerful, andflexible enough to provide a convincing,cybernetic music remix on the fly.For full programme details click towww.gdconf.com18 February 2013 | audiomedia.com

© 2013 Shure IncorporatedFP WIRELESS SYSTEMSPROFESSIONAL, PORTABLE, SIMPLE.Capturing audio has never been easier: Shure FP Wireless Systems offer a full selection of affordable, lightweightportable wireless components that feature 24MHz bandwidth, automatic frequency selection and transmittersetup. All powered by 2x AA batteries and compatible with up to 14 systems simultaneously per frequency band.FP1 Bodypack Transmitter FP2 / SM58 Handheld Transmitter with SM58 ® Cardioid Microphone Capsule FP2 / VP68 Handheld Transmitter with VP68 OmnidirectionalMicrophone Capsule FP3 Plug-on Transmitter with XLR connection FP5 Portable Wireless ReceiverFor more information:visit broadcasting.shure-products.euwww.shuredistribution.co.ukBVE London2013Visit us atstand H16

WHAT’S UP UK NEWSNo Hush NeededTo those of a geeky persuasion,watching TV programmes or evenCeefax (the BBC’s now defunctteletext service) and the test card wasnot about what was on screen butthe music playing in the background.Much of this would have been selectionsfrom library records, which are nowrecognised for their creativity as much ascommercial recordings.The copyright of library music is whollyowned by the publishers, which meansit can be licensed without obtainingpermission from the composer. This hasmade it a valuable resource for film andtelevision producers working on a tightbudget but who still need incidentalmusic and a theme tune. Companies suchas KPM Music (owned by EMI), Boosey &Hawkes (now Imagem Production Music),and Chappell, part of the Universal group,regularly produce many albums everyyear. Each contains a multiplicity of tracks,ranging from fully formed pieces that couldbe used as themes or underscores, to stingsand stabs of only a few seconds duration.20 February 2013 | audiomedia.com“…generalpurposefunctionalitymeant librarymusic – alsoknown as stockmusic – wasregarded asnot ‘proper’music, and soless creative andinteresting thancommerciallyreleased tracks.The reality isvery much theopposite.”Kevin HiltonTry theFocusriteRed Seriesin yourLunchboxIf you are based in the UKand wish to experience thelegendary Red mic preampin your 500 Series Lunchbox,call 0845 894 0874 or e-mailred500uk@focusrite.comwww.focusrite.comIn the past this general purposefunctionality meant library music – alsoknown as stock music – was regarded asnot ‘proper’ music, and so less creativeand interesting than commerciallyreleased tracks. The reality is very muchthe opposite. Because composers arenot writing to a specific brief they havethe opportunity to be more imaginativeand experimental, as was the casewhen Delia Derbyshire and DaphneOram, both leading lights of the BBCRadiophonic Workshop at differenttimes, each produced challengingelectronic material for library use.More often library tracks have beenorchestral or jazz-based and, ratherthan being produced on the cheap,were recorded in some of London’sbig studios – Abbey Road, Advision,AIR, CTS – by either leading full-timeorchestras or ensembles put togetherfrom top session players of the day.Although the composers were creditedon the albums, their names rarelyappeared on credits for whateverproduction used the music.Despite this, library music cataloguesread like a Who’s Who of Britishcomposers and arrangers, includingJohnny Pearson, Johnny Keating,Alan Hawkshaw, and former Shadowsdrummer Brian Bennett. In creating apiece or sequence of library music thewriter often has a mood, style, or genreof production in mind, such as tension,horror, romance, and so on. Regardlessof the description on the album sleeve,producers can take a piece and use itfor something the creator probablynever considered.This happened with a track calledThe Awakening, written by JohnnyPearson, which has been used asthe theme to ITV’s flagship newsprogramme News at Ten since 1967.It was a last minute choice andviewers complained it was “too harsh”.Certainly it is very portentous andperhaps better suited to a horror filmbut, once it was re-mixed to softensome of the more strident elements, itwas accepted by the audience, whichnow associates the dramatic boomingwith the chimes of Big Ben and the bigstories of the day.Library music continues to be animportant tool for TV producers andfilmmakers. To distance themselvesfrom the negative connotations of theold name, most publishers today preferto use the term “production music”,which still has a functional ring butimplies the music is aimed at TV andfilm rather than just sitting on shelf inthe hope it will be used one day (whichwas never the case anyway).Visitors to this month’s BVE Expo inLondon (February 26-28 at the ExCelcentre) will have the opportunity tohear composers and music publishingexecutives discuss the business ofproduction music during a seriesof sessions run by Audio Network.Founded in 1999 as an alternative to thetraditional way of licensing productionmusic, Audio Network pre-clears tracksfor international use on differentdelivery platforms, with the user buyinga renewable licence instead of payingroyalties every time a piece is used.This approach appealed to manycomposers, including the late JohnnyDankworth and his wife, singer CleoLaine, who were followed into the AudioNetwork stable by Evelyn Glennie,Tim Garland, Terry Devine-King, andPaul Mottram. The company makes apoint of recording its output at AbbeyRoad Studios with such as the LondonPhilharmonic Orchestra, althoughits Deputy Managing Director, ChrisBlakeston, acknowledges that moderndigital recording and editing systemshave given musicians the freedom to domore in their home studios.During BVE, Audio Network’s Directorof Publishing, Simon Anderson, willdiscuss nets and bolts like copyright,while one of the company’s foundingcomposers, Chris Blackwell, who hasdrummed for Robert Plant as well aswriting production music, will discussthe creative and technical aspects ofhis work.Library music has long had a cultappeal to collectors and those with lessmainstream tastes. Fortunately it is noweasier to get hold of for those not in theproduction business but who want toown it in the same way they would thelatest chart song. “We’ve had peoplewho have contacted the producers of aprogramme because they liked a pieceof music and then get passed on to us,”says Blakeston. “They ask whether theycan buy a CD with the track on it, sonow we’ve made tracks available onour website that can be downloadedfor 79p.”Geeks might gnash their teeth atsomething once so specialised beingnow so widely available, but it doesmean library/stock/production musicis finally getting the recognitionit deserves. ∫

HYDRA2, FROM CALREC.INTELLIGENTLY NETWORKED.Putting Sound in the PictureSOPHISTICATEDCONTROLLABLEPLUG AND PLAY1-TO-N ROUTINGTRANSPARENTSUPPORTS GPIOSUPPORTS GPIOFIBER OR COPPERSERIAL DATAPLUG AND PLAY1-TO-N ROUTINGSOPHISTICATEDTRANSPARENTPLUG AND PLAYCONTROLLABLESUPPORTS GPIOSUPPORTS GPIOFIBER OR COPPERSOPHISTICATED1-TO-N ROUTINGSERIAL DATASOPHISTICATEDREDUNDANTFIBER OR COPPERSUPPORTS GPIOPLUG AND PLAYCONTROLLABLETRANSPARENT1-TO-N ROUTINGSUPPORTS GPIOSERIAL DATATRANSPARENTPLUG AND PLAY1-TO-N ROUTINGSOPHISTICATEDCONTROLLABLETRANSPARENTSOPHISTICATEDSERIAL DATA1-TO-N ROUTINGINTELLIGENTFIBER OR COPPERHydra2 forms the routing backbone for both the Apollo and Artemis consoles.These desks are just one type of client capable interfacing with Hydra2, which provides anenormous 8192² synchronous router at its core. A range of I/O boxes can be connectedvia high density 512 bi-directional copper or fiber connections, while mini-GBIC connectorskeeps connections simple and installation easy.Highly scalable, Hydra2’s router is a TDM-type router, capable of ‘one-to-many’ routing andtruly point-to-point. This allows for enormous networks with highly flexible topologies involvingmultiple routers, inputs/outputs, control rooms and studios. And with adaptive, intelligentsoftware which automatically recognizes changes to the network and updates all its clients,it’s also a very social network.Hydra2. Minimizing installation overheads and maximizing audio routing flexibility.2calrec.com

geofocus middle eastInternatI onal MedI a CoM plexdubai Media CitySince its official opening in January 2001, Dubai Media City(DMC) has grown to become a thriving business communityhosting both global and regional media companies. DMC offersmedia companies and independent media professionals apro-business environment that enables them to operate withcollective synergy and freedom while enjoying free zone benefitsincluding 100 per cent business ownership and tax-free income,as well as value added services such as networking opportunities,venue management services, industry building programmes, andgovernment services.Most recently, Dubai Studio City and MBC Group have signeda strategic partnership agreement, for enhancing contentcreation for TV and film production in the Middle East and NorthAfrica. MBC group will start its new production facility at one ofthe prime sound studios at Dubai Studio City.Dr Amina Al Rustamani, CEO, TECOM Business Parks,commented on the partnership saying: “It is with no doubtthat such a partnership with a leading media group that hasa long track record of success in the content creation industrylike MBC Group, will inevitably serve the best of developingand enriching the TV and film content. This step will also helpto enhance and boost the media environment so far createdin Dubai. This strategic partnership will attract and developlocal competencies and expertise from various specialties ofthe production process, which will enable Dubai to becomethe perfectdestination thatmeets the needsthe TV and filmproduction industryin the Middle East.”Sam Barnett,CEO of MBC Group,stressed theimportance of thisstep as a milestonein a long track recordof 21 years of successof the group, saying:“MBC Group today strengthens its expertise in media contentproduction, with its new production company O3 productionat Dubai Studio City, where the City is equipped with the latestfacilities, technologies, and talents, that match the efficiency andcapacity of the largest international production studios. This willcontribute a lot to the development of local content, whether itis entertainment or education content, and promotes it towardsa new dimension of success, especially with the Stargate globalproduction technology of simulation visual multi-dimensional,that is considered one of the added values to the MBC.”Fadi Ismail, General Manager of O3 Productions, amember of MBC Group, praised thepractical element of this partnership,highlighting that having an advancedproduction infrastructure representsa major success factor in contentcreation industry.The newly completed sound stage,15,000 sq. ft in size, is designed onthe latest specifications and smarttechnologies. In addition, two moresound stages (25,000 sq. ft each)are currently being developed andwill be operational in late 2013.The sound stages are complementedby workshops and backlots that willstreamline the production processin the Emirates. The major impact ofthis will be a strong business case forproduction support service companiesto relocate to Dubai Studio City, as theincrease in content creation takingplace will provide a valuable source ofdemand for production services.www.dubaimediacity.com22 February 2013 | audiomedia.comStagI ng & e ventSCreative technologydubaiCreative Technology Dubai brings thebiggest acts and sporting eventsto the UAE. Video Technician, Nick Toale,explains how using the latest technologyis key for high profile live events:“Creative Technology provides highlysophisticated and professional audiovisualstaging services to the special events marketacross the globe. Based in London, England,with a large regional operation in Dubai, formore than 25 years the company has beenserving geographic regions through localoffices in all major continents.“Clients served by Creative TechnologyDubai include international brands, hotels,rock groups, and major sporting events:most of the world’s latest and greatestcompanies and stars have probably usedequipment supplied and managed byCreative Technology at some stage intheir careers.“The high profile nature of our eventsdemands the highest quality equipment.We select it on a worldwide basis accordingto how appropriate it is for our purposesand which equipment gives us the bestvalue. We cover jobs ranging from quitesmall venues in hotels to the largest rockevents and major sporting events like theDubai Grand Prix.“So the equipment we use has to beextremely flexible and we need to havea good stock of devices that will allowus to meet any eventuality, whether thatis suddenly needing to change a signalformat or being able to send signalshundreds of metres to a remote display.We also have to consider local supportfrom dealers and head office to counterany sudden problems that may occur,which naturally happen whilst we are atan event and during antisocial hours.”www.ct-group.com

InternatI onal e xhI b I t I onPalMe Middle eastPalme Middle East has announcedthat it will host Soundcheck, adedicated product demo area, forthe first time when the show’s 2013edition opens for trading at the DubaiInternational Convention & ExhibitionCentre on May 21-23.In a dynamic response to exhibitorrequests for a working environmentin which to showcase their newtechnology, organisers InformaExhibitions have created Soundcheck,which will be located in a purpose-built(and fully air-conditioned) temporarystructure in the plaza areaoutside the Ibis Hotel.Announcing the move,Exhibition Director, RichardBrook, said, “This will provideexhibitors, especiallyP ublI c theatreSouk okazSaudi Arabia – Sennheiser Grouphas announced that its Middle Eastregional office has partnered withModern Lifestyles to set up a state-ofthe-artaudio system for Souk Okazpublic theatre in Taif, Saudi Arabia.The historic Souk Okaz wasestablished 12 centuries ago, and hasbeen revived as a tourist resort in Taif,Saudi Arabia. Now celebrating its sixthanniversary year, Souk Okaz, whichwas re-established by Makkah Gov.Prince Khaled Al-Faisal, is an annualevent featuring a variety of culturalevents including seminars, poeticevenings, and folk performances.At the heart of Souk Okaz is the publictheatre, boasting a seating capacityfor over 3,000 people. The modernday auditorium, built in the historicmarketplace, is the venue for poetryand storytelling competitions, whichare the highlight of the cultural event.Eager to ensure the very bestlistening experience for the visitorsmanufacturers and distributors ofaudio equipment, the opportunityto present their products in a liveenvironment alongside the show.“Taking this feature to a purposebuiltoutdoor environment meansthere’s more flexibility for exhibitorsto show off what their kit can do withminimal impact on other participantsat the show.”Timetabled slots in Soundcheckare limited, and each of the exhibitorstaking part will receive one morningand one afternoon session on each ofthe show’s three days. The timetablewill be heavily promoted in advanceof the show.www.palme-middleeast.comto the fair, but limited by minimalexperience in the field of audioengineering, Ascon Co. Ltd., thecontractor for the project, turned toModern Lifestyles, a Jeddah baseddistributor specialising in audio andentertainment solutions.Modern Lifestyles proposeda solution by Sennheiser MiddleEast that included a DAS AudioAERO 8-A Line-Array system andSennheiser G3 wireless systems withantenna distribution.Commenting on the factorsbehind the selection, Majd Al Khattib,Technical Director at Modern Lifestylessaid, “With the poetry and story tellingcompetitions taking centre stage atthe fair, Saudi Diyar and Ascon hadset extremely high expectations ofthe audio systems. The solution hadto be customised to handle speechand poetry with the utmost clarity.These requirements, coupled withthe complexity raised by the tent-likestructure, meant that we needed toselect a vendor with both the bestproduct and the most professionalsupport services.”e D ucatI onal facI l I tySae DubaiASolid State Logic AWS 948 Hybrid Console/Controller was chosento upgrade the primary audio recording room, Studio 7, nownamed the SSL Studio, at the SAE Institute in Dubai.As a part of the worldwide network of over 56 SAE facilities, theDubai campus offers a variety of programmes in media production,including audio engineering, 3D animation, multimedia, gamedesign, digital filmmaking, and music production.SAE Dubai’s audio programme revolves around seven studios,each having a different level of sophistication and primaryapplication. The SSL Studio connects to the SSL Live Room, amoderate-sized room that can comfortably house a quartet ofmusicians. The acoustics of the room are designed for picking upthe dynamic response of instruments, especially drum kits andloud instruments.http://dubai.sae.eduvenueabu Dhabi heritage theatreAMidas PRO6 console has been supplied to Abu Dhabi’s iconicHeritage Theatre, making it the latest high-profile venue in theMiddle East to invest in a Midas console.Chicco Hiranandani, Business Development Manager atMidas’s Middle East distributor NMK commented: “The HeritageTheatre joins a prestigious line up of venues that have specificallychosen Midas solutions for their reliability, redundancy, and mostimportantly, audio quality. These venues include the Raha Theatre,Abu Dhabi, the Qatar National Theatre, Doha, as well as the RoyalOpera House in Muscat, Oman.”The Heritage Theatre is a 550 seat multi-purpose venue that isused for drama, dance, lectures, and conferences. The latest supplyof the PRO6 sees it join other UAE venues such as the EmiratesPalace Hotel in Abu Dhabi, which is currently using a Midas XL4.“Midas is enjoying increasing popularity in the Middle East, asit increasingly becomes a destination for international events,”comments Hiranandani. “The Abu Dhabi Heritage Theatreis an iconic venue in the capital of the United Arab Emirates.Numerous community events are held in this venue, and nowthe technical team can manage these shows with an excellentdigital platform.”“The PRO6 has many of the features of the flagship XL8,boasting a range of features that make it an indispensable deskfor busy, professional venues,” explains Brand Manager for Midas,Richard Ferriday. “The PRO6 is a compact yet powerful platformthat offers up to 64 simultaneous input processing channels, aswell as six POPulation groups and a configurable ‘Area B’ featurethat enables two operators to work in collaboration.”audiomedia.com | February 2012 23

FEATUREThe Oscar Sound ShowdownByJo Fletcher-Cross24 February 2013 | audiomedia.comYes, it’s that time of year again – the 2013Academy Award nominees have beenannounced. Movie starlets are choosing theirgowns, Seth MacFarlane is getting ready tohost the event (sample tweet from Mr MacFarlane @SethMacFarlane: “This year’s Oscars will be like nothingyou can imagine. Unless you can imagine three hours of,like, people getting awards and stuff…”), and somewhereout there, some sound guys are getting their best blackjackets out and wondering if they should prepare aspeech. But which sound guys?Nominated in the Sound Editing category are ErikAadahl and Ethan Van der Ryn for Argo, and DjangoUnchained Sound Editor Wylie Stateman. Eugene Geartyand Philip Stockton have also received a nod for theirwork on Life of Pi. “Ang always makes the journey full ofwonderment. It is an honour to be part of such a specialfilm that will still be recognised 100 years from now forall its beauty,” commented Gearty. “To be recognised withall the other great sounding films is icing on the cake.I am truly humbled.”Paul N.J Ottosson received a Sound Editingnomination for Zero Dark Thirty, as did Per Hallberg andKaren Baker Landers for Skyfall. “It is extremely humblingto be nominated,” said Karen Baker Landers. “You arenominated not only for your own work, but for the workof your entire crew and you always need to rememberthat. It also makes you want to step up your game.The nomination comes with the responsibility to be asgood as it says you are.“Skyfall has a little bit of everything in it from a soundperspective – from the atmospheres to the realisticsound effects to the emotional design. It’s a film that offersthe audience a full palate sonically.”Nominees for the Sound Mixing Academy Awardare John Reitz, Gregg Rudloff, and Jose Antonio Garciafor Argo; Ron Bartlett, D.M Hemphill, and Drew Kuninfor Life of Pi; Andy Nelson, Gary Rydstrom, and RonaldJudkins for Lincoln; and Scott Milan, Greg P. Russell, andStuart Wilson for Skyfall.Unsurprisingly, given the buzz around the audio workon the film, Andy Nelson, Mark Paterson, and SimonHayes were nominated for Les Miserables. Simon Hayesspoke to Audio Media in December 2012 about his workon the musical; when the nominations were announcedwe asked Mark Paterson why he felt the sound mixingdeserved an Academy Award nod.“There were so many people involved in making thisan Oscar noteworthy sound mix and it has taken thehighest quality work at all stages to achieve it,” Patersonsaid, “It starts with those live recordings.” Director Tom“There wereso manypeopleinvolved inmaking thisan Oscarnoteworthysound mixand it hastaken thehighestquality workat all stagesto achieveit…”Mark Paterson,on Les MisHooper wanted to capture live performances from hiscast, instead of using pre-recording or ADR. “The workthat Simon Hayes and his team did is unbelievableand the results were truly special, especially when youconsider what they were up against with rain machinesand everything else that is noisy on a film set. Then youhave a bunch of recordings that have captured an amazingperformance but have varying tempos. That leaves youwith the challenge of recording a score that will workwith the performance and then making it all work to thepicture. Then you have have to find a way of weavingthe real world into it all. The list of challenges goes on.”Normally a film like this would have a huge amountof ADR work to do, and this is when the sound mixingteam would traditionally be busiest. Obviously thingswere a little different on Les Miserables. “People oftenask me about how we coped with so little ADR, and myanswer is always that we had such great recordings to workwith,” explained Paterson. “This meant that the amountof ADR needed for ‘technical’ reasons was very little.In fact, almost non-existent. The main challenges reallycame from the chorus elements, which were also sunglive. There was a fantastic amount of separation for us towork with, but you can imagine the continuity difficultieswith having often 20-30 people singing on set. There wereareas where we recreated these elements, mainly to use inconjunction with the live recordings, but also to help withwidth across the screen. What is great is that any chorusADR, whether it be melodic or shouting, was recordedby the actor or actress that played the part on the day.For the very small amount that is in there, it has been keptas authentic as possible, which is rare.”Paterson admitted that he found some aspects of thework personally challenging. “With the mixing of thesound effects, normally it’s all about details and having apresence of the real world, even a heightened real world.Things were a bit different on this movie, and it wasn’tuntil I’d been down the traditional road for a while that Iaccepted that. It became quite clear fairly early on that itwas easy to be distracted by unwanted sounds during suchintimate performances.“We also had to scrutinise every sound effect inmuch more detail than normal to be sure that it workedin harmony with the music. An example is the metalcandlestick holders that the bishop picks up. It happensright on the sustain at the end of a song so the metalringing effect is pitched to the same note and extendsthat sustain a little. That way it can be there but is almostpart of the music.”The Academy Award ceremony will take place onFebruary 24 in Los Angeles. ∫

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FEATUREA Very Grand DesignCineLab SoundMix, Moscow26 February 2013 | audiomedia.comCineLab is a very impressive audio post production facility. Whatever way you look at it, builds like this are rareand deserve celebration. Paul Mac goes on a tour of this latest Russian marvel...We should be absolutely clear from the startthat CineLab SoundMix is a dedicatedaudio post production facility. Why dowe have to make that clear? Well, becausethe basic room list goes on a little longer than soundpeople are used to. Also, the kit, the build, the qualityof finish, and the quality of the staff, are all very special.Indeed, White Mark Limited, the acoustic andarchitectural consultancy entrusted with this projectis no stranger to large projects, but David Bell, WhiteMark’s Managing Director, says SoundMix has certainlybeen its biggest project to date. And it has to be said fromthe start that the results are pretty spectacular.There are four main mix rooms, two ADR studios,seven editorial rooms, a dedicated Foley studio, andthe ‘Universal’ studio (more like a music facility forsoundtrack recording and mixing), and much more.The studio is located on the North West outskirtsof Moscow, Russia. It’s a beautiful city, so there’s lots ofpotential outside the studio walls, as well as inside.I was given an extensive tour of the facility by theManaging Director of SoundMix, Vadim Nerukhov; theManaging Director of White Mark Limited, David Bell,and the CEO of CineLab, Denis Glinsky.“First of all,it’s service…Service,service,service…And qualityof service…And people– the peoplewho providethis serviceand whoprovide the‘conversation’with theclients…”All three rooms have recently gained Dolby Premiercertification. M4 is more of a pre-mix suite and has anAvid Icon surface installed with 5.1 monitoring.M1 has both 35mm and DCP projection, while M2 hasDCP (35mm via telecine). Both now have colour-gradingfacilities in too.All the mix rooms are an impressive size, especiallyM1 and M2, which both have generous (and luxurious)seating provision in front of the mix position, completewith bass-shakers. The decor is based around a deepSoundMix now has its Premier License for all main mix rooms.The TourSoundMix has four main mix rooms. The first three areequipped with Pro Tools and Avid System 5 surfaces.The two largest, M1 and M2, have 96-fader System 5frames and can mix over 600 channels each. M3 hasa 48-fader System 5 surface with 184 channels to mix.Denis Glinsky,CineLab CEO>

a folded glass design thatavoids a potentially damagingspecular reflection from whatwould normally be a largeflat surface.What’s particularlystriking about the ADRstudios (and other roomsaround the complex) is thatspace, while plentiful, isnot wasted. The room feelscomfortable, not cramped.CineLab SoundMix M4, Pre-mix room – ICON control.red that apparently caused initial concernswhen suggested, but has since proven itself.The rooms are comfortable, attractive, but alsovery functional and professional.There are two ADR studios at SoundMix,both are a good size with large isolation booths,Pro Tools systems, and Euphonix Artist Seriescontrollers. The two are orientated differentlyso the studio can cater for those who preferthe talent to be either to the side or in directline-of-sight. Monitoring is 5.1 and a range ofpre-amps are available in each studio, includingSummit Audio, Grace Design, and TL Audio.According to David Bell, White Mark’s aimin the ADR studios was to make the controlroom/booth arrangement “As intimate aspossible whilst acknowledging that in Russia,and a lot in America, they like to do it witha separate control room.” There are largewindows between the two, incorporatingFoley-FantasticSoundMix also has its owndedicated Foley facility. It’s alarge space and incorporatesa range of design featuresthat may well make it oneof the most sophisticated purpose-built Foleyrooms anywhere. This is one of the last areasof SoundMix to be finished and was still underconstruction when I visited. It is also the onlystudio area in CineLab not built on an isolatedfoundation slab, simply because this was thebest way to achieve the noise specs and acousticperformance required of the Foley room.White Mark undertook an extensive studyof Foley facility requirements as part of the>CineLab – The b ig PiCTureCineLab started around eleven years agoas a private company with four majorinvestors. At that time, Denis Glinksywas running a sales company dealingin production lighting, and supplying,amongst others, CineLab Rental – thefirst company in the group. He wasmade aware early on that CineLabhad ambitions to ‘build a film studio’and that it already had the resourcesand real estate to do great things.Eventually, Glinsky closed hisown company and joined CineLab.“It was my dream to build a studio,” hesays. “It became more and more real...Now we have ten comanies in our group,and SoundMix is the diamond.”Step by step the CineLab createdcompanies to cover a variety of filmproduction services. Each time, Glinksyused his determination and thoroughapproach, along with the faith ofCineLab’s investors, to claim a significantand credible stake in each area.They opened CineLab Color – thelaboratory. Then they started CineLabDigital, which specialises in colorcorrection and picture post production.After that came CineLab Logistic (printdistribution, etc) and the purchaseof a telecine boutique in downtownMoscow, now CineLab Lounge.Other companies are CineLab 35/16(camera rental), CineLab VFX, CineLabDataDelivery (satellite data deliveryto cinemas), and CineLab Production(film production management andadministration). CineLab productioncan take advantage of the networkof CineLab services to help deliver onits clients’ creative ambitions, and sohighlights the breadth of expertise andquality that the group has achieved.The sheer entrepreneurial spirit ofthe company, its investors, and Glinksyhimself was aptly demonstrated inthe creation of Color, the company’sfilm laboratory. Initially Glinskycouldn’t find the right person to startup the lab, so decided to do it himself.For half a year he was tutored, parttime, by a professor from the MoscowFilm Institute, then with a basic planin-hand got the laboratory built.Initially, there was no business – a moreestablished competitor had it all andcustomers were not keen on changing.However, knowing the conservativenature of the film industries, Glinksy didnot waver. The lab spent half a year justdoing tests (and paying for salaries, rent,film stock, and chemicals) until a clientcame to them with a “difficult situation”.CineLab come through for them, and thelaboratory was established.“Our supervisor understands thecinema business very well and is a veryclever man. He is not a cowboy, andhas not tried to get next day results.We always have half a year... even awhole year, to run each facility properly.”By that measure SoundMix hasdone incredibly well. When I visited itwasn’t even officially opened but hadbeen working on projects for almosthalf a year already. A good thing too.It’s probably the biggest post productionsound complex in the country, and thequestion of whether there is enoughbusiness to be had, must be asked.Glinksy responds with a refreshingoutlook: “I always think it dependson quality of service, not how big themarket is. If you have loyal clients, youhave a market. Some of our clients werealso small 11 years ago and we’ve growntogether. When we became quite a bigcompany, big production companies alsoworked with us – I hope with pleasure.“When we started to buildSoundMix I explained to ourshareholders that this part of thebusiness should be our face, andrequires substantial investment.It will close a ring of services...They need to see all the figures from allthe companies and how they changenow the group includes SoundMix...Because this has a big plus to theother companies.”Yes, you heard correctly.Glinksy sees the value and success ofthis individual facility partly definedby additional value it brings to othercompanies in the group, not simplyby isolated financial performance.He also sees the value in a loyal andlong-term satisfied client base to isolatethe group from the fickle nature of thefilm industry’s fortunes. “Of coursewe would like to be the best – this isnormal. We have never aimed to bea monopoly in different businesses.That is stupid. We try to be the best.“First of all, it’s service... Service,service, service... And quality ofservice... And people – the people whoprovide this service and who providethe ‘conversation’ with the clients... It isclients, and your relationship with yourclients. If you have satisfied clients thenyou will be successful.”Glinsky always has his eyeon the next stage for Cinelab.However, he makes it a conditionthat each new endeavour has to behanded over to the right person beforehe will move onto the next project.That man is Vadim Nerukhov, ManagingDirector of CineLab SoundMix.CEO Denis Glinsky (left) and Managing Director Vadim Nerukhov (right).audiomedia.com | February 2013 00 27

design and consultation process of the CineLabspace, in particular attending sessions withacclaimed Foley Artist and Sound DesignerNicolas Becker.One thing that emerged was a variety ofpreferences when it came to ‘control roomsM A rk Of ExcE llE ncEWhite Mark Limited is an acoustic and technical design company working in theaudio and video post-production, television, film, and music recording industriesworldwide. It specialises in production facilities for the film and television industry,music recording facilities, performance spaces, and educational facilities for the mediaindustry. It has designed and supervised the construction of over 150 audio productionsuites and video facilities in London alone, with many more completed projects aroundthe world. It won TEC awards in 2003 and 2008 for the Red Bull project in Santa Monica,and Hit Factory Studio Six in New York, respectively.White Mark’s most significant recently completed commissions have beenthe technical facilities for the new NBC Universal Headquarters, and the completearchitectural and technical design responsibility for the new broadcast headquartersfor ARD, the German national public broadcaster – both in London – plus facilities forHogarth Worldwide in Romania, Singapore, Mexico, and New York.To date the company has worked on five completed studios built to Dolby PremierSpecification and has further such projects at various stages of design.White Mark’s Managing Director is David Bell, Chartered Engineer, who recentlyappeared as an expert witness in the UK Parliamentary enquiry into Crossrail (atransport project proposed for London) and its effects on the Soho region and thestudios therein, culminating in the winning of commercial guarantees for the clientsin the House of Lords.Derek Buckingham is the Architectural Director of White Mark, and Alan Cundellis a Director, with responsibility for project management, finance, and overseeing thetechnical aspects of all White Mark projects.or not’. In the end, the CineLab facility wasdesigned so either request could be satisfiedwith a movable system, including an analogueSSL console.For acoustics, there was still more varietyin opinions. In many instances a dead spacewas required for either free-field emulation orto allow post processing. However, there wasalso a good case for engineering real-worldearly reflections with some basic adjustableacoustics even if the reverb tail was added lateron. In one area of the Foley room there is amotorised rotary element in the ceiling thathas variable reflectivity/absorption, plus bothlight and heavy curtains for further control ofearly reflections.Floor traps were the subject of muchdebate, but essentially the aim was to positiona variety of floor elements so that commonfloor progressions (floor types that often followeach other) were close together, including thoseclose to specific Foley room areas; for example,appropriate floor elements near the permanentkitchen and bathroom areas.There are a lot more specific mechanismsand ergonomic considerations going into theFoley area than we have space to cover here –tuneable flooring, for example, inspired by anaccidental use of square nails, but now refinedwith a turning-screw system. Suffice to say thatwhen it is completed, the Foley area will be theenvy of studios all-over and will may well movethe art and science of Foley spaces forward, tothe benefit of all.Music MakersThe ‘Universal Studio’ is a self contained facilityinside SoundMix that is based on a moretraditional music studio model with a largeorchestral live area (with Steinway D-274), twoisolation booths (one high, one low absorption),plus a control room with a 48-fader System5 console, Pro Tools, and a bespoke 5.1 Exigymonitoring system. Obviously its uses are many,but soundtracks spring to mind immediately, aswell as the usefulness of a good-sized recordingspace for things like crowd recordings and soon. In this latter example, a generous provisionof heavy curtaining should provide much ofthe absorption necessary to make this practical.However, as a live room it was also feltthat a more finely adjustable acoustic mightalso be a nice thing. This starts with a controlsystem, even for the curtains, so that specificareas of the room can be deadened. This is inconjunction with slatted ceiling elements thatcan be rotated, revealing absorbent materialbehind, as well as other portable elements.Settings for the variable acoustics can besaved and recalled. Vadim Nerukhov suggestedthat this system might be more used for postproduction duties than with straight musicrecording sessions, but the fact that it is availableat all is completely in line with the CineLab aimof making every space as flexible as possible,and trying to cater for as many different clientsas possible without compromise.As well as these main facilities, there area variety of other spaces around CineLab,including sound effect/sound design suites,artist/client lounges, a central machine room,transfer suite, and so on.A Very Grand DesignThe building itself was originally a largecommunal cold-store, and work to strip outthat old internal structure began in early 2009.White Mark Limited was appointed aroundthat time, eventually with responsibility forall audio production areas in the building.After a consultation period, including a visitto Les Auditoriums de Joinville in France aspart of an investigation into large-scale Foleyprovision, more visits to the site by WhiteMark’s David Bell and Derek Buckingham, anda tour of London post production facilities bythe CineLab team, the layout of the productionrooms was agreed by February 2010. In themeantime, work on the building had continued,including a raised roof height, the removal ofupper floor pillars, and casting of the fixedisolation structures.The floating shell structures were started inSeptember 2010, and presented a few challengesof their own. David Bell: “We couldn’t put thecrane on the mounts becasuse it was too heavy,and we had to take the crane out of the buildingbefore the roof was finished so the mountswouldn’t get cold and be frozen. We had tobuild the frame on the ground with the crane;take the crane to pieces and take it out, finishthe roof, then come in, lift the whole framewith jacks, put all the mounts [Christie & Grey]underneath, and then put it down again.”Also, the isolation shells combined with thecold Moscow winter presented a problem –the temperature of the air gap could potentiallycause problems with condensation and icebuild-up, so the whole building had to have anexternal insulation layer to ensure this wouldn’tbe a problem.By August 2011 the facility was ready forreverb time checks and treatment adjustmentsto meet the Dolby Premier license criteria.There were also initial client visits for feedbackon the facility. Initial Dolby licensing was agreedin December 2011 (Premier licensing was morerecent) and clients have been using CineLab>A CineLab SoundMix ADR Suite, with Artist Series Pro Tools control.28 February 2013 | audiomedia.com

SoundMix since then, even thoughthe facility will not be fully completeand officially opened for a couple ofmonths yet.Core CompetenceCineLab SoundMix is impressive – fromthe moment you reach the front door it isobvious that the objective from the startwas to create an exceptional audio postproduction facility, without compromise.The building, the structures, the interiors,the equipment, and the staff all have apart to play in the whole, but perhaps themost important contributors to futuresuccess will be the key pillars of service,relationships, and excellence that havebeen etched into the very foundations ofCineLab itself. ∫www.cinelab.ruwww.whitemark.comCentral ServiC e SIT Infrastructure around ClineLab SoundMix is based on a centralised hard disk storage system,sophisticated KVM switching and control, and SSL MADI-X8 MADI routing systems, amongst other things.Every workstation in the facility works from the same storage array via iSCSI technology, which is the ArdisTechnologies DDP (Dynamic Drive Pool) system, with SSD devices for audio and magnetic disks for video.This essentially means that multiple workstations are accessing and y playing a session from the same logical diskspace. All of the console DSP, outboard, and matrix switching for the four ‘M’ studios and several of the others arestored in one room. The outboard routing is done via the MADI matrix so that every room can whatever outboardit requires at that time, easily patch with the SSL Logictivity browser-based control software.Another MADI matrixis used to connect all of the Dolby equipment – encoders and processors – for patching around the facility.The Universal Studio is connected to the rest of the facility with a variety of exchange lines, including AESand MADI. This allows other control rooms around the facility to use the large live room when necessary, withoutdisturbing the Universal Studio control room.A large KVM switching system allows any terminal in any studio access to any workstation.It’s also worth mentioning that CineLab SoundMix is, at the time of writing, the only film sound companyin Russia to have been granted the CDSA certificate for high standards in anti-piracy and content protection –an endorsement that could be very important to a wide client base.CineLab SoundMix M1 mix room - Premier Licensed, Atmos-ready.audiomedia.com | February 2013 00 29

30 February 2013 | audiomedia.comFlagship Empire CinemaGets Dolby Atmos RefitAny cinema-goer will no doubt be aware thatthe West End is home to the lion’s share ofour capital’s finest cinemas. One of the morerenowned, and most certainly state-of-theart,is the Empire Leicester Square, which plays host to astring of London’s premiere cinema events.Although cinema is forever evolving, certain newtechnologies have been adopted with more widely openedarms than others; and according to Andre Mort, Head ofTechnical and Digital Development at Empire Cinemas,Dolby’s Atmos is right at the top of the pile.“We’re always interested in new technology; we wereactually one of the first cinemas to experiment with digitalprojection back in the day,” he says. “Then the next trendwas 3D, which has been pretty successful, but the weaklink in the chain has always been the sound system. Atmosis like having 4D as it’s essentially giving us 3D sound, andonce we heard what it could really do, it became prettyclear that it is going to be the new stage of cinema.”The installation, which took place during the first twoweeks of last year’s Olympic Games, was not without itschallenges, however, as the 1,330-capacity main roomdates back to the early 1960s.“The main difficulty was the ceiling speakers, becauseit’s all lava plaster up there,” Mort explains, pointing tothe roof. “We had to scaffold out the cinema and putcatwalks above the ceiling, then cut holes out to install thespeakers. It took a week, and we had to close the cinema;the side wall speakers and subs at the back were easyin comparison.”ByPaul WatsonFEATUREA 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 se tings, 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+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + ++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet 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 will be listed as bestOften a microphone will 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 la ternotion 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 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 sma l ones. To hearforward are very sma l ones. To hearthem requires contro led listeningthem requires contro led listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +them requires contro led listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + ++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +them requires contro led listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +under good conditions and, aboveunder good conditions and, aboveunder good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +under good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + ++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +under good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +a l, with a prope reference; buta l, with a prope reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +a l, with a prope reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +a l too frequently a new producta l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +a l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + 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 properlycontrolled listeningcontrolled listeningcontrolled listeningcontrolled 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 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 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’ microphone goAs far as the ‘perfect’ microphone goes,es,omni-directional capacitor (condensomni-directional capacitor (condensomni-directional capacitor (condensomni-directional capacitor (condenser)designs approach the ideal verydesigns approach the ideal verydesigns approach the ideal verydesigns approach the ideal very closely.Where you wan to favour sound fromWhere you wan to favour sound fromWhere you wan to favour sound fromWhere you wan to favour sound from asingle direction and exclude neighbsingle direction and exclude neighbsingle direction and exclude neighbsingle direction and exclude neighbouringouringinstruments or unwanted sound, then oinstruments or unwanted sound, then oinstruments or unwanted sound, then ofcourse you need a directional micrcourse you need a directional micrcourse you need a directional micrcourse you need a directional micrcourse you need a directional micrcourse you need a directional microphoneophonewhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfection.tion.For a start, any directional microphoFor a start, any directional microphoFor a start, any directional microphoFor a start, any directional microphoFor a start, any directional microphone (suchne (suchas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate the so-ca lede so-ca ledproximity e fect when used close to aproximity e fect when used close to aproximity e fect when used close to aproximity e fect when used 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 commonlyFor a microphone that wi l commonlyFor a microphone that wi l commonly be usedbe usedin this situation a compensating freqin this situation a compensating freqin this situation a compensating freqin this situation a compensating 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+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:More Than A Black Box!the sound image is highly accurate. various processes (recording, mixingand mastering) in which various people,locations, and therefore speaker systems,wi l be involved, co rections may be applieddue solely to phase i regularities thatare not present on the actual recording.The PSI Audio speakers feature our uniqueCPR system that generates a CompensatedI Audio can be compared ers. Our vision is to bepioneers in precision au+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + +PM Series MkIIThe PM-Series Mk I o fer exceptional audioThe PM-Series Mk I o fer exceptional audioperformance matched to jaw-dropping goodperformance matched to jaw-dropping goodperformance matched to jaw-dropping goodlooks at an affordable price. Fostex strives tolooks at an affordable price. Fostex strives tolooks at an affordable price. Fostex strives todesign and build studio monitoring systemsdesign and build studio monitoring systemsthat enable you to experience your uniquethat 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 supreme+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSICapitalising on Fostex’s supreme+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIknowledge of acoustics and speakerknowledge of acoustics and speaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIknowledge of acoustics and speaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIengineering, and now o fering a brighter,engineering, and now o fering a brighter,+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIengineering, and now o fering a brighter,+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:engineering, and now o fering a brighter,The Swiss Precision Active Monitoring Series:tighter sound, these studio monitors aretighter sound, these studio monitors are+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItighter sound, these studio monitors are+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:tighter sound, these studio monitors areThe Swiss Precision Active Monitoring Series:PM-2 MkIIPM-2 MkIICreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasthe power (240 wa ts of bi-amped powerthe power (240 wa ts of bi-amped powerthe power (240 wa ts of bi-amped powerthe power (240 wa ts of bi-amped powerthe power (240 wa ts of bi-amped poweractually) and sophistication and, mostactually) and sophistication and, mostactually) and sophistication and, mostactually) and sophistication and, mostimportantly, the versatility to handle theimportantly, the versatility to handle theimportantly, the versatility to handle theimportantly, the versatility to handle themost demanding recording applications.most demanding recording applications.most demanding recording applications.most demanding recording applications.Equipped with a 200mm low frequency unitEquipped with a 200mm low frequency unitEquipped with a 200mm low frequency unitEquipped with a 200mm low frequency unitand remaining natural and transparent rightand remaining natural and transparent rightand remaining natural and transparent rightand remaining natural and transparent rightacross the audio spectrum, even at highacross the audio spectrum, even at highacross the audio spectrum, even at highacross the audio spectrum, even at highsound pressure levels, the PM-2 is great forsound pressure levels, the PM-2 is great forsound pressure levels, the PM-2 is great forsound pressure levels, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIsound pressure levels, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIsound pressure levels, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItoday’s bass heavy music.today’s bass heavy music.today’s bass heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItoday’s bass heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItoday’s bass heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIPM-1 Mk IPM-1 Mk I+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIPM-1 Mk I+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIPerfectly proportioned and o fering the typePerfectly proportioned and o fering the typeThe Swiss Precision Active Monitoring Series:Perfectly proportioned and o fering the typeThe Swiss Precision Active Monitoring Series:of clear-transparent sound that singlesof clear-transparent sound that singlesThe Swiss Precision Active Monitoring Series:of clear-transparent sound that singlesThe Swiss Precision Active Monitoring Series:out a great speaker, the PM-1 is capableout a great speaker, the PM-1 is capableThe Swiss Precision Active Monitoring Series:out a great speaker, the PM-1 is capableThe Swiss Precision Active Monitoring Series:of producing extremely highof producing extremely highSPLs accurately across theSPLs accurately across thefu l audio spectrum. With 120fu l audio spectrum. With 120watts of bi-amped power andwatts of bi-amped power anda bass response that’s fu l anda bass response that’s fu l anders. Our vision is to bea bass response that’s fu l anders. Our vision is to bedynamic, and a crisp highdynamic,and a crisp highers.Our vision is to bedynamic, and a crisp highers.Our vision is to beend that sparkles with vitality,end that sparkles with vitality,the PM-1 delivers the type ofthe PM-1 delivers the type ofsonic quality that’s usua ly thesonic quality that’s usua ly thedomain of monitorscosting thousands.various processes (recording, mixingcosting thousands.various processes (recording, mixingPM0.5 Mk Iand mastering) in which various people,PM0.5 Mk Iand mastering) in which various people,locations, and therefore speaker systems,PM0.5 Mk Ilocations, and therefore speaker systems,The ideal choice for sma lerlocations, and therefore speaker systems,The ideal choice for sma lerlocations, and therefore speaker systems,wi l be involved, co rections may be appliedThe ideal choice for sma lerwi l be involved, co rections may be appliedstudios requiring nearfieldwi l be involved, co rections may be appliedstudios requiring nearfieldwi l be involved, co rections may be applieddue solely to phase i regularities thatstudios requiring nearfielddue solely to phase i regularities thatmonitoring, the perfectlydue solely to phase i regularities thatmonitoring, the perfectlydue solely to phase i regularities thatare not present on the actual recording.monitoring, the perfectlyare not present on the actual recording.The PSI Audio speakers feature our uniquemonitoring, the perfectlyThe PSI Audio speakers feature our uniqueformed PM0.5 Mk I o fersare not present on the actual recording.formed PM0.5 Mk I o fersare not present on the actual recording.The PSI Audio speakers feature our uniqueformed PM0.5 Mk I o fersThe PSI Audio speakers feature our unique70wa ts of bi-amped powerThe PSI Audio speakers feature our unique70wa ts of bi-amped powerThe PSI Audio speakers feature our uniqueCPR system that generates a Compensated70wa ts of bi-amped powerCPR system that generates a Compensatedand produces great fu l rangePM0.4The ultra-compact PM0.4 now completesThe ultra-compact PM0.4 now completesthe lineup of the reputed PM-series rangingthe lineup of the reputed PM-series rangingfrom 4” to 8” woofer size. PM0.4 is natura lyfrom 4” to 8” woofer size. 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 MkIIDesigned idea ly for use with the PM0.5Designed idea ly for use with the PM0.5MkII, the 110wa t, 200mm driver PM0.5-MkII, the 110wa t, 200mm driver PM0.5-Sub produces precise, low frequencySub produces precise, low frequencyreproduction and an exce lent deep bassreproduction and an exce lent deep bassoutput. Easy to set-up (just a single gainoutput. Easy to set-up (just a single gaincontrol and phase reverse switch), thecontrol and phase reverse switch), thecombination of a pair of PM0.5s andcombination of a pair of PM0.5s andPM0.5-Sub provides superb sonic qualityPM0.5-Sub provides superb sonic qualityPM0.5-Sub provides superb sonic quality+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +PM0.5-Sub provides superb sonic quality+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +PM0.5-Sub provides superb sonic quality+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +at an a fordable price. Recommended forat an a fordable price. Recommended forat an a fordable price. Recommended 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 ofsu round sound systems with di ferent typesof PSI Audio speakers that maintains anvarious processes (recording, mixingand mastering) in which various people,locations, and therefore speaker systems,wi l be involved, co rections may be applieddue solely to phase i regularities thatare not present on the actual recording.The PSI Audio speakers feature our uniqueI Audio can be compared to Swiss watch designers. Our vision is to bepioneers in precision 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.+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –icrophones 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 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+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet 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 will be listed as bestOften a microphone will 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 innova+ + + + + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –For a while only price mattered, but now, it isViolet 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 Microphpro audio and recordin+ + + VIOLETVIOLET + + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundFor a while only price mattered, but now, it isFor a while only price mattered, but now, it isGet back to quality, get back to reliability,Get 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 designGet back to quality, get back to reliability,get back to designget back to designGet back to what matters – get into Violet MicrophViolet Design – MIt is almost impossiblepro audio and recordinViolet Design – MViolet Design – MViolet Design – MIt is almost impossiblepro audio and recordin+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe 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 be comparedgloba ly recognised as+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:More Than A Black Box!I Audio can be comparedgloba ly recognised as pioneers in precision au+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe 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 o fer exceptional audioThe Swiss Precision Active Monitoring Series:SOUNDFIELDSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround Recording+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUtems can produce, M/S and surroundfrom a single mic? With their 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+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUFrom A Single Microphonetems can produce, M/S and surroundtheir surround-ready micwhy 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+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:More Than A Black Box!+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIHow 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 fel that of thesemicrophone. However, Platen fel 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 especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly 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, 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 customers and artists.keeping in contact with customers and artists.keeping in contact with customers and artists.The company is situated in the German high-The company is situated in the German high-The company is situated in the German high-The company is situated in the German hightechregion of Stuttgart (Mercedes, Porsche),tems can producetech region of Stuttgart (Mercedes, Porsche),tems can producetech region of Stuttgart (Mercedes, Porsche),tech region of Stuttgart (Mercedes, Porsche),which promotes high standards for mechanicaltems can producewhich promotes high standards for mechanicaltems can producewhich promotes high standards for mechanicalwhich promotes high standards for mechanicaland electrical quality., M/S and surroundand electrical quality., M/S and surroundand electrical quality., M/S and surroundand electrical quality., M/S and surroundEach Horch is a precious sound tool, that looks, M/S and surroundEach Horch is a precious sound tool, that looks, M/S and surroundtheir surround-ready micEach Horch is a precious sound tool, that lookstheir surround-ready micEach Horch is a precious sound tool, that looks, M/S and surroundEach Horch is a precious sound tool, that looks, M/S and surroundtheir surround-ready micEach Horch is a precious sound tool, that lookstheir surround-ready micEach Horch is a precious sound tool, that looksEach Horch is a precious sound tool, that looksgreat and sounds unique.their surround-ready micgreat and sounds unique.their surround-ready micgreat and sounds unique.their surround-ready micgreat and sounds unique.their surround-ready micare large-diaphragm+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround RecordingWhat other microphone systems can producesimultaneous mono, stereo, M/S and surroundfrom a single mic? With their surround-ready micSOUNDFIELD + + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround Recording16Gibbs Platen, founder of HorGibbs Platen, founder of Horch Audio.ch Audio.+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +Since 1945 Klein + Hummel has been setting global standardsSince 1945 Klein + Hummel has been setting global standardsin sound reproduction. For over 40 years K+H has focusedin sound reproduction. For over 40 years K+H has focusedin sound reproduction. For over 40 years K+H has focusedon the professional market by developing precise measuringon the professional market by developing precise measuringon the professional market by developing precise measuringinstruments – tools to analyse sound and detec the tiniest auralinstruments – tools to analyse sound and detec the tiniest auralinstruments – tools to analyse sound and detec the tiniest auralnuances.+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +Decoding The DNA Of SoundDecoding The DNA Of SoundDecoding The DNA Of SoundSince 1945 Klein + Hummel has been setting global standardsSince 1945 Klein + Hummel has been setting global standardsSince 1945 Klein + Hummel has been setting global standardsin sound reproduction. For over 40 years K+H has focusedin sound reproduction. For over 40 years K+H has focusedon the professional market by developing precise measuring+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +1212 DYNAUDIO ACOUSTICS AUDIODYNAUDIO ACOUSTICS AUDIODYNAUDIO ACOUSTICS AUDIODecoding The DNA Of SoundDYNAUDIO ACOUSTICS AUDIODecoding The DNA Of SoundSince 1945 Klein + Hummel has been setting global standardsDYNAUDIO ACOUSTICS AUDIOSince 1945 Klein + Hummel has been setting global standardsSince 1945 Klein + Hummel has been setting global standardsDYNAUDIO ACOUSTICS AUDIOSince 1945 Klein + Hummel has been setting global standardsTICS+ + + + DYNAUDIO ACOUSTICS+ + +get integrated TC Electronic digitalget integrated TC Electronic digital signalprocessing. This combinationprocessing. This combination o fers youthe best of both worlds, makingthe best of both worlds, making DynaudioAcoustics speakers second to nAcoustics speakers second to none.Two Main Ranges – One High STwo Main Ranges – One High StandardClarity and consistency come asClarity and consistency come as standard– the question is, how versatile do– the question is, how versatile do you wantyour setup? Dynaudio Acousticsyour setup? Dynaudio Acoustics marketstwo extensive ranges of DSP potwo extensive ranges of DSP powered andanalogue near-field and mid-fianalogue near-field and mid-field monitors.analogue near-field and mid-field monitors.analogue near-field and mid-fiAIRIt makes great sense to compareIt makes great sense to compare the AIRsound with any other speaker ysound with any other speaker you own orconsider acquiring. We both enconsider acquiring. We both encourage andrequires the addition of a numberrequires the addition of a number of externalboxes such as Monitor Matrix Coboxes such as Monitor Matrix Contro ler,ntro ler,Bass Management Crossover,Bass Management Crossover, externalexternalEQs and Delays. This obviously addsEQs and Delays. This obviously addsEQs and Delays. This obviously adds to thesystem price, and moreoversystem price, and moreover often degradesoften degradesthe signal path. With an AIR Sthe signal path. With an AIR Systemystemeverything is integrated and matcheverything is integrated and matcheverything is integrated and matched – it’srigh there for you to use from thrigh there for you to use from the menue menuon the front of a Master-Module son the front of a Master-Module son the front of a Master-Module speakervia a 32-segment LCD display, ovia a 32-segment LCD display, or throughr throughan optional dedicated hardwarean optional dedicated hardware remote, orremote, oran optional dedicated software aan optional dedicated software applicationpplication(Mac and PC). The user interfac(Mac and PC). The user interface a lowse a lowsfor storing and reca l o factoryfor storing and reca l o factory and userand userpresets taking into account THXpresets taking into account THX and Dolbyand Dolbyrecommendations, reference lrecommendations, reference levels, LFEevels, LFEsensitivity, and so on.sensitivity, and so on.AIR SoftThis MAC and PCThis MAC and PCcompatible remotecompatible remotecompatible remotecompatible remoteapplication allows centralapplication allows centralreal-time control of AIRreal-time control of AIRsystem parameters such assystem parameters such assystem parameters such assystem parameters such asvolume control, referencevolume control, referencevolume control, referencevolume control, referencelevel, presets, and setup. AIR Slevel, presets, and setup. AIR Soft is includedoft is includedoft is includedoft is includedwith a l AIR monitors.with a l AIR monitors.AIR RemoteAIR RemoteAIR Remote provides instant accAIR Remote provides instant accAIR Remote provides instant access to theAIR system volume, independentAIR system volume, independentof your DAW or computer.of your DAW or computer.Additionally, AIR RemoteAdditionally, AIR Remotefeatures one-touchfeatures one-touch+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +features one-touch+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +operation of systemoperation of system+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +operation of system+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +operation of system+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +reference levels, presetreference levels, presetreference levels, preset+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +reference levels, preset+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +recall, and solo/muterecall, and solo/muteDecoding The DNA Of Soundrecall, and solo/muteDecoding The DNA Of Soundstatus for each monitor.Decoding The DNA Of Soundstatus for each monitor.Decoding The DNA Of SoundDecoding The DNA Of Soundstatus for each monitor.Decoding The DNA Of Soundtracking, as we l as calibrated loudness forany AIR setup. The AIR remote is poweredthrough TC-Link of any AIR monitor.AIR PC-IPThe optionalPC compatibleadvancedInsta ler’sPackageprovidesaccess tovirtua ly anyAIR systemparameter. This includes 4-band parametricEQ in each monitor, placement delEQ in each monitor, placement delay, presetcontrol and more. PC-IP access tocontrol and more. PC-IP access to advancedadvancedbass management features indepenbass management features indepenbass management features independent HP/dent HP/LP crossover frequencies as we l as phasel as phasel as phasel as phaseand polarity control of any AIR subwoofer.bwoofer.Additiona ly, PC-IP a lows the insta lersta lerto control system access via individuto control system access via individualparameter securing, preset protection,tection,and UI locking.THX CertifiedAIR monitor systems areAIR monitor systems areAIR monitor systems are+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +AIR monitor systems are+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +AIR monitor systems are+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +THX certified for use inTHX certified for use inTHX certified for use inTHX certified for use in+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +THX certified for use in+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +THX certified for use in+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +PM3 rooms.+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +Decoding The DNA Of Sound+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +AIR 12Powerful Two-Way NearfieldPowerful Two-Way Nearfield Speaker – 8”Woofer And 1.1” Soft DomeWoofer And 1.1” Soft Dome TweeterThe latest addition to the AIRThe latest addition to the AIRThe latest addition to the AIRThe latest addition to the AIR family. AIR12family. AIR12suits a l sizes of controlsuits a l sizes of controlsuits a l sizes of controlroom and OB vans, androom and OB vans, androom and OB vans, androom and OB vans, andits high precision amp/its high precision amp/driver system (+/- 0.2driver system (+/- 0.2dB a curacy) ensuresdB a curacy) ensurescomplete consistency withcomplete consistency withthe entire AIR family in a varthe entire AIR family in a variety of stereoand 5.1 setups – remote contrand 5.1 setups – remote contro lable viathe AIR Remote or the includthe AIR Remote or the includ+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +the AIR Remote or the includ+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +ed Air Softapplication. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +application. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +application. DSP room adaptiapplication. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +application. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +on a lows for+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +on a lows for+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +perfect customisation for anyperfect customisation for any+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +perfect customisation for any+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +perfect customisation for anyroom construction and its introom construction and its introom construction and its introom construction and its intermonitorlevel calibration featurDecoding The DNA Of Soundmonitor level calibration featurDecoding The DNA Of Soundmonitor level calibration featurmonitor level calibration featurmonitor level calibration featureDecoding The DNA Of SoundeDecoding The DNA Of Soundensures consistent levels inDecoding The DNA Of Soundensures consistent levels inDecoding The DNA Of Soundensures consistent levels inensures consistent levels inensures consistent levels inDecoding The DNA Of Sounda lDecoding The DNA Of Soundse sions.se sions.+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +Decoding The DNA Of Sound+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +or computer crashes.It also o fers digital inputs, iCheck (tocheck audio compre sion), and calibratedlistening for headphones and activespeakers.BMC-2: your pro DAC and monitor control!+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + +Decoding The DNA Of SoundDecoding The DNA Of Sound+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + ++ + + + techno-physical+ + + + techno-physical+ + + + techno-physiGetting Techno-Physicalmajority of users of microphones have verylittle engineering background and are farmore familiar with the world of art, thisshould not be surprising. They have no otherguidelines to follow.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 warmon 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, microphonese on attitudes to microphort, or the mind?+++HORCH AUDIO+++HORCH AUDIOTHE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINERECORDERS2012AUDIO MEDIAPRODUCED BYIn association with:INTERNATIONAL EDITION01-recorders-buyers-cover-2012.indd 1 21/11/2011 17:10+++HORCH AUDIO+++HORCH AUDIO+++HORCH AUDIO + + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICA+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICA+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICAThe Sound Of Emotion: HorchHorch was established in the 1990s by a sma l team of dedicatedaudio experts, whose vision was to create a microphone able toconvey emotion through sound. A l Horchs are large-diaphragmtube microphones.+++HORCH AUDIO+++HORCH AUDIOThe Sound Of Emotion: Horchtube microphones.THE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEAUDIOCONSOLES2012AUDIO MEDIAPRODUCED BYIn association with:INTERNATIONAL EDITION+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + +THE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEIn association with:AUDIO MEDIAPRODUCED BYLIVE SOUNDAPPLICATION2012+ + ++ + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUS+ + + + DYNAUDIO ACOUS+ + + + DYNAUDIO ACOUS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + +TICS+ + + + DYNAUDIO ACOUSTICS+ + +The Truth, The Whole Truth,The Truth, The Whole Truth,The Truth, The Whole Truth,And Nothing But...And Nothing But...Superior Tools For Critical MoSuperior Tools For Critical MonitoringIn film, post, gaming, broadcast, aIn film, post, gaming, broadcast, and musicproductions, consistency, predictproductions, consistency, predictability, andreliability are key. Add to this netwreliability are key. Add to this networkabilityand central control, and you’ l knand central control, and you’ l know whystudios throughou the worldstudios throughou the world rely onDynaudio Acoustics technoloDynaudio Acoustics technology.Choosing Dynaudio Acoustics, yoChoosing Dynaudio Acoustics, you notonly get 20 years of innovativeonly get 20 years of innovative speakerand driver technology thinking. Youand driver technology thinking. You alsoget integrated TC Electronic digital signalsuppor this. Contact your dealer orsuppor this. Contact your dealer orsuppor this. Contact your dealer or ourrepresentative in your countryrepresentative in your country to a rangeto a rangea demo.a demo.Bear in mind though, that an AIR SysBear in mind though, that an AIR SysBear in mind though, that an AIR Systemis not rea ly comparable to convis not rea ly comparable to conventionalentionalmonitors. On top of ultimate precismonitors. On top of ultimate precismonitors. On top of ultimate precisionand sound, an AIR system offers fland sound, an AIR system offers fland sound, an AIR system offers flexibilityand convenience previously unknand convenience previously unknown inown inmonitors. Achieving similar fumonitors. Achieving similar functionalitynctionalityand features from conventionaland features from conventional monitorsmonitorsrequires the addition of a numberrequires the addition of a number of externalThe calibrated volume knob of AIR Remotea lows accurate level se ting, perfectDynaudio Acoustics monitors areDynaudio Acoustics monitors are designed to speak the truth. Youdesigned to speak the truth. Youdesigned to speak the truth. You get exactly what you needfor your mixing – an exact reprofor your mixing – an exact reproduction of your mix – no more, noduction of your mix – no more, noduction of your mix – no more, no less.BMC-2 – How Pro Can You Go?BMC-2 is TC Electronic’s latest digitalaudio conversion and monitor controller.With it you can enjoy the luxury ofcontro ling your audiolevels at a l times andduring unexpected dropsTHE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEIn association with:AUDIO MEDIAPRODUCED BYLIVE SOUNDTECHNOLOGY2012techno-physical+ + + + techno-physical+ + + + techno-physical+ + + + techno-physiGetting Techno-Physicalhe artistic viewpoint sees the microphonealmost as a musical instrument – anextra member of the orchestra or ana companis to a singer. With such a view itcan be very difficul to judge the microphoneobjectively. Elements o fashion, nostalgia,and a degree of sympathetic magic can leadto a very subjective choice that owes li tle torationality. The techno-physical approach isthe reverse of this – a who ly reasoned andobjective view that requires a basic knowledgeithin certain restrictions, thechoice of microphone wi l produce a soundthat is predictable and can be tailored withmajority of users of microphones have verylittle engineering background and are farmore familiar with the world of art, thisshould not be surprising. They have no otherguidelines to follow.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 warmJörg Wuttke o fers his take on attitudes to microphoShould we trus the heart, or the mind?+ + ++ + + techno-physicalGetting Techno-PhysicalThe artistic viewpoalmost as a muextra member ofa companis tcan be very difficobjectively. Elemand a degree oto a very subjecrationality. The techthe reverse of thiobjective view tof physics. Within certain restrchoice of micropthat is predictableJörg Wuttke o fers his takShould we trus the hea+ + + + techno-physical+ + + + techno-physical+ + + + techno-physiGetting Techno-Physicalmajority of users of microphones have verylittle engineering background and are farmore familiar with the world of art, thisshould not be surprising. They have no otherguidelines to follow.Art and emotion do, without question,have a central position within music but,equally, the key to the successful recordingof it is a technical un

© 2013 Shure IncorporatedFP WIRELESS SYSTEMSPROFESSIONAL, PORTABLE, SIMPLE.Capturing audio has never been easier: Shure FP Wireless Systems offer a full selection of affordable, lightweightportable wireless components that feature 24MHz bandwidth, automatic frequency selection and transmittersetup. All powered by 2x AA batteries and compatible with up to 14 systems simultaneously per frequency band.FP1 Bodypack Transmitter FP2 / SM58 Handheld Transmitter with SM58 ® Cardioid Microphone Capsule FP2 / VP68 Handheld Transmitter with VP68 OmnidirectionalMicrophone Capsule FP3 Plug-on Transmitter with XLR connection FP5 Portable Wireless ReceiverFor more information:visit broadcasting.shure-products.euwww.shuredistribution.co.ukBVE London2013Visit us atstand H16

HOTFROMNAMMPreSonus Active IntegrationInteractive Technology32 February 2013 | audiomedia.comThe NAMM show was a big deal forPreSonus. As well as a raft of newproducts, the company revealeda new underlying technologyfoundation that will form the core of its newofferings: Active Integration technology.In a nutshell, this means PreSonus productswill now sense each other, interact and worktogether – either wired or wirelessly – and willfeature 32-bit floating-point DSP as well asintegrated software. This, the company says,means they will be able to run on CPUs farmore powerful than any of the current audioproducts on the market.According to PreSonus, Active Integrationtechnology will solve real-world live sound andstudio problems. The manufacturer claims thatit will take the concept of hardware/softwareintegration to a new level, and will allowJBL M2Master Reference MonitorUS Loudspeaker manufacturer,JBL, presented its new M2 MasterReference Monitor: a free-standing,two-way system that is said tocater for the demands of all professionalstudio engineers.The speaker boasts high-output, ultralowdistortion transducers, and providesan in-room frequency response of 20Hz to40kHz along with a huge 123dB maximumSPL. This, the company says, will meetall today’s music, cinema, and broadcastproduction requirements.The M2 integrates several key components,all of which work together. At the heart of thesystem are JBL’s patented D2 high frequencyand 2216Nd low frequency transducers.The manufacturer claims that the D2 producesa smooth and extended high frequencyresponse whatever level you are listening at;in full agreement is legendary Grammy awardwinningProducer, Frank Filipetti, who spokeat the M2 demonstration.“In all my years as an engineer andproducer, I can honestly say I have never heardanything like this,” he insisted, using clipsfrom recordings as diverse as James Taylor andKorn to demonstrate the speaker’s capabilities.“When I heard the M2, it was the first time Iactually thought: ‘I want to go back and mixPreSonus to offer high-end capabilities thathave never been available before.All Active Integration products employOMAP 5 multi-core ARM 2GHz Cortex-Aprocessors. These 32-bit, 96 kHz multi-streamCPUs include an operating system, wireless and100 Mb Ethernet communications, USB 2.0 and1.1, and plenty of 532 MHz LPDDR2 SD RAM,the company says.The first products to accommodate thenew technology are the PreSonus StudioLive32.4.2AI digital mixer and StudioLiveAI-series loudspeakers. Both includewireless remote control over a variety offeatures, using free Mac, Windows, and iPadsoftware; alternatively, standard Ethernetand AVB Ethernet communications arealso available.For the AI-series loudspeakers, DSP enablesthe use of Fulcrum Acoustics’ highendTQ Temporal Equalisationalgorithms to produce coaxial speakersystems with “clarity and coherence,”PreSonus states. This is said to makecustomising and optimising thesystem and for monitoring and finetuningperformance much easier andaffordable in real-time.PreSonus claims that ActiveIntegration has provided theStudioLive 32.4.2AI mixer with 64times the processing power and 10,000all of the material I have ever worked on allover again’; this product is set to take studiomonitoring to another level.”The 2216Nd Differential Drive woofer isno off-the-shelf woofer, JBL says. It aloneemploys five patented technologies to allowfor a greater bass extension and high output.It utilises neodymium magnets and twovoice coils, the latter of which allow thewoofer’s parameters to remain more stableat high output levels, which results in lowerpower compression and lower distortion athigh system output.In addition, the 2216Nd’s cone, complianceand spider are engineered specifically toallow greater excursion at the woofer’s lowestfrequencies (20Hz).Despite the M2’s small footprint, thequality of its low frequency response meansthere is no need for a subwoofer whatsoever;in addition, its Image Control waveguide,designed specifically for the loudspeaker, issaid to produce rich detail and imaging to abroad area of any room. These components,JBL says, provide a single seamless crossoverpoint that reduces system complexity andallows a compact form-factor for flexibilityplacement in the room.The M2 is also said to boast a spectralpolar response unlike any conventional musictimes more RAM than the previous StudioLive24.4.2, which has led to twice as many internaleffects busses, the addition of mute groups,user-assignable Quick Scene Recall buttons,and the ability to create two complete sets ofEQ and dynamics settings for a channel andthen make quick A/B comparisons at the touchof a button. ∫InformationManufacturerPreSonuswww.presonus.comUK DistributorSource Distributionwww.sourcedistribution.co.ukproduction speaker, providing a smooth andconsistent neutral response across a widelistening window; and that’s not just at mixposition, but virtually anywhere in the room,as Fillipetti went on to demonstrate.Crown power amplifiers complete withinternal floating-point DSP are used tobi-amplify and tune each speaker. ∫InformationManufacturerJBLwww.jblpro.comUK DistributorSound Technologywww.soundtech.co.uk

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HOTFROMNAMMSoundtracs DiGiGridWaves/DiGiCo Networking, Processing, and I/O PlatformThe joint DiGiCo and Waves pressconference at NAMM this year wassomething of a highlight, but alsoproved a little confusing for some.Basically, the two companies have joinedforces to bring back the Soundtracs brandand launch the DiGiGrid concept underthat brand.DiGiGrid is a comprehensive approachto connectivity, I/O, and DSP hardwareand software, connected using the WavesSoundGrid networking protocol and thusintegrating the SoundGrid DSP server.The SoundGrid networking protocol is calledWaves AEB (Audio Exclusive Broadcast) andis scheduled for full AVB compliance, whilethe SoundGrid Intel DSP server is alreadyestablished as the engine behind MultiRack– the plug-in host application. At thepress conference the eMotion softwaremixer was also announced.So essentially you get an Ethernetconnector and then start collectingDiGiGrid components – anythingfrom MADI bridges, current and legacyPro Tools interfacing, heavy-duty networkswitch, SoundGrid server, and the DMI cardfor integrating DiGiCo D Rack interfacesinto DiGiGrid. There is undoubtedly muchmore to come, and it only needs a little bitof imagination to see the potential of thisnew system.Another angle is particularly relevantfor Pro Tools users and even Venue users...That is, Waves has committed to AAX Nativeplug-in support, but not to AAX in DSP. Indeed,it announced at NAMM that it was opening upthe SoundGrid server to third party plug-ins,with the Plug-in Alliance already confirmed.So, as the Pro Tools HDX platform moves toan exclusively AAX DSP platform, it is possiblethat SoundGrid will become more and morecompelling as a hardware DSP host for Wavesplug-ins – and any third parties that sign up.With MADI, stage I/O, software mixing,third party plug-ins, and more goodies comingalong, DiGiGrid might just become a wholenew world at the end of an Ethernet cable...DiGiGrid ComponentsThe IOX I/O Expander is a 1Uunit that includes 12 broadcastgrade pre-amps, 192kHz ADCconversion, and six line inputs,giving the ability to connect artistand studio I/O via ASIO or Coreaudio drivers to the users currentDAW system. Quick view meteringon the units give assurance thatsignals are present before theonscreen metering provides adetailed view. The IOX also hasfour headphone outputs.The IOC I/O Control Room isa 1 U unit that offers a range ofconnections for the control room.The design includes two broadcastgrade pre-amps and 192kHz ADCconversion, plus ADAT I/O,eight line out, eight line in, and16 AES I/O (all on 25 way D-typeconnectors), meaning artist andstudio I/O can be connectedto a DAW via ASIO or Coreaudio drivers.The DLI DiGiGrid Link Interfaceis a 1U unit that plugs into theSoundGrid audio network,offering connectivity and accessto both newand old ProTools hardware,and allows theuser to integrate their existingSoundGrid DSP Server into thelarger DiGiGrid network andI/O infrastructure. it featurestwo Pro Tools DX10G1M-26SEconnections, plus two SG networkconnections. It offers 64 channelI/O in either card or I/O modes.The DiGiGrid MADI CoaxialI/O MGB and MGO models arebasically identical apart fromthe choice of MADI on BNC oroptical connection. The units offerportable MADI – in the most basicmode, the SoundGrid networkconnection is connected to alaptop or desktop computer, givingaccess to the two MADI I/Os thatcan be used to record up to 120channels, through the computer’s1GB Ethernetp o r t w i t hsimultaneousplayback of 128channels. Add aSoundGrid DSPserver and SWI plusWaves MultiRackapplication, andany MADI-compatible live orbroadcast console has instantaccess to real-time processing.This gives 256 MADI channels ofaudio at 48kHz, or a configurationchange switches the unit over to96kHz. In this mode, there are 128channels of audio with 64 channelsof recording and 64 channels ofsimultaneous playback.The DiGiGrid SWI is a networkswitch unit that once insertedinto a system allows MADI I/Oto be shared over the network.There is an ‘owner’ but they cans h a r e t h einputs orrelease theoutputs asrequested.Once placedin a studio, MADI can be freelyshared or combined with the otherelements of the DiGiGrid range.It features a 5-port 1GB Ethernetswitch and a reset switch.The IOS I/O and Waves PrecisionPlug In Server is a 2U unit that isa Waves server, which includes awide range of audio and controlconnections. It has eight broadcastgrade preamps and 192kHz ADCconversion, together with MIDI, S/PDIF, AES/EBU, and eight line out.DiGiGrid’s SoundGrid Intel Serverallow the user to track and mixwith their choice of Waves signalprocessing plug-in paths.The DLS DiGiGrid Link Serveris a 2U unit that is an all-inoneprocessing and SoundGridconnection hub, as well asan expansion route to futureadditional I/O or MADIconnectivity. Native plug-ins fromolder Pro Tools hardware can stillbe used. Once plugged into theSoundGrid network, The DL unitsdeliver the continued benefits ofthe users existing Pro Tools I/O,even when another platform isswitched to. ∫34 February 2013 | audiomedia.com

HOTFROMNAMMSoundcraft Si ExpressionDigital Mixing ConsoleAbig new Harman launch camecourtesy of Soundcraft, whichpresented its latest digital mixingconsole, the Si Expression.Three models have been released: the 1, 2,and 3, each of which have 16, 24, and 32 fadersand mic inputs respectively. Designed to suita number of audio applications, from smallschool and theatre installs to much largerrooms, they have been designed with flexibilityand affordability in mind and, according tothe manufacturer, will significantly widen itsuser base.Each unit also features four line inputs,20 aux busses, eight matrix busses, four mutegroups, and 66 channels to mix.All models boast approximately 200rack units’ worth of DSP processing.Features include high-pass filter, gate, dbxcompressor, and BSS EQ on each channel, andthere are 14 mix masters and four matrix sends.The console also has four Lexicon FX engines,which are based on the Lexicon MX400,and feature user adjustable parameters anddedicated tap-tempo keys. In addition, thereis BSS Blue Link connectivity to dbx’s personalmonitor controller, the PMC 16.The [32-fader] Si Expression 3 boasts30 input faders on layer A, 30 on layer B, 14assignable faders on layer C, and four on layerD. According to Managing Director of APALive Events Ltd., Pete Freeman, it is alsovery simple to operate.The Si Expressionconnects to anySoundcraft stagebox;each model in therange can provide amaximum of 66 inputsto mix. Two new Soundcraftstageboxes have also been released: theMini Stagebox 16 and 32 (16 x 8 and 32 x 16respectively), each of which will connect tothe Si Expression via MADI. And of course,the console uses Si Series option cards, whichopen up connectivity to AES, Firewire, USB,ADAT, Aviom, CobraNet, Dante, BSS, andMADI (some of these not available until laterthis year).“Everything about the console looksand feels nice; and in just a few minutes Iwas able to very easily find my way aroundSi Expression in a very familiar fashion,”says Freeman, who also has 10 years oflive engineering experience under his belt.“When I buy a console I look for two things:good sound, and a good user-interface.This console is extremely user friendly andgives you real confidence quite quickly; theencoders and faders are very nice and it hasa real analogue feel to it. It also sounds great.”Other Expression features includeselectable security lock-outs, BSSgraphic EQ, FaderGlow (fader slot colourillumination according to current function),One-Touch easy mix, comprehensive copy andpaste facilities, and more. ∫InformationManufacturerSoundcraftwww.soundcraft.comUK DistributorSound Technologywww.soundtech.co.ukMicrophone Windshields& SuspensionsInVision® Stereo Pair KitInVision® 7 Pop Filter KitRycote® InVision® Universal Studio MountUp to 12dB betteragainstunwanted noiseTable Stand &InVision® INV-7 HG MkIIIFor more informationRycote’s innovative microphone suspension systems are the quietest shockmounts available; they’re virtually indestructible, up to twiceas effective at isolating your mics from unwanted handling or mic stand noise as old-fashioned elasticated mic cradles.Rycote® has a hard-wearing, 21st-century microphone suspension for every application.So why use ineffective, saggy elasticated mic mounts?Do the job properly - get a Rycote®.For more information, see www.rycote.com/applications/studio_and_live_sound/Made in the U.K.Rycote Microphone Windshields LtdLibby’s Drive, Slad Road, Stroud, Gloucestershire GL5 1RN, United KingdomTel: +44 (0) 1453 759338 Fax: +44 (0) 1453 764249 Email: sales@rycote.comFor more infoFollow us on:audiomedia.com | February 2013 35

]You know loudness is important, you know the world is putting limts on LUFS; but are you well enough preparedand equipped to ensure your deliverables don’t get returned to sender? It’s time to exchange your sausages forToblerones. TC Electronic’s Thomas Lund breaks down the basics...[Loudness Foundations[TECH] ]FOCUSEXPERTWitness1. Welcome Loudness NormalisationThe days of the Loudness Wars – where themantra was: the louder the better – are comingto an end. Thanks to ITU, a non-commercialorganisation under United Nations, audioprofessionals from any genre can workagainst a transparent Loudness Target.If you’re systematically below that Target,the programme or track will get turned up.If you’re always above, it will be turned down.The concept is called “loudness normalisation”.It works great, it’s based on open standards,and it’s finding the way into TV, mobile TV,radio, iTunes, gaming, even cinemas and IMAXtheatres. Loudness normalisation also allowsentirely different types of programmes to sitback to back: news, talk shows, old pop, newpop, film, commercials, drama, concerts –because it defines a best fit gain offset. This isthe first step towards a world where the volumeknobs of TV remotes or iPods will no longer bethe first to wear out.2. Goodbye Sausage ProcessingHaving the same loudness programme forprogramme, track for track doesn’t meanthat each of them has to be the same shadeof grey from start to finish. On the contrary.Because level is no longer constantly bangingagainst the ceiling, a wonderful quality is beingrediscovered: variation. Once again, loudnessvariation can become part of the storytellingin music, drama, and broadcast. The EBUstandard even includes an objective measure ofhow much loudness varies inside a programmeor a track, allowing you to objectively balancecontrasts and suit a certain audience or aparticular listening situation. Old sausagecompressors and sausage limiters can still beused for creative reasons, but chances are thatyour music track or commercial will appeardull and not very appealing if you overdose it.Using more words from the food vocabulary:Like liver paste among other programmeswith Gruyère, Jamon Iberico, and Truffles.After loudness correction in broadcast orin iTunes, a sausaged audio file will actuallyappear to be softer than most other programmematerial, drawing less attention.followed by Brazil, China, Europe, Japan,and others, but there are still a few things tocheck: the default Target Loudness in Europeis -23 LUFS, everywhere else it’s -24 LUFS.Using an EBU R128 compliant meter, yourprogramme should measure one of those as“Programme Loudness”.Uncertainty only really creeps in ifyou’re delivering to a US broadcaster, whererequirements could be according to the localATSC A/85 standard specifying speech levelto be measured instead ofProgramme Loudness, unlessit’s a commercial. For thesestations, hit -24 LUFS whensoloing normal speech inregular programmes. Fora US-bound commercial,measure all audio likewith BS.1770. Until thenext revision of A/85, USstations may also ask formeasurements to be carriedout using an obsoleteversion of BS.1770. On aloudness meter, the outdatedversion might appear as“Leq(K)” or “BS.1770-1”.Note: The unit for loudness,“LUFS” is exactly the same as the “LKFS”. Somehave taken the “U” vs. “K” as an indicationof differences in measurement, but that is amisunderstanding.4. Delivery Specs: True-Peak LevelLoudness measurement is by far the mostimportant part of the new broadcast standards.A user is even encouraged to disregard peaklevel unless there’s a risk of overload. Still, theITU standard includes a more precise way ofmeasuring peak level in the digital domainthan the old sample by sample measure called“true-peak”. To maximise headroom, which isa defining factor in music clarity and in speechintelligibility, as high true-peaks as possibleshould be allowed. The EBU R128 standardsets the bar high at -1 dBTP, which is ideal forlinear audio, while most other regions requiretrue-peak to stay below -2 dBTP.Most countries accept between -26 and 22LUFS, except for Europe where you should bebetween -24 and -22 LUFS.2. Make sure you don’t have true-peak levelhigher than -2 dBTP.3. Make sure that solo of regular speechdoesn’t fall below -25 LUFS.6. Mixing for Mobile TV, iTunes, and WebIf your production is not targeted at broadcast,but for instance iTunes, mobile TV, or onlinestreams, it is stillrecommended to usethe new and efficientloudness tools whenmixing. iTunes has a finefunction called “SoundCheck” which is able tonormalise music tracksand podcasts. Researchhas shown that its TargetLoudness is close to -16LUFS on a BS.1770 scale;so tracks softer than -16LUFS are boosted, thoselouder are brought down.Another recent studyproved how -16 LUFS ingeneral is a good Targetto aim for, where the user of mobile TVs fromany vendor, iPods, iPads, etc, is able to turnup the level high enough, while it still allowsfor essential transients to survive. Fortunately,it’s not a problem to convert an HD broadcastprogramme normalised at -23 LUFS to a finesounding, mobile TV version normalised at -16LUFS. It can easily be done without destroyingthe discrimination between foregroundand background sounds or without custommetadata and codecs.For consumers with flat panel TVs andmatchbox sized loudspeakers, personalplatforms and headphones is the closest theyget to a decent audio experience these days.Let’s make sure that possibility is preserved byputting an end to sausage processing and tolossy data reduction where we can. Bottom line:there’s no reason to make mobile TV, iPod, andWeb mixes louder than -16 LUFS.3. Delivery Specs: Programme LoudnessIf the end destination for your production isHD broadcast, be sure to know the deliveryspecifications you’re up against. Nearly allbroadcasters in the world are now rooted in thesame ITU standard named BS.1770. It’s tightly5. Universal HD Broadcast DeliveryCombining all of the above, unless specificlocal rules apply, this guideline can befollowed to deliver a programme to anybroadcaster anywhere:1. Use a BS.1770-3 meter to hit -23 LUFS.Thomas Lund is HD Development Manager at TC Electronic, oneof the leading manufacturers of loudness meters and audioprocessors. With perceptual studies as the background, Thomashas played a significant role in the development of severalbroadcast standards such as ITU-R BS.1770, BS.1771, BS.1864,EBU R128, ATSC A/85, and others.>36 February 2013 | audiomedia.com

LoudnessLoudness in broadcasting is subject to increasing government legislation, recommendations from standards organisations, and a growing array ofsoftware and hardware solutions. If you need some guidance on how to make loudness less of an issue, you need this Tech Focus.14235[1] TC Electronic’s DB8 MKII and DB4 MKIIunits are state-of-the-art transmissionprocessors. They allow users to measureloudness, correct accordingly to variousbroadcast standards, and to convertseamlessly between formats. The onlydifference between DB4 MKII and DB8MKII is the number of processors. Bothunits have dual power inlets, dual Pabstfans, and dual fuses. Both units alsofeature a wide variety of I/O formatsand physical connectors, includingSDI, AES/EBU, Coax, BNC, and Sub-D.The TC Electronic Radar Loudness Meteris included with both units, and TC Iconhardware can be connected for handsoncontrol. The units offer standardcompatibility with ITU BS.1770-3, EBUR128, and ATSC A/85.The DB2 puts ‘all tools necessary fortrouble-free broadcasting into one rackmountableunit’. It features automaticloudness correction, is ITU BS.1770, EBUR128, and ATSC A/85 compliant, and canbe easily upgraded.www.tcelectronic.com[2] The LM2 from TC Electronic offers afull-featured stereo loudness and truepeaklevel meter. The front panel givesinstant access to figures for broadcaststandard compliance; for more detail,the user can connect LM2 to a PC or Macvia USB and get a full, real time Radarscreen picture. LM2 facilitates precisionnormalisation and optimum use ofBVEStand B20dialnorm metadata in AC3 transmission.It comes pre-loaded with factory presetscompliant with ITU-R BS.1770, ATSCA/85, EBU R128, NABJ, OP-59, and BCAPguidelines. A variety of 24-bit resolutionaudio inputs and outputs are offered,including AES/EBU, TOS, SPDIF/AES3 id,ADAT, and analogue.Also available is the LM2 RadarLoudness Meter, a native plug-in thatmeasures loudness and true-peak onstereo tracks in all major DAWs. It featuresa Radar Display that gives loudnesshistory, momentary loudness, truepeaklevel, programme loudness, andloudness range (LRA) in a single view.www.tcelectronic.com[3] The P2 Level Pilot from TC Electronicis a real time loudness controller,multi-band processor, and true-peaklimiter designed for use in video andpost production. It offers dedicatedprocessing and pre-sets for workingwithin EBU R128, ATSC A/85, and TR-B32environments at a latency of 0.8ms.P2 also includes trickle-down pre-setsfor mobile and iPod platforms withinITU-R BS.1770-2, EBU R128, ATSC A/85,and TR-B32 environments, at 48 bitresolution and still at a latency of 0.8ms.The unit features one-key set-and-forgetoperation, and can be easily clonedto facilitate management of a largestudio complex.www.tcelectronic.com[4] Junger Audio’s T*AP TelevisionAudio Processor is compliant withall current broadcast audio loudnessrecommendations. It features loudnessnormalisation and dynamic rangeprocessing for up to eight channelsof audio. Optional Dolby decodingand encoding including metadatamanagement are also provided, alongwith 5.1 downmix and upmix features.The M*AP Monitoring Processorcombines an audio monitor controllerwith network-enabled loudnessmeasurement features. It supportsup to eight speakers to allow for A/Bchecking of stereo compatibilityof a surround downmix throughalternative speakers, as well as via L/Rfront speakers. A Dolby productiontoolset emulates a coding anddecoding process.The D*AP series of digital audioprocessors consists of two productswith 1 x stereo or 2 x stereo programs.The LM2/LM4_2ch offers two channelsof processing with AES and optionalanalogue I/O, while the LM4 can handlefour channels with on-board AES I/Oand optional 3G SDI or analogue I/O.Cards available for the C8000modular system include a 16-channelHD/SDI de-embedder and embedder;MADI in and out cards; AES in and outcards; analogue mic in, and XLR andSub-D in and out cards.www.junger-audio.com[5] Nugen Audio’s LMB LoudnessManagement Batch processor is anoff-line, file-based loudness analysisand correction program designed forrapid assessment and correction of filesfor loudness and true-peak contentto ITU-R BS.1770 and EBU R128-basedspecifications. It has simple drag-anddropinterface and a ‘hot folders’ facility.It automatically checks and conformsfiles to multiple broadcast criteria. LMBproduces detailed logs and includesa built-in graphing facility. It can befully integrated into an automatedsystem using the optional commandlineinterface and XML file output logs.Processing is typically over 100x realtimeanalysis, depending on the system.www.nugenaudio.com[6] Nugen Audio’s VisLM featuresdetailed, objective loudnessmeasurement, history and loggingfacilities, offering an ITU, ATSC, and EBUstandard-compliant way to measure,compare, and contrast loudness.It offers true-peak level metering (intersampleaccurate level monitoring),loudness range (to help decide if andhow much dynamic compression toapply), momentary ‘instantaneousloudness’ for mixing by ear, short-termloudness (three-second time window),and program loudness (long-termintegrated loudness measurement);and is a comprehensive tool to helpLOUDNESS METERINGAnalogue, Digital and 3G-SDIwww.aspen-media.com/tm301296 681313audiomedia.com | February 2013 37

[ Loudness Tools ]8761091312users deal with the complexity ofloudness compliance. It is available intwo versions, VisLM-C (compact) andVisLM-H, with history view and datalogging options.www.nugenaudio.com[7] ISL from Nugen Audio is atransparent look-ahead limiter that usesthe standardised true-peak algorithmsof ITU-R B.S 1770 and related standards,and is suitable for the control of audiofor post production and broadcastapplications. ISL differs from traditionalapproaches to limiting by measuringinter-sample peaks and allowing theuser to set the true-peak limit, ratherthan the traditional threshold at whichlimiting begins. By measuring andcorrecting for inter-sample levels, ISLprotects against distortion that can beintroduced by downstream codecs suchas MP3 and AAC. It is mono through 5.1surround compatible.www.nugenaudio.com[8] Nugen Audio LM-Correct is aloudness quick-fix tool, available as astandalone model and also for AvidAudioSuite. LM-Correct offers automaticcorrection to international standards,including ITU-R BS1770-2, ATSC A/85, andEBU R128; plus immediate finalisation ofaudio mixed using real-time loudnessmeters. Loudness jumps are eliminatedby loudness consistency assessmentsand programme loudness matching.It offers true-peak measurement and ismono through 5.1 surround compatible.LM-Correct works faster than realtime and offers a clear intuitive GUI,with a two-click solution to loudnessnormalisation and conformance.www.nugenaudio.com[9] The compact TouchMonitor TM3from RTW consists of a display unitfor vertical or horizontal use anda remote interface box. It handlesanalogue or digital stereo signals(TM3) and digital six-channel signals(TM3-6CH). TM3’s user interface allowsthe selection of up to 10 pre-setswith a finger swipe. Local pre-setscan be configured using the DevicerDC1 software application, allowingexisting pre-sets to be personalisedand adapted. Devicer DC1 allows thecreation of several configuration setswith different pre-sets. The TM3 featurescomprehensive loudness measuringfeatures, conforming to all relevantinternational standards. Loudnessinstruments include single-channel andsumming bargraphs, loudness rangeand numerical displays.The TouchMonitor TM3-3G offersloudness, true-peak and PPM meteringfor 3G SDI audio, with optional16-channel de-embedder outputs andmonitor controller. The TM3-3G hasan integrated 3G-SDI de-embedderinterface, and displays level andloudness of any eight 3G-SDI audiochannels. Independently from this, upto 16 SDI audio signals can be sent toeight AES3 outputs.www.rtw.de[10] The RTW/TC Electronic TM7 andTM9 TouchMonitor units are equippedwith high-grade seven or nine-inchtouch screens and an easy-to-use GUI,which is controlled by either a fingeror a mouse. Instruments can be scaled,randomly positioned, and combinedin almost every way for optimiseduse of available screen space. There is16-channel audio interfacing, includinganalogue, AES3 and AES3id (dependingon hardware version). On the TM9, thereis a 3G-SDI interface for up to 32 inputchannels.TouchMonitor TM7 is available withhousings for into 19-inch/3U standardracks, or into standard 19-inch rackmountcabinets for waveform monitorsfor video studios.The latest firmware enhancementnow gives the possibility to measureand to display signals of the 7.1 DD+surround format, plus RTW’s SurroundSound Analyzer has been expanded todisplay the balance and the subjectiveimpression of the 7.1 DD+ format in aclear graphical overview.www.rtw.de[11] The TSL PAM2 Mk2 is equippedwith an SDI output that exports thebargraph, data, and loudness histogramdisplays to an external monitor for ‘ata glance’ review of mission criticalaudio information. It features Dolby’sCAT1100 module, a new platformfor comprehensive decoding andmonitoring of Dolby audio formats thatare used throughout the HD broadcastchain. The new module will enable thePAM2 MK2 to perform Dolby E decodingand external speaker monitoring, aswell as Dolby Digital Plus with surrounddescriptive audio and stream mixing.Additional features include dialogueintelligence loudness measurement,and simultaneous multi-channel andstereo outputs.The PAM2-3G16 is a multi-channelaudio monitoring unit featuringdual high-resolution OLED screens,16 bargraphs, and optional Dolbydecoding. The multi-standard, multiformatunit uses pre-set menus andshortcut keys to simplify monitoringof multi-channel audio. Also availableis the 1RU PAM1-3G16, which has a full16 bargraph display and many of theadvanced features of the PAM2-3G16,such as loudness measurement, presetstandard switching, and advancemonitoring mode selection. It ships withdual 1080p 60Hz auto sensing HDSDIinputs, multi-channel AES, and analogueI/O. It also features a custom designedthree-way internal loudspeaker system.www.tsl.co.uk[12] The TSL PAM PiCo, developed withDK Technologies around its LoudnessMeter, is a compact standaloneaudio and loudness meter. Designedfor use in any operational positionwhere ‘at a glance’ audio meteringis required, PAM PiCo is available infour formats; to display stereo, multichannelor surround sound audiofrom analogue, AES or embedded SDIsignal sources, all measuring loudnessto international standards. No biggerthan a smartphone, PAM PiCo handlesstereo or 5.1 metering with an arrayof user-selectable bargraphs, movingcoil emulation, and StarFish surroundsound displays for use in diverseaudio monitoring applications. Builtaround proprietary hardware, the PAMPiCo does not rely on a third partyconsumer electronics platform, and isself-contained.It displays integrated and sliding scaleloudness measurement simultaneouslywith an option to show loudness historyacross an extended graphical display.Parameters are fully configurable via acomprehensive set-up menu.www.tsl.co.uk[13] DK Technologies’ Loudness Meter(which the TSL PAM PiCo is based on) is a‘one box solution’ to audio and loudnessmetering. The DK Meter complies withall major broadcast loudness standards.It has a full featured audio meterpackage, including bargraph, optionalFFT, vectorscope, phase correlation,StarFish, JellyFish, and moving coilemulation. Features include a uniqueloudness reclaim factor, which allowsusers to optimise loudness results; realtime true peak PPM – an optimisedlevel with no hidden ‘digital overs’;and an optional ‘eye width’ SDI signalquality indicator. The intuitive touchuser interface allows plug-and-playuse, and the flexible and user definabledisplay set-up allows personalisedviewings to fit individual workflow.The optional screen grabber givesinstant documentation of loudnesslevels. The 4.3-inch screen offers verticaland horizontal viewing, and the unitcan be powered from the included PSUor directly from a computer USB port.www.dk-technlogies.com38 February 2013 | audiomedia.com

1714151618201921[14] The DK Technologies MSD100Cloudness meter incorporates a backlitcolour display offering accurateloudness measurement, loudnessmatching of audio signals, left/rightand summed display of loudness andan audio vector oscilloscope and phasecorrelation meter display. It featuresdual balanced analogue inputs anda digital AES-3 input, 25-pole D-Subaudio connector, RS 232 utility input,15-pin connector for an external VGAdisplay, plus a built-in mains powersupply. There are two main operatingmodes – Fast Mode for instantaneousmonitoring of the loudness level, andIntegrating Mode for a single figureoverall loudness.www.dk-technlogies.com[15] The Waves WLM LoudnessMeter plug-in is an all-in-one, crossplatform,multi-format loudnessmetering software solution. It providesprecision loudness measurement andmetering for broadcast, movie trailers,games, packaged media, and more.Fully SoundGrid-compatible andcompliant with current ITU-R BS.1770-2,EBU R-128, and ATSC A/85 specifications,the WLM offers comprehensivemomentary, short term, long term,and true peak readouts, plus a warningand logging system that keeps track oflevels and lets the user know when theyhave exceeded them – or fallen short.Waves recommend the WLM for contentcreators and post production houses, aswell as cable head-end facilities.The Waves Loudness Meter offersthree measurement methods. EBUuses foreground audio as the loudnessanchor; LM1 measures and averagesloudness across the whole program;and DIAL uses dialogue as the loudnessanchor, measuring, and averagingloudness only when dialogue isdetected. It features mono, stereo, and5.1 components.www.waves.com[16] Wohler’s Pandora loudnessanalyser is a solution for monitoringand identifying inconsistent loudnesslevels from channel to channel, andfrom programming to commercials.Standards addressed are ATSC A/85(ITU-1770 and 1771), EBU R128, andARIB TR-B32. The Wohler Loudnessapplication, when used in conjunctionwith Wohler Pandora, allows the userto monitor and analyse loudnesslevels from stereo up to eight channelsextracted from either an SDI input orfour AES embedded pairs. Pandoraenables users to set up their ownreference parameters includingover/under limits, as well as gating,integration time, and metering modes.Configuration is done via a touch screeninterface that runs on an iPod touch.Features include logging, with theability to email log files in .csv format;integration, histogram, and loudnessrange setting menu; and adjustableintegration periods with histogramdisplay of loudness over time.It is available as a tabletop or rackmountedunit.www.wohler.com[17] The Wohler 1RU AMP1-16 Seriesmonitors 16 channels of audio from 3G/HD/SD-SDI and AES audio, while theAMP1-E16V-MD includes Dolby D andDolby E capability. All channels canbe selected for simultaneous displayand concurrently monitored on an LCDscreen. All serial audio channels arede-embedded and available on the rearpanel as eight unbalanced AES signalpairs or eight analogue channels. Thesystem can also output a re-clocked 3G/HD/SD-SDI.The AMP2-16 Series is a modular16-channel audio/video workstationwith a complete suite of tools foranalysing and managing audio quality,level and loudness, metadata and more.www.wohler.com[18] The Linear Acoustic LQ-1000Loudness Quality Monitor providescomprehensive ITU-R BS. 1770 loudnessand peak level monitoring of up to eightchannels of 5.1 surround and/or stereoAES or SDI audio. The LQ-1000 allowsthe monitoring of all critical loudnessparameters on a colour OLED display.Current loudness is indicated by a large,easy-to-read number alongside targetloudness, dialnorm, and peak levels(with true peak value). Loudness andpeak values are indicated on a bargraphdisplay, while a histogram showsloudness over time. A VGA output isprovided to send the full display to anexternal monitor.www.linearacoustic.com[19] Linear Acoustic’s AERO.2000combines loudness control, AEROMAXaudio processing, Dolby encoding/decoding, upmixing via UPMAX II andextensive I/O features. AERO.1000is a high density, metadata-basedtransmission audio loudness platformthat comprises up to eight AEROMAXaudio processing engines in a single1RU package. The AERO.1000 featuresCARBON Hybrid Processing, a hybridbetween multi-band techniques andmetadata control.The 1RU AERO.one comes in fourversions, and is a simple solution forloudness shifts and loss of surroundsound. The two-channel AERO.liteis aimed at broadcasters who do notrequire the ability to handle multichannelaudio.AERO.mobile addresses audioquality for viewers watchingand listening on mobile devices.AERO.qc is a comprehensive qualitycontrol system that allows users to fixloudness problems automatically andin real time as audio enters the plantand is fed into the ingest server or in liveproduction environments.www.linearacoustic.com[20] The Flux Sound And PicturePure Analyzer System is a networkdrivenmodular RTA system providingan extensive range of analyseroptions for a range of audio analysisand measurement applications.Pure Analyzer presents the optionto separate the signal acquisitionfrom the analysis, utilising a Samplegrabber plug-in, and also providesI/O support for ASIO and Core Audio.The foundation of the system is astandalone application, Pure AnalyzerEssential, which can be extended withmodules for live, metering/loudnessand surround analysis, performing thegraphic analysis rendering using a GPUefficient2D/3D graphic engine. The PureAnalyzer Essential application receivesthe sample feeds from the Samplegrabber and analyses them in real time.Pure Analyzer Metering providesan extensive set of measurementtools adapted for broadcast and postproduction facilities, presenting themetering tools for a range of standardssuch as true peak, RMS, ITU-1779, EBU-R128, history, and more.www.fluxhome.com[21] Insight from iZotope is acomprehensive metering suite for postproduction and broadcast applications.Insight provides an extensive set ofaudio analysis and metering tools,for visualising changes made duringmixing and mastering, troubleshootingproblematic mixes, and ensuringcompliance with broadcast loudnessstandards. Fully customisable andscalable, Insight allows the user tovisually monitor all relevant informationfrom a mono, stereo, or surround mix ina floating window. A complete set ofmetering tools is provided, includingtrue peak meters, loudness meters,a loudness history graph, stereovectroscope, surround scope, 2D/3Dspectrogram, and spectrum analyser.Insight is fully compliant with currentloudness standards.Insight is also part of iZotope’sOzone 5 Advanced, which is a completemastering system including eightmastering tools. Ozone 5 Advancedalso includes extended features andcontrols for every module, as well asindividual component plug-ins for DAWuse – including Insight.www.izotope.comaudiomedia.com | February 2013 39

2224232625[22] MeterPlugs’ LCAST loudness meterfor broadcast is available in stereo orsurround versions, and supports allmajor loudness standards, with easy-tousepre-sets for the most popular ones.Mono, stereo, and surround formats areall compatible (surround only in LCASTSurround). LCAST can be used withLogic, Final Cut Pro X, Soundtrack Pro,Cubase, Nuendo, Reaper, and others.The primary display, the history plot,shows a timeline of a programme’sloudness and allows loudness peaks andvalleys to be spotted quickly. It recordsup to 24 hours of loudness history.The history plot displays all standardloudness measurements: momentary,short-term and integrated loudness.In addition, LCAST features a customvariance measurement that gives theuser an idea how dynamic the audiois. LCAST’s true peak meters accuratelydetect inter-sample peaks and warnof potential clipping, by internallyquadrupling the signal frequency andinterpolating between audio signals.www.meterplugs.com[23] Minnetonka Audio’s AudioToolsAWE is a low cost, complete solutionfor the automated alteration of digitalaudio assets. Existing files can be postprocessedor repurposed quickly andeasily, in a completely pre-definedway. AudioTools AWE allows users tospecify an end-to-end file handling andDSP chain of actions that can be rununattended. Via the Output Sets feature,a single interleaved source file can bedeinterleaved, processed through aDSP chain including VST plug-ins andthen delivered as multiple output files inmultiple formats simultaneously.www.minnetonkaaudio.com[24] The Qualis Audio Sentinelsurround sound audio monitormeasures and monitors loudness tothe latest ITU-R BS.1770, ATSC A/85 andEBU R128 standards. The Sentinel logsall measured parameters and can beconfigured to preserve the data as acontinuous measurement historyin a long-term storage repository.When loudness problems are found,the Sentinel can send problem specificnotifications via email, contact closures,or audible alarms. All measurements,alarms, and logs are accessible via itsnetwork connection using a standardweb browser. Dual Stream technologymeasures interleaved commercial andprogramme segments – when pausingthe loudness measurement on aprogramme, it automatically performsa separate loudness measurement ofthe commercials. The Loudness and QAForensics toolbox is a comprehensiveset of tools to investigate loudnessexceptions and QoE issues. Quantitativedownmix analysis identifies stereo andmono downmix issues.www.qualisaudio.com[25] The Trinnov SmartMeter v3 is asoftware option based on Trinnov Audiostereo and multi-channel monitoringplatforms that now synchronisesloudness measurements to timecode.All Loudness and True peak valuesare constantly recorded and timestamped, allowing recall, inspection andverification at any time without havingto manually pause, resume or restart ameasurement.In combination with four integratedloudness meters, multi-loudnessmanagement, momentary loudnessstatistics, dynamic alerts profiling,sessions save and recall capabilities,detailed reporting, SNMP traps, Trinnovsays that Smart Meter V3 is “One themost comprehensive loudness meteringsolution available on the market.”Industry standards from mono to 7.1are supported, as well as forthcomingmultichannel formats up to 24 channelsSession-specific thresholds can bechosen from the standard alert profiles– EBU R128, ATSC A/85, CST RT17, ARIBTR B32 – or user-defined to complywith the custom delivery requirements.The event log is constantly updated andcan be filtered to display the alerts ofa specific source and/or type of alert.Users are notified about LTC drops andtherefore potential measurement errors.www.trinnov.com[26] DaySequerra’s iLM8 LiveIntelligence Loudness Monitor measuresperceived loudness of eight channels ofprogramme audio using ITU-R BS.1770/1and DTS Neural Loudness Measure(NLM) algorithms, and displays theresults in an easy-to-read numericalformat with a moving average overtime. Four AES inputs and one HD-SDIinput (optional) are provided forsimultaneous measurement for 5.1surround and auxiliary stereo inputs.With the HD/SDI option, eight channelsof de-multiplexed SDI audio can berouted to the AES outputs. The iLM8 Liveuses a DSP-based processing platformto avoid broadcast disruptions causedby operating system lockups.www.daysequerra.com40 February 2013 | audiomedia.com

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Tech Focus II: Broadcast ConsolesThe world of broadcast consoles is a broad one – television, radio, on-air, production, digital, analogue, all-singing, all-dancing, all-controlling.Here’s our guide to a range of gear for a range of applications...13726[1] Calrec’s Apollo control surfacefeatures displays, touch screens, andlight-emitting knobs. Apollo utilisesBluefin2, the next generation of BluefinHDSP, which provides resources of upto 1,020 channel processing paths, 128program busses, 96 IFB/Track outputs,and 48 auxes. It offers single and dualfader options and an integrated router.I/O functions are performed by theHydra2 network.Artemis is based on the Apolloplatform. Available in three sizes,an Artemis Shine has 680 channelprocessing paths, 340 on an ArtemisBeam, and 240 on an Artemis Light, withup to 128 program busses, 64 IFB/Trackoutputs, and 32 auxiliaries. Artemis Lightputs all this in a 4U enclosure.www.calrec.com[2] Calrec’s original Bluefin consolesinclude Alpha, which features anassignable control surface. Bluefinprovides 480 channel processing paths,allowing up to 78 x full 5.1 channels.Sigma provides 320 channelprocessing paths, enabling the consoleto handle up to 52 x full 5.1 surroundchannels. This capacity is enhanced byan identical buss structure to the largerAlpha console, including 20 auxiliariesand 48 tracks.Omega provides 240 channelprocessing paths packaged as 72 stereoand 96 mono channels, allowing up to39 x 5.1 surround channels.www.calrec.com[3] Lawo’s compact crystal consolehas a case height of 3cm. Buttons areilluminated by RGB LEDs that allowfor colour coding of various functions.Other features include high-resolutionOLED displays, and an ambient lightsensor to adapt the brightness ofdisplays. The modular sapphire consoleis intended for on-air and productionapplications. All that is needed tostart broadcasting is a central module,a channel module, and a couple ofinterfaces; but the sapphire can beextended to meet more demandingneeds.www.lawo.de[4] The Lawo mc 2 90 is a modularconsole that features integratedloudness metering, and the AMBIT DSPmodule that converts stereo signals tosurround sound.Configurationsfrom 16+8faders to 192+16faders are possible. The console offers888 channels and 144 summing busses,with a 40-bit floating point. It has up to760 inputs with A/B input, up to 64 subgroups, 32 aux sends, 96 track busses, 48main sums, and the ability to change onthe fly from mono to stereo to surroundchannel and buss.The mc 2 66 can also offer 888 DSPchannels and 144 summing busses.It features the redundantly designableMKII router, which provides 8,192crosspoints, and fully integratedloudness metering.The compact mc 2 56 is available infive different frame sizes and featurespermanent metering of the 16central faders and directly accessibleparameters.www.lawo.de[5] The StageTec On Air 24 console is amodular, flexible, and scalable system.It has compact four-way fader panelsthat allow splitfader consoledesigns that caninclude deskspace for scriptsor paperwork.Features include assignable pushbuttonson the fader modules, routeraccess through NEXUS configurationsoftware with user rights, and fullcontrol of outboard and third partysystems through NEXUS logic controldata. It can be controlled by scheduling/automation systems, and offers fullstatic automation and snapshots.www.stagetec.com[6] StageTec’s AURUS console operatesaround the concept of consistentseparation of console and I/O matrix,but with instant access to all keyparameters. This is made possible bythe implementation of dual encoders.Depending on configuration, up to 96channel strips and 300 audio channelsare available.AURATUS is a small console with 54input channels and a fixed buss layout.The modular structure supports versionsfeaturing 8, 16, or 24 channel strips.The AURATUS features a hardwired busslayout and also a simple user interface.All critical audio-channel parameterscan be set using the dual encoderson the channel strip, or from themaster section.The CRESCENDO sits between theAURUS and the AURATUS. It is freelyconfigurable both in respect to thenumber of channels and the numberof busses. Configurations of up to 300audio channels and 128 summing bussesare supported. The number of mono,stereo, and 5.1 sums, as well as stereoand 5.1 input-channel linking, are alsofreely configurable.www.stagetec.com[7] The DiGiCo SD10B broadcast digitalconsole features 96 channels with fullprocessing, 12 of which are flexi channelsthat can be configured as mono orstereo, with full processing availablein either mode; 48 assignable bussesthat offer multiple configurations, plusa stereo, LCR, or 5.1 master buss and acomplete 5.1 monitoring matrix with a48x6 source to speaker selection.The SD7B features three 15-inchTFT LCD touch screens, each ofwhich sits above a bank of 12 faders.The worksurface handles up to 996simultaneous optical plus 224 MADI, 24analogue, and AES/EBU connections,along with 128 busses (each with fullprocessing in mono, stereo, LCR or5.1), 32 matrix busses, and 32, 32-bandgraphic equalisers.The SD11B is a compact 19-inch rackmountor tabletop mixer, featuring 12touch sensitive moving faders belowa 15-inch touch sensitive screen.15 microphone pre-amps, eight lineoutputs, and two mono AES I/O areprovided, and a DiGiCo D-Rack can beconnected to the CAT5E port.www.digico.biz[8] Studer’s Vista 9 features TFT-basedmetering. The console uses Studer’sVistonics, with each touch-sensitive TFTscreen showing 10 channel strips, withrotary encoders and switches mounteddirectly onto the screen. FaderGlowprovides the operator with an instantoverview of the console status byilluminating each fader in one of eightfreely-assignable colours.>42 February 20123| audiomedia.com

[ Broadcast Consoles ]9118121015Vista 1 is a transportable digitalmixing console. Everything neededis contained within the console – thecontrol surface, I/O system, DSP, andpower supplies are all in one box.The console comes in a standardconfiguration comprising 32 or 22motorised faders and 96 DSP channels,including 5.1 surround channels.Vista 5 M2 has the optional additionof the same TFT metering system asthe Vista 9. Existing Vista 5 owners canupgrade to the M2 version to be readyfor the optional meter bridge.www.studer.ch[9] The Studer OnAir 1500 is a flexible,hybrid 12-channel, six-fader console.It features integrated USB playback andrecord functions.The OnAir 2500 is a digital all-inoneconsole. The fader strips include agraphical OLED screen, which contains achannel label, level, and gain reductionmeter and parameter readouts.Three standard configurations with12, 18, and 24 faders are available. It isalso available in a modular version forinstallation in custom studio furniture,the OnAir 2500 Modulo.The OnAir 3000 is based on acompletely modular desk. The fadermodule includes six fader strips, and upto eight fader modules may be fitted.The console has three main stereomix busses plus an audition facility,four stereo aux busses, 16 mix-minussends configurable as auxes, and threeindependent studio monitoring circuits.It is also available in a Modulo version.www.studer.ch[10] Allen & Heath’s XB-14 radiobroadcast mixer features telephonecommunication modules for telephonecallers, mic fader start sensing forexternal connection, and internalautomatic muting of the speakeroutputs, stereo channel start/cueoutputs for CD desk transport control,separate headphones mix and outputsfor guests, and an audition bus.The XB-10 is an ultra-compactbroadcast mixer that features atelephone communication channel,mic channel ON switch sensing, stereochannel start/cue outputs for CD decktransport control, and automatic mutingof speaker outputs. A separate monitormix can be created for operator andguest or presenter, and the operator canspeak off-air to the studio or telephonecallers using the ‘Talk’ feature.www.allen-heath.com[11] The Sonifex S2 is a modular radiobroadcast mixer, with both digital andanalogue input channels, together withsimultaneous analogue and digitaloutputs. It features PFL/cue, fader-startoperation of equipment, automaticmonitor muting on mic-live, lightcontrolling remote outputs, optionalEQ on input modules, gram amp inputoptions, and two main audio busses.The S0 is a simple to operateradio broadcast mixer that includesa telephone hybrid for making andrecording telephone calls, and a 3.5mmstereo jack for plugging in an MP3player. The addition of a USB port allowsfor recording to a PC and for playing aPC automation system directly throughthe mixer.www.sonifex.co.uk[12] The C100 HDS from Solid StateLogic is a fully scalable digital broadcastconsole. It is a custom configured systemwhere console, processing, routing,and I/O specifications are tailoredto match individual requirements.Features include comprehensive 5.1production tools with metering andmonitoring, flexible buss architecture,single fader stem control, an intuitivepanning system, and stereo to 5.1 upmix.Up to 512 channels are available, with upto 256 full DSP processing channels and256 non-processing channels.The C10 HD is based on the C100but in a compact package. A choice offader configurations and a range of I/Ooptions are available.The C200 HD is a digital audioconsole with a traditional analoguestyle ‘knob per function’ control surfacewith an in-line channel format. It offersdual faders per channel strip, 12 mainbusses for stereo/5.1 audio sub groups,two programme outputs (5.1 andstereo), and 48 multi-track busses withindividual gain trim.www.solid-state-logic.com[13] SAS Audio’s Rubicon is a completelymodular surface. Modules include input,control room monitor, studio monitor,console control, intercom, remotecontrol, and delay control. There are10 buttons on the top of each inputmodule that are programmable as hotsourceselect, buss assigns, or remotecontrol triggers. The Rubicon SL is areduced-feature version of Rubicon,and provides full router sources select,four mix busses, an unlimited numberof automatic mix-minus busses, mode,pan/balance, and IFB/talkback on eachinput module.www.sasaudio.com[14] The M Class console from SAS wasengineered to have the same designprinciples as the Rubicon, but to costless. It is available in three frame sizeand includes the RIOLink engine, whichprovides a 32x32 audio matrix (analogue,digital or half of each), 16 relays, 16optos, and 16 serial ports. It can be usedas a standalone board or as part of alarger networked system. The optionalFlex2 module provides a direct interfaceto an SAS 64000 router, RIOLink, or 32KD.www.sasaudio.com[15] Axia’s RAQ is a 4RU networkednews mixer. It features six rotary-faderchannels, which can each providemix-minus automatically to any phoneor codec source assigned to them.There are two stereo program busses,audiomedia.com | February 2013 43

18191617and a preview buss, and OLED programmetering, with a choice of VU or PPMmeter ballistics. Each channel striphas an OLED showing what source isassigned. There is also a full-featuredmonitor section, and show profilesconsole snapshots.DESQ is a 16-inch square desktopIP-audio console, which can be used asa standalone console or as part of anAxia studio network. It offers two stereoprogram busses and a preview buss;plus there are six fader strips.www.axiaaudio.com[16] Axia’s Element is a modularbroadcast control surface. Featuresinclude advanced integration withTelos phone and codec products,four auxiliary sends and two returns,three-band SmartQ equalisation, andOmnia dynamics processing on everymicrophone source. Element’s fourprogram outputs can be configured tomix in either stereo or surround (5.1+2).It is designed to fully exploit the benefitsof the Axia IP-Audio network and has nodedicated faders, with each fader ableto accommodate any source availableon the network. PowerStation is anintegrated console engine that workswith Element, featuring a high-poweredDSP mixing engine, integral powersupply, digital, analogue, and mic I/O,and its own Ethernet switch.www.axiaaudio.com[17] AEQ’s Forum is a self-containeddigital console featuring configurablemonitoring for all system signals, fourdirect-routing buttons on each channel,an integrated talkback mic input, twoprecision stereo VU meters, and prefadermonitor speakers.JOECO_AD_AM_halfpage_FEB13_JOECO_AM_halfpage_ad 05/02/2013 16:15 Page 1The Arena digital console has amodular control panel with built-inconfiguration memory, combined withmotorised faders and fader pages.Bravo is based on the BC-300, with fourmic/line channels and eight dual stereoline channels. Opera is based on theBC-500, with the same basic featuresand updated technology.www.aeqbroadcast.com[18] AEQ’s Capitol offers the sameperformance as the Forum but in afixed format. The control surface haseight faders and complete controlsections, which can be substituted orsupplemented with Virtual Capitol, aWindows based software application.It features four selectable mic/lineinputs, 12 analogue inputs, and eightoutputs, four AES/EBU digital stereoinputs/outputs, two USB digitalstereo inputs/outputs for broadcastautomation, two optional inputs/outputs through digital telephonehybrids, and 64 input/output signalsvia an optional MADI link.www.aeqbroadcast.com[19] The Sirius digital on-air modularconsole from D&R can be set up withmodular input and output controlsurfaces, a modular control roomsection, a modular ‘super module’control surface, and a 19-inchcommunication rack with interfacemodules. A total of 64 inputs can beassigned to any of the 16 input faders.The output section has four programbusses, eight group busses, eightclean feed busses, and six aux bussesthat can be assigned to any of the64 outputs.www.d-r.nlLIVE RECORDING? NO COMPUTER – NO WORRIESBLACKBOX RECORDER• Capture live multi-trackaudio without a computer.• Unbalanced/balancedanalogue, AES/EBU,Lightpipe, MADI andDante digital versionsavailable.• Can attach to any liveconsole to provide virtualsoundchecking.• Records onto a regularUSB2 drive, or USB Flashdrive.• Fail safe features forsecure audio capture.• USB drive plugs straightinto workstation forinstant editing - no wastedtime transferring filesLIVE MULTI-CHANNEL AUDIO CAPTURE FORBROADCAST • FILM AND TV SOUND • POST PRODUCTION • LIVE PERFORMANCE• Multiple units can bestacked for largerrecordings.• Dedicated multi-channelplayback option available.www.joeco.co.ukSEE THE BLACKBOX ATBVE, ExCeL, LondonSTAND J61. 26-28 FEBRUARY 2013JoeCo LimitedTel: +44 (0) 1223 911 000 info@joeco.co.ukFor details of your local distributor,please visit the sales section at www.joeco.co.uk44 February 2013 | audiomedia.com

[20] The Soundcraft Series 15 is a fullymodular radio mixer designed for on-airand broadcast production. It offersfeatures such as four stereo groups,insert points, and comprehensivemonitoring facilities, plus an integralmeterbridge. It is available in 16, 24, and32 module frames.The Series 10 is a fully modularon-air mixing console designed foruse in local radio stations and smallerstudios of national radio broadcasters.It offers a wide choice of configurations,with 12, 20, or 28-input frames able tobe specified.www.soundcraft.com[21] The RM100 from Soundcraft is amodular radio on-air console designedfor ease-of-use. It is available in threeframe sizes of eight, 12, or 20 channels,with modules selected from the rangeof mono, stereo, telco, and source select.A master module is standard with everyconsole. Custom configurations areavailable to special order.The RM105 is a modular on-airconsole that provides a cost-efficientstudio control package. The frame canalso be eight, 12, or 20 channels wide,with a standard master module.www.soundcraft.com[22] The modular Oxygen 7 from AxelTechnology utilises modules includingmono, telco, stereo, sub, master – ctrlstudio, monitor – ctrl room, VU meters,and timer.Oxygen 5 features two output busses,two recording outputs, and a monitorsection. Oxygen 5 Digital featurescomponents divided into controlsurfaces and I/O racks.The modular Oxygen 4 has all relevantfunctions built in. Oxygen 4 Digitalfeatures 18 digital and analogue inputs,a crosspoint router, 32-bit processing,and EQ and dynamics on every channel.Oxygen 3 is a compact self-containedradio console.www.axeltechnology.com[23] The DHD 52/DX desktop mixer hasfour faders, 1U DSP and I/O unit; whilethe 52/SX compact modular mixingconsole uses a simplified versionof DHD’s Toolbox5. The 52/R can beconfigured with four to 48 faders andfeatures linking via Ethernet, operationsof four independent mixers with oneDSP unit, and freely configurable TFTViews. The 52/MX has a new design thatincludes a redeveloped control deskbased on fader and control modules,and touch-sensitive TFT displays.www.dhd-audio.de[24] The Glensound T3 analoguebroadcast console is available fromthree to 32channels, in asingle consoleor a splitframe. Thereare 24 moduleoptions,and 11 bridge options.It features balanced mixing circuits, andtransformer balanced mic and cleanfeed modules. Optional digital inputsand outputs are available. The digitalinputs of the T3 also allow connectionsvia AES3, S/PDIF, and TOSLINK optical.www.glensound.co.uk[25] WheatNet-IP is Wheatstone’s AoIPnetwork, where each BLADE – or node –has the ‘DNA’ of the entire network andcan operate in any position.The LX-24 is a tabletop modularcontrol surface designed to operatewith WheatNet-IP. It features four sets ofhigh-resolution LED meters, four stereobusses, and four pre-fader aux sends.Evolution radio consoles are alsoconfigured for WheatNet-IP. The E1becomes a standalone broadcastmixer when combined with the ip88cbConsole BLADE. E-4 is designed forsmaller market facilities, while theflagship E-6 inherits features fromWheatstone’s Generation series.Wheatstone Bridge TDM AudioNetworking is compatible with the newgeneration of Generation consoles andthe Evolution series, and will give controlover every aspect of the networkedaudio. The heart of the Bridge network isthe S-16 WheatNet Switch, a high speedcentral switch that links multiple studioswith the technical operations centre.www.wheatstone-radio.com[26] The Audioarts IP12 digital radioconsole is aimed at operations enteringnetworked audio. The X-12 has modularI/O and a USB port that allows directinterfacing to computer-based editorsand automation. The R-55E featurestwo stereo program busses andtwo mono busses. The D-75 featuresindividual plug-in modules, while theD-75N networked digital radio consolecan be modified with the Net-75 panelto provide a fully integrated networksystem. The Air-1 has two mono micinputs and six stereo inputs that can berouted to one or both of the console’sstereo outputs. The Air-4 is a low cost,compact 12-channel radio console.www.audioartsengineering.com10 – 13. 4. 2013Energy for emotionsSupported by:VPLT – The Professional Lighting & SoundAssociation of Germany,EVVC – European Association of Event CentersThe largest international industryforum for• Event technology• System integration andAV media technology• Theatre technology• Production and broadcastingwww.prolight-sound.cominfo@uk.messefrankfurt.comTel. +44 (0) 17 84 41 59 5056783-001_PLS_allg_AudioMedia_85x267/A • mail • ISO 39 • CMYK • tg: 08.02.2013 DU: 20.01.2013 GBaudiomedia.com | February 2013 45

TECHNOLOGY REVIEW“By using the ‘learn’ function for about a second, the passing audio was then immediatelyprocessed and I was blown away. Not only had the noise totally vanished – I meanabsolutely gone – but also the punch and clarity of the vocal was astonishing.”Ben BurnsCedar DNS 8 LiveMulti-Channel Dialogue Noise SuppressorTHE REVIEWERBEN BURNS is aLondon-basedfreelance engineerbothlive and studiowithcredits includingBlur, Dido, Embrace,Happy Mondays, andmore.CEDAR Audio is a company with a fascinatinghistory. Following a 1983 research projectcommissioned by the British Library NationalSound Archives, the company was formedin 1988 and went on to develop all manner of noisereduction products. Aided by incorporation into thirdparty products, such as Sadie and Pyramix, world-classnoise reduction technology was presented for the firsttime to studios of all sizes.Although initially intended for cleaning up thenational archives, tens of thousands of CDs and DVDswere soon re-mastered utilising CEDAR products, notto mention noise reduction for many Hollywood films,TV newsrooms, and a host of live-to- air broadcasts.More recently, audio forensics users include police andsecurity agencies you’ve heard of, and many otherswho remain anonymous. Pioneering work into audiorestoration and speech enhancement even bagged thecompany an Academy Award® in 2005, for its services tothe film industry.DNS 8 LiveAlthough CEDAR’s DNS (dialogue noise suppression)processors have all featured real-time processing withnear-zero latency, this is the first time that eight channelsof processing have been packaged together in a small boxwith a simplified two-button operation mode.So, what does the DNS 8 Live do? The basic idea isto remove, or at least reduce, a constant annoyance inmany film and TV sets: noise. This could be things suchas air conditioning systems, TV lights, traffic rumble,and camera equipment. In the live environment, itcan be used to reduce the background noise of signalsfrom, say, sensitive lectern microphones that oftenrequire dramatic dynamic processing as a result of badpublic speakers who whisper very quietly from threefeet away, or shout and scream right into the capsule.Lavelier mics are also great at picking up the noise fromclothing, jewellery, and other performer-induced noise.There’s no excuse for a lack of preparation, but utilisingthe DNS 8 Live can turn these annoyances into a thing ofthe past. Other sources of noise might be set machinerysuch as a West End show performer rising through thestage on a noisy lift whilst trying to sing a soft passage.Elsewhere, show announcers often sit in noisy productionareas surrounded by computers and fans, but still needto make crystal clear announcements. These are justsome of the areas where the DNS 8 Live could drasticallyimprove the clarity of the human voice, helping to deliverintelligibility in difficult acoustic environments.From The Manufacturer:“We developed theoriginal DNS1000 and itssuccessors specifically foruse in film and TV post,with facilities and controlpanels carefully designedto optimise them for thispurpose. Of course, wewere delighted whenwe discovered that theywere becoming widelyused in fields as diverseas dialogue recording,live sound and audiosurveillance, but we feltwe could do more forour customers workingin the areas of soundreinforcement andlive-to-air broadcast.This entailed far morethan repackaging theexisting DNS technology,and the DNS 8 Live is theculmination of yearsof research into theunderlying algorithmsas well as innovativehardware development.”Gordon Reid,Managing Director, CedarOverviewThe technology behind DNS processing removes audioartefacts by splitting the signal in each channel intomany spectral bands, each of which contains numerousfilters. Each band is then processed in isolation, allowingdifferent noise reduction settings to be used in each.With the DNS 8 Live, you get eight channels of realtimeprocessing, and each channel is able to ‘learn’ anoise and calculate its own filter settings automatically.This takes seconds to set up, and usually sounds amazingright away.Simplicity is best friends with smooth and easy livesound, and having only two controls for any processingdevice is about as simple as it gets! But if you want to havemore control, there is a detailed mode available where youcan tweak the band controls individually for each of theeight processing channels.Offering worldwide compatibility, the unit can runoff standard 12V or mains voltages from 85v to 260v,so it’s equally at home in a studio, ENG unit, or filmset. Plugging in an AC supply and a battery at the sametime gives you a private UPS, as the unit will continueto operate and process audio flawlessly if the mainssupply fails.The audio I/O is strictly AES/EBU, so don’t expectto insert the DNS 8 Live into an analogue signal path.Not only does this mean that the latency of the unit islimited to just the processing delay (0.2ms at 44.1kHz),but that it’s only 20cm deep and weighs just 3kg. Low heatemissions mean you can’t warm cold hands on it, but thepower consumption is low at 15W.You have a choice of two AES3 inputs: standard digitalXLRs (AES/EBU stereo) or a 25-pin D-sub connectorconforming to AES59. Audio clocking is automatic andcan run from any input; it handles sample rates up to96kHz, but all the sources must be synchronised together– the DNS won’t be happy with different clock sources orun-synchronised AES streams. There is also a standardBNC input on the rear for external clocking, completewith a recessed 75Ω termination switch.DNSOnce you’re hooked up and clocked correctly, operationis via six front panel switches and eight infinite rotarycontrols that are also push buttons used to toggle whichparameter the encoder controls. Of the six buttons tothe left of the unit, three are dedicated for use as power,menu, and lock functions. The remaining three switchesare assignable ‘soft-keys’ with various functions definedon the screen.46 February 2013 | audiomedia.com

Now this is where things get a little more21st century. With a single click these switchesperform one function, but go in with a doubleclick or hold for a moment, and a differentoperation can be accomplished. For instance,you have to hold the power switch for fiveseconds to turn it off, which is a good safetyfeature in case something knocks the powerswitch mid-show. Once you are familiar withthe operation of the buttons, the unit is veryeasy to navigate and set up to taste. There areonly a few displays to understand, and themenu system is very simple in its layout, soyou can get to audio input settings or wordclockinput settings very easily and, moreimportantly, quickly.The design of the control system is alsovery slick and simple. In normal mode, themain screen displays an overview of all eightchannels. The currently selected channelcan be set to bypass or process, or set intoLearn mode with just one soft-key touch.Selecting a channel is as simple as pushing therelevant rotary encoder.Whilst the overview screen is handy, eachchannel’s individual bargraph display showswhat is going on as well – located next to eachof the eight rotary controls these displays wouldnot look odd on Picard’s enterprise, glowingwith an eerie turquoise hue.How such a small control surface canpossibly control the vast brains inside this little1U box is beyond me, but CEDAR has managedit with flying colours. With just two parametersper channel (in normal mode) operationcouldn’t be simpler. Once you’ve identified thenoise you want to remove by using the Learnfunction, it’s a case of tweaking the noise level(if necessary) and dialling in the amount ofnoise reduction you want. By pushing therotary encoder to toggle which parameter itcontrols, adjusting either takes just seconds; it’sa bit like setting up a noise gate with thresholdand ratio controls. You can also create ‘Groups’to control multiple channels simultaneously sothat, if the noise changes consistently acrossnumerous microphones, you can adjust themall with a single knob, while the ‘detail mode’offers a detailed editor for each of the eightprocessing channels. This allows operators touse the first six encoders to find the areas ofthe spectrum they wish to manipulate, offeringmore control, for instance, to remove low endfrom a signal, or to allow a certain band to passunaffected. The seventh encoder then affects allof the bands in unison, retaining their relativebalance, whilst the eighth selects the channelAM_Feb13_4c_TAPnew_186_60.pdf 1 01.02.2013 19:31:12you want to work with. Whilst in this mode,the main display and the channel displayschange to show the levels for each of the sixbands, which is a most efficient way to keepthe whole operation uncluttered and providesinformation at a single glance.If you have some room tone or a piece ofaudio containing only the unwanted noise,the system can easily ‘learn’ the noise in a fewseconds. I started by recording some spokenvocal in a pretty quiet studio but had a fanheater running as a noise source. I also addedin a few computer fans for good measure.By using the Learn function for about a second,the audio was then immediately processedand I was blown away. Not only had the noisetotally vanished – I mean absolutely gone – butalso the punch and clarity of the vocal wasastonishing. I was half expecting some digitalartefacts to affect the naturalness of the sound,but there really was nothing odd there at all –it turns a live dialogue signal with this kind ofembeeded noise into something that soundslike it’s been meticulously manicured andedited to perfection.Using the DNS 8 Live with a good qualityLynx AES16e soundcard, it quickly locked to44.1Khz and I really was blown away by thequality and clarity of the audio.When utilising the DNS 8 Live acrossa selection of sensitive microphones ina reflective venue, the intelligibility wasnoticeably increased, and in the studio I evenfound it useful as noise gates on the toms on adrum kit – as these tend to resonate when notplayed. Again, latency is not an issue, enablingthe unit to be used for any live purposeswithout, for instance, adversely affectingsignals monitored by an artist using IEMs.The DNS 8 Live acts like an automaticmixer in a sense – eliminating backgroundnoise and making the signal sound expensive.At a press conference for a film, it producedresults of an unbelievable quality, perfect whencombining live reinforcement and multiplepress feeds – which need to be crystal clear.The most time consuming part of the processwas setting up the digital console’s insertpoints.Control SystemBy using a standard Ethernet socket fornetworking, the DNS 8 Live can be controlledvia standard network devices using web-basedsoftware. The software was unavailable for thereview, but should be released soon.Firmware updates can also be uploaded tothe unit via a standard web interface. This willensure forward compatibility for some time tocome, until the death of Ethernet ultimately.I don’t use an iPad, but I dare say it might bepossible to create an app to control one ormore DNS 8 Lives.ConclusionIf you need top-notch dialogue noisesuppression, there are not many options.Sure, there are some plug-ins that can analysenoise and then remove it from a audio file –but that’s not the same thing as a real-timeprocessor of this quality, and the results arealso nowhere near as transparent as the DNS8 Live.This really is a very high quality product.I absolutely love the design and simplicity ofthe controls and, once you get used to the waythings work, it is effortless to adjust a control.You have to keep tabs on which parameter isselected before you adjust a rotary control,but again this is something that takes no morethan a quick glance to affirm.I could imagine uses in every sector of thelive industry, from churches to stadiums tocorporate events. The human voice is the onecommon thread that should sound crystal.This kind of quality is not cheap however: aDNS 8 Live retails in the UK for GB£4,600.Also, keep in mind that, if you’re a live user,you will also need to be using some of theAES/EBU channels on your mixing console.Happily most good digital consoles areequipped with enough AES/EBU connectionsto handle at least one DNS 8 Live. As engineershear the benefits of this device, the technologywill hopefully become more widespread in thelive sector. ∫InformationFeature Set• Eight channels of dialogue noise suppression• New DNS algorithm with super-fast two-knob set-upp/channel• Detailed DNS mode• 1U rackmount, 20cm depth, 3kg weight• Digital PCM I/O• AES3 on XLR sockets plus DB25• 44.1, 48, 88.2, and 96kHz sample ratesManufacturerCedar Audiowww.cedar-audio.comPrice DetailsGB£4,600.00 (exc.VAT/shipping)CTMLevel Magic II - managed loudnesswww.facebook.com/jungeraudiowww.twitter.com/jungeraudioMYCMMYCYCMYKwww.junger-audio.comsales@junger-audio.comphone +49 30 6777210fax +49 30 67772146> BVE 2013, B20EBU R128 ATSC A/85ITU.1770-1/2/3audiomedia.com | February 2013 00 47

Technology Review“I was impressed at how efficient this system was and how easily adjusted – resetting a new set ofmeasurements for a larger listening area including a back sofa produced a very different curve and managedto remove a boominess I had often heard when sitting at the back of the studio…”Alan BranchIK Multimedia ARC System 2Advanced Room Correction SystemTHE REVIEWERALAN BRANCH is afreelance engineer/producer andex-member of theOn U Sound Crew.His long list of creditsinclude Jamiroquai,Beverley Knight, MPeople, Simply Red,Depeche Mode, Shed7, Sinead O’ Connor,Bjork, and Sade.www.alanbranch.comARC System 2 (Advanced Room Correction)by IK Multimedia is a complete kit to helpmeasure and correct your studio acoustics.A combination of Measurement Microphone,analysis software, and a DAW plug-in is designed to helpthose struggling with problematic studio rooms andspeakers. Typically, a first point of investigation whenanyone is struggling with mixes in general, is to makesure your studio set-up is right, so this might be just thesolution if this is you. An update to the original ARCsystem, this update offers a redesigned interface, fourtimes the resolution, new custom curves, and a varietyof monitoring options.OverviewARC System 2 uses something called Audyssey MultEQXT32 patented technology, a tried and tested technologydeveloped from the hi-fi world. The ARC kit providesa quarter-inch condenser electret measurementmicrophone, looking very much like an Earthworks/Bruel & Kjaer thin pointed pencil design, common inmeasurement mics. Alongside this is a CD-Rom includingthe measurement software and plug-in application.The software is multi-platform, so supports Mac andPC, and the plug-in is 64-bit compatible VST, RTAS,and AU, so will work with most DAWs. Obviously, youstill need to plug the mic into your audio interface, soideally you need something of a neutral quality, as anycoloured tone introduced here will affect how effectivethe ARC2 might be.InstallationLike any software, the best way to install is to check forthe latest version online – once registered through IK’smanagement software, this is all straight forward and allupdates were completed in a few minutes.Set-UpARC 2 works by first taking a series of measurements.The mic has to be placed vertically and at the correctlistening height, then the software will take you throughthe set-up process step by step. You need to make sureany direct monitoring is turned off, that the audiointerface is set to 48kHz and 48v phantom power isswitched on, and then follow a measurement guide forthe correct positioning of the microphone. I used anApogee Ensemble for my tests and made sure it was asdirect as I could make it to the speakers. Launching theARC standalone app will prompt you through the set-upprocess, firstly choosing the correct microphone, settingthe I/O routing and then adjusting the levels. Once this iscompleted, the software will explain how to take a seriesof multiple measurements in and around the listeningposition, the idea being that the measurements will takeinto account the frequency responses from every angleand its magical algorithm will work out a correction curvethat you can apply via the plug-in, so your monitors soundwonderful with the ARC 2 in place.I tested the ARC 2 with an Apogee Ensemble andHarbeth Expression speakers (some of the best monitorsever made in my opinion), and my studio environmentthat has been purpose made with bass traps andcompletely lined with absorber panels – a room I amhappy with monitoring-wise, so I wasn’t expecting theARC 2 to make a huge adjustment to the sound but washappy to see if it could be improved. But, any room youwant to produce music from should have some kind ofacoustic treatment, otherwise it’s like sticking a band aidover a major wound! Once your measurement processis set up, the ARC will ask you to place the microphonein several locations, which the manual says are differentfor each room set-up. These demonstrate alternativelisting examples, but essentially the more measurementsthe better depending on the area you need to cover.For myself it’s a tight listening position with 14 alternativemeasurements. Starting from a central point I took thefirst measurement then worked around this position –10 chirps are played from the left monitor, then the right,at every step.Once all the measurements are taken, the ARC will savethe results to be used within the plug-in. There is a usefulselection of speaker icons you can save them with, so it’s48 February 2013 | audiomedia.com

easy to remember multiple measurementsfor alternative speakers sets. Loading theplug-in works by placing the ARC 2 in thelast slot of a master output of your DAWand selecting your saved measurement. Then,to cover different room types and crossovercircuitry, the ARC 2 provides a selectionof four alternative Target Curves: Flat, HFRoll-off 1, Flat (mid Comp), and HF Roll-off1 (mid Comp). The combination of theseenables the software to calculate the correctEQ and phase corrections. It’s really notas complicated as it sounds; these optionsare there to fine-tune your curve selection.There is frequency response display graphvia an Orange Curve (before) showingthe measurements, a White Curve (after)showing the result after correction, and aGreen Curve (target) showing the selectedtarget curve: a helpful guide for when youdo start tweaking your curve selection.There are four other custom user definablecurves that can be adjusted via a dedicatededit EQ curve window, so if the results area little bright or bass light for your personaltaste they can be tweaked further. Thismight seem mad given that this is supposedto be giving you a flat speaker system,but as I noted earlier, speakers and theirrelative performance are very personal andbest adjusted to suit what helps you as anengineer/songwriter/producer to achieve thebest results. The main aim of using somethinglike the ARC 2 is to remove unwanted tonalimbalance, either from the speakers or theroom, that is colouring the sound so much itbecomes unclear.The ARC 2 also has a geometry adjustmentswitchable from Combined L/R Correction toFull Range Bass Correction – this shouldhelp those that may have speakers less thanideally placed and thus losing detail becauseof phase anomalies. At the bottom of thewindow is a peak meter to show the inputor output, a ‘Correction On’ switch, and ahandy trim knob to help balance out thebefore and after signals. Once this is all setup and you’re happy with the improvementin sound, you can continue to work as normalwith ARC 2 in your DAW now controllingyour monitoring – but it’s vital to rememberwhen a mix is to be bounced down the pluginis to be bypassed, as the ARC 2 is purelycompensating for your monitoring unlessyou have a dedicated DAW monitoring busswhere you can insert the ARC2. There is afurther ‘Monitor Control’ window with alarge volume knob, dim, mute, level trim, andstereo/mono mode switches, all of which canbe controlled via external midi hardware, anda ‘Virtual Monitoring’ feature that can mimicthe sound of different studio monitors, carsystems, boom boxes, etc.In UseI must admit to being very sceptical of eventhe idea of the ARC 2 being useful, havingexperienced troublesome monitor EQ invarious new studio builds. If you have hugestanding waves building up in the room,ARC won’t help, as that’s just physics! But, ifyou have a room with acoustic treatment butstill need some help sorting out the sound,ARC 2 could help provide a flat loudspeakerresponse at your listening position. Takingthe measurements wasn’t bad, though I’m surethere is an easier way to do it. I started off bymarking the floor position, then realised thatthe boom arm of the mic stand can move waytoo easily, so to make it as accurate as possibleI used a tape measure to ensure the mic wasin an identical symmetrical position eitherside of the central listening point, taking anote of the distance from mic to speaker andalways carefully choosing the same positionof the tape against the speaker carcass.The resulting curve, once measurementswere complete, at first looked a bit worryingwith some small mid-range dips. I don’t havea large desk in front of my speakers to causethese, but I do have a set of Euphonix Mixcontrollers. The rest of the result lookedrelatively flat. Switching in for the first timewas worryingly pleasant, however, I couldhear a small phase shift and what seemed alot of brightness being added, so a bit moreinvestigation meant I really had to customisethe ARC 2 via the alternative curves anda small EQ adjustment until I found asetting I was comfortable to work with. Iwas impressed, though, at how efficientthis system was and how easily adjusted –resetting a new set of measurements for alarger listening area including a back sofaproduced a very different curve and managedto remove a boominess I had often heardwhen sitting at the back of the studio eventhough my layout is very small. However,choosing this alternative curve then affectedthe main listening position.Bypassing the ARC2 plug-in on bouncedown is a relatively easy process, but becauseI always listen to the master as it’s going downand then checking its playback, this causesa problem – removing the ARC monitoringEQ from the mix can seriously affect yourjudgement at such a late stage of the mixprocess, so the only option would be to notlisten to it, unless you have a plug-in enabledmonitor path like in Cubase, or can set yourDAW mix to go via 2 Aux paths, one tothe monitors and one to the bounce down.But to check any mix back afterwards, thisagain causes a problem as monitoring straightfrom the operating system would not holdthe ARC 2 correction, so the only way tocheck it would be to load the master backinto the DAW and listen that way – not anideal work around for me. It would be niceif the ARC 2 was a stand-alone applicationI could route all sounds from the Ensemblethrough. However there are third partyaudio utilities such as Audio Hijack Pro thatcan achieve this for you fairly painlessly.Alternatively, it’s best to have an audio interfacehardware that has software whereby you canplace the ARC plug-in permanently in themonitoring chain.In SummaryI think the ARC 2 is a very sophisticatedroom/speaker adjustment package, butgiven how low cost it is, I must question howaccurate the Measurement Mic is – a mic ofthis sort normally costs four times as much!However, the measurements I experiencedweren’t far off the mark, and the easyset-up process really couldn’t be morestraightforward.No adjustment by the ARC 2 willimprove a room much with pooracoustic treatment, but it may wellhelp those that are suffering frompoor speaker performance or odd roomcharacteristics that are producing tonalanomalies making mixing difficult. It may beperfect for a mobile recording or a hotel roomscenario that seems more and more commonthese days. It might also help analyse and fixacoustic problems in conjunction with newsound treatment, as a lot of studios are anon-going upgrade development process. Allin all, it’s not a magic wand to fix all sonicproblems, and does have some practicalworking difficulties; but for the money,the ease of use, and the sophisticated R&Dbehind it, the ARC2 might just help find thesolution to those suffering from troublesomehit and miss mix results. ∫The TheorySetting up your studio correctly isparamount to any form of studio recordingor mixing, but every room has its owncharacter of sound because of the makeupof reflective surfaces and patterns of LF wavesbouncing around. So the trick is to have it properlydesigned with bass traps and absorbers to minimisehow the room can affect the sound coming from thespeakers. Then there is correct speaker placement,the type of amplification, the correct height, andeven the supports the speakers sit upon.Now that’s fine and dandy if you have room andmoney to create such a space, but what if you areproducing mixes within a project studio with notas much absorption as you like, or an oddly shapedroom? The use of ‘near-field’ or compact speakerscan help, as the close proximity of the speaker canbe more direct to the listener, eliminating some ofthe sound influences of the room. But it still doesn’tstop there, as the type of speaker (or monitor)is just as important – reference monitors with alinear or flat frequency response should be moreaccurate, giving an uncoloured reproduction ofthe sound source. But no monitors are completelyflat, and as some argue, what’s the point in havingsuper expensive flat accurate monitors when themajority of people listen in their car, earphones,or a cheap stereo? It may therefore be better tohave accurate but slightly coloured monitors thathelp you translate your music production to thesesystems. Whatever your choice in monitors is, I’vealways taken the view that speakers are a personalthing – I like mine to be reasonably flat and, mostimportantly, not fatiguing.InformationFeature Set• VST, RTAS, AU correction for Mac/PC• Professional measurement microphone• Native compatibility with 64-bit applications/systems• Automatic multi-point measurement system• Measurement precision when used with ARCmicrophoneManufacturerIK Multimediawww.ikmultimedia.comPrice DetailsGB£239.99 (inc.VAT)audiomedia.com | February 2013 00 49

TECHNOLOGY REVIEW“I started flicking through the global presets, which instantly gave me a great idea of what was possiblewith this plug-in. I could clearly hear the unmistakable sonic result that was possible with Alloy 2,which is of a very high level.”Simon AllenIn UseAs most engineers would, when learning about a new tool,I loaded the plug-in onto a stereo drum track. I startedflicking through the global presets, which instantly gaveme a great idea of what was possible with this plug-in.I could clearly hear the unmistakable sonic result that waspossible with Alloy 2, which is of a very high level.Diving straight into the modules, I started with theTransient shaper, which in my opinion is one of the bestI’ve heard. The major advantage over other transientshapers is being able to work in multi-band mode.For example, you can easily tighten up a drum track ormake it more lo-fi with almost separate control overthe hi-hat, snare, and kick. Before any other processing,I could significantly alter the sound of my drums withthis module alone.The next significant feature with-in Alloy 2 I was mostlooking forward to hearing was the exciter. This is one ofthe ways in which Alloy 2 achieves today’s modern styleof mixing: by offering digital simulations of analoguedistortion and harmonics, which I quickly found outgave endless possibilities. Other exciters often only offera drive or mix amount to your original signal, but Alloy2 offers four different algorithms that are significantlydifferent to suit a variety of sources; and you can evenblend a mix between each: tape, warmth, retro, and tube.This module also supports a multi-band mode with stereoimage enhancement on each band, which led me to createsome great effects helping to place a difficult element inthe mix.Of course, Alloy 2 includes an EQ as part of thechannel strip solution, but this EQ puts most other pluginEQs to the test. In many cases I was loading the Alloy2 plug-in on a channel just to utilise the EQ module withits eight filter bands and vintage simulation of analogueshelving and Baxandall curves. It is also very easy and fastto use with just the mouse also offering keyboard editableinput for high detailed control.For most of the modules in Alloy 2 there is a multiiZotopeAlloy 2Channel Strip Plug-inTHE REVIEWERSIMON ALLEN is a fulltime sound engineerand record producer.Previously studiomanager at High BarnStudioes in Essex, heis now based at CityStudios in Cypruswhere he is SeniorEngineer and heads upthe new music studio.50 February 2013 | audiomedia.comThe sonic sound of modern music is evolving.It is driven from changes and developmentsin technology that include how people listento music in this new ‘Internet era’, how it ismade, as well as the progression of the history of music.Alloy 2 is the second version of a complete channel stripplug-in that is marketed for the modern mixing stylefrom the innovative and pioneering company iZotope.This should be a significant release, and I was excited toput it to the test.OverviewAlloy 2 is iZotope’s second version of Alloy, which is acomplete channel strip signal processor that now boastssix modules. Aimed at mixing, this one-stop-shop bringstogether the traditional analogue style tools together withmodern mixing techniques, all within one plug-in.The user interface has been completely re-vampedfrom Alloy 1, and is very easy to navigate from the first try.The first thing that struck me was the size of the plug-inwindow. It is much larger than most, and consideringiZotope expects you to be able to do anything you needfrom this single plug-in, it looks great and works well.There are select buttons for each module with individualbypass switches continuously to hand along the bottomof the window for easy navigation and A/B comparisons.An overview panel gives you a great view of the wholesignal process you have created, with only importantcontrols such as compressor thresholds on show.There are six modules: EQ, Transient shaper, Exciter,two Dynamics modules (each including a compressor andgate/expander), De-Esser, and a Limiter. It is also possibleto change their order in the signal path including paralleldynamics, which is essential for pro users.Whether you’re a professional who wants a quick fixor a quick start, or you’re experimenting at home withmixing techniques, there are over 250 presets that soundgreat and are organised well into groups such as Bass,Drums, Guitar etc. Presets can also be applied globallyacross the whole plug-in, or for each individual module.The EQ module has had the most attention on thislatest version with new EQ curves such as Treble andBass Baxandall filters and more. All modules also haveexcellent graphical visualisations such as spectrum andgain trace visualisations for a better understanding of howthe sound is behaving.iZotope offers all of this within one plug-in, and yetFrom The Manufacturer:“Whatever the track,Alloy 2 provides a wealthof tools that give youboth corrective andexpressive controlover your audio whilemixing. We went out ofour way to create a toolthat not only raises thebar sonically, but alsoenables engineers toachieve a desired soundsimply and efficientlywith a more seamlessworkflow. iZotopedeveloped Alloy 2ultimately because of thesuccess of our flagshipmastering suites, Ozone5 and Ozone 5 Advanced.Ozone owners were usingOzone 5 for mixing andtracking, not only formastering. In response tothat trend, we combinedthe best mixing andtracking tools with lowCPU usage and zerolatency operation in Alloy2...”Brett Bunting, Alloy ProductManager, iZotopeit still only utilises minimal CPU usage and boasts azero latency operation mode. Alloy 2 can be used acrossmultiple tracks and busses, which makes it a perfectcomplement to iZotope’s mastering suite, Ozone.With this in mind, Alloy 2 includes an internal Meter Tap,which provides visual reference back into the Ozone5Advanced Meter Bridge.

TECHNOLOGY REVIEW“In application, I never had a need for more gain, whether critically listening via premiumheadphones such as the Shure SRH940, or as a performer…”Strother BullinsAphex HeadPod 4Four-Channel Headphone AmplifierSTROTHER BULLINS isa musician, engineer,and the Editor of ProAudio Review.Aside from the new digital source input,HeadPod 4 is a ‘like father, like son’ story; it,too, is self-explanatory in use and feeds yourheadphone or IEM of choice (or, top four ofchoice) as much clean, uncoloured gain as an engineer,producer, musician, or casual listener would need – exceptfor those that have (or want) significant hearing damage.Thus, even the 454’s clunky ‘Turn Down VolumeBefore Plugging In’ warning on its faceplate was refined(‘Caution: Check Volume Before Use’), while maintainingthe sentiment, on the HeadPod 4.The HeadPod 4 features four individual stereo poweramps, each with a quarter-inch TRS output; two balancedquarter-inch TRS analogue inputs, left and right channels(Analogue 1 via HeadPod 4’s three-position Input Select);an unbalanced quarter-inch TRS stereo analogue input(Analogue 2); Coaxial (RCA) S/PDIF (IEC60958) digital input, accepting 16 and 24-bit resolution,44.1, 48, 88.2, and 96kHz sample rates (Digital). All inputs,plus DC power supply input and a new power on/offswitch (significantly absent from the first HeadPod) areon the rear panel; all outs are on the front panel.Gone is HeadPod 454’s glaringly-bright blue-white ‘On’LED (which, in a dark studio, could justifiably be called‘blinding’). Now, HeadPod 4 has a subtle green backlitAphex logo to show its ‘On’ status, plus a smaller, plentybright,green LED to show present digital signal input.With a design that remains Apple-influenced, HeadPod4’s user interface – no longer characterised by a roundedtop panel in ‘iMac white’ with smooth silver knobs – iswhat I’ll call ‘masculine Mac’, comparatively angular andchiseled, featuring a MacBook-complementary metalsilver chassis, knurled black knobs and beveled edges allaround. On that note, it seems the entire Aphex line hasbeen redesigned/repackaged with this same aesthetic.In UseDuring the evaluation period, I swapped out my HeadPod454 for the HeadPod 4 and continued with my normalwork; this ranged anywhere between basic track cuttingwith multiple listeners, mixing ITB with multipleheadphone and IEM references, and critical listening viaeach input source – balanced and unbalanced analogue aswell as 16- and 24-bit, 44.1kHz or 88.2kHz sample rates.The new digital input was especially nice whenlistening back to original stereo masters from an AlesisMasterlink at 24-bit/88.2kHz via S/PDIF. The HeadPod4’s manual touts its “much higher quality” DAC comparedto “those found in audio interfaces and digital mixers.”From what I heard, I would vouch that the combinationof the HeadPod 4’s DAC and headphone amplifier stageyielded no compromise conversion, amplification, andfidelity. My headphones and IEMs all sounded at theirbest. Aphex’s claim of superiority to the built-in converterand amps in interfaces and mixers rings true, particularlyconsidering the performance of the headphone circuitsin the lower price-point interfaces and mixers in ourmarketplace (and it for sure was true when I compared theHeadPod 4 to the headphone output of the Masterlink).In application, I never had a need for more gain,whether critically listening via premium headphones suchas the Shure SRH940 or as a performer, interchangeablywearing premium custom-fit IEMs and lower-costheadphones while cutting live acoustic drum tracks atfull volume. Again, the phrase “loud and clear” comes tomind – and, for a simple four-channel headphone amp,what else do you really need?SummaryThe HeadPod 4 is a perfect little desktop (or studio floor)monitoring tool: compact, great-sounding and, yes,visually striking. It would be my first recommendationto anyone in need of a solid and simple four-channelheadphone amp. ∫InformationFeature Set• Professional Monitoring for all headphone types• Individual volume controls• High headroom• Ultra low distortion & wide frequency response• S/PDIF Input• Top panel input selection• Four independent stereo power amplifiersManufacturerAphexwww.aphex.comPrice DetailsGB£210.00 (inc.VAT)52 February 2013 | audiomedia.com

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.

FEATUrEvideoguideFrame RatesThe first part of Peter Jackson’s The Hobbit trilogy has brought the technical subject of frame rates to publicattention so Video Guide gives the low down on fps.GLOSSARYFrame RateA frame is an individual stillimage captured either onmotion picture film or scannedon to videotape or tapelessdigital media. The frame rateis the number of frames persecond (fps) that passes in frontof a camera lens or projectoraperture. Silent films workedto 16 fps, while sound pictureswere set at 24 fps to achievegood audio reproduction.Higher frame rates, suchas 30 fps, are now used forvideo transfer but new digitalprocesses are pushing this up toreduce flicker.54 February 2013 | audiomedia.comLike many things in cinema and television, movingpictures are an illusion. Motion picture camerascapture still images with momentary pausesbetween each as they are recorded on the film,videotape, or new media like solid state and memorycards. Each individual picture or image makes a frame.When a series of frames is projected or played back thehuman eye interprets it as a continuous sequence ofmoving images, even though they are in reality a sequenceof stills.This collaboration between technology and evolutiondepends on a natural human faculty called persistence ofvision. This describes the effect of an image being retainedon the retina of the eye for a moment – approximatelyone-third of a second – after it has been displayedand moved on. Because of this and the camera shutterblocking the transition from one frame to the next, theeye does not register any gap between one still pictureand another, which creates the sensation of movement.Persistence of vision can be maintained by having16 frames passing before a camera or projector lensper second. Silent films in the late 19th and early 20thcenturies were shot at rates between 14 and 24 framesper second (fps), with 16 fps (60 feet of film a minute)becoming the standard, as recommended in 1926 by theUS Society of Motion Picture Engineers (now the Societyof Motion Picture and Television Engineers, or SMPTE).This is because cameras and projectors of the time workedusing a crank mechanism operated by a person turning ahandle. The gearing used meant that two revolutions ofthe handle produced a frame frequency of 16 fps, whichwas regarded as efficient and simple, as well as producingsomething that looked right.The ‘Flicks’But there was an inherent problem in the system.As the sequence of images alternates from the illuminatedpictures to the dark gaps between frames, a flickeringeffect is produced, which explains why an older generationof cinema-goer referred to seeing films asgoing to the flicks. Flicker could be reducedby having a higher rate of frames a second,thereby increasing the speed of changebetween images and transitions.This was achieved during the silent erathrough a three-bladed rotating shutter toblock each frame three times, producing aflicker frequency of 48 a second. More seriousfilmmakers of the time were keen to shootwith a higher frame rate, but producers andstudio executive executives were against thisbecause it would use more film and so raiseproduction costs.Sound SynchronisationThe coming of sound in the cinema forced“In thedigital ageinterlacinghas givenway toprogressivescanning,with everyline ofa frameprocessedsequentially. ”the issue. When audio first appeared in film productionaround 1927, it was recorded optically on to the filmalongside the images to ensure synchronisation. But the16 fps rate was too slow to produce satisfactory soundwith the available equipment. Engineers concluded thatmore film had to pass over the audio head each secondto achieve a recording with a greater range of frequenciesand lower background noise.This benefited the visual side because flicker begins todiminish at rates above 20 fps and is seen to go completelyat 30 fps. The in-between rate of 24 fps that became thenew industry standard was settled on primarily becauseof the American electrics supply. Mains electricity in theUS operates at a frequency of 60 cycles a second, meaningan electric motor will have a speed of 1,440 revolutions aminute, or 24 a second. A frame rate of 24 fps was foundto have almost no flicker and was fast enough to producegood quality audio recordings. Because the American filmindustry pioneered sound films, 24 fps became the normwith a two-bladed shutter to produce the flicker frequencyof 48 a second.This effectively shows each frame twice, which tricksthe eye into not seeing flicker on film. In analoguetelevision the same effect was achieved by the techniqueof interlacing. Pictures were scanned on alternate lines ofan image, odd lines first followed by even. Each alternatescan formed a field and two fields produced a frame.Digital ChangesIn the digital age interlacing has given way to progressivescanning, with every line of a frame processed sequentially.In both TV and digital cinema the main frame ratesare: 24p (for progressive), which corresponds to 24 fpsand has the look of film, making it suitable for transfersfrom video; 25p, with 25 progressive fps, was derivedfrom the analogue PAL TV standard of 50 interlacedfields a second and also has a filmic appearance; and 30p.This last format runs at 30 fps, which was occasionallyused in film production for material that was to betransferred directly to video.Digital cameras can operate at a range of framerates, which is particularly useful for special effects.Footage shot at very low rates and then played back atnormal speed produces a rapid sequence of events, as usedin time-lapse photography. Conversely, shooting at veryhigh speeds is used to produce super slow motion. ∫REFERENCESThe Complete Film Dictionary, second edition by Ira Konigsberg,Penguin Reference 1997High Definition and 24p Cinematography by Paul Wheeler,Focal Press 2003On Camera by Harris Watts, BBC Books 1984

TECHNOLOGY NEWSThe Hobbit: An Unexpected JourneyPeter Jackson’s return to the world of JRR Tolkien was eagerlyanticipated by fans of the director’s earlier film adaptations of the Lordof the Rings trilogy. As is usual with something as loved and respectedlike The Hobbit not everyone is happy with the result.The obvious gripe is how a short book (approximately 300 pages inhardback and 320 in paperback) can give rise to three three-hour films.More surprisingly audiences have also focused on a seemingly arcanetechnical issue – the film’s frame rate. Jackson chose to use 48 fps, aprogressive format designed to reduce motion blur as well as minimisefurther the amount of flicker.A major reason for using 48p was to produce The Hobbit:An Unexpected Journey, the first part of the new trilogy, in 3D. The filmwas shot on the RED Epic camera and Jackson commented to 3D Focusthat 48 fps helps 3D “because suddenly you’re removing a substantialamount of the motion blur that you get at 24 frames. Your eyes get amuch smoother experience.”Jackson added that the higher frame rate makes the viewingexperience ‘more lifelike’ because the gaps between frames is lessperceivable: “At this point, 48 fps is a design choice for the 3D experience.The higher the frame rate, the more natural the 3D experience will be interms of any kind of flickering and problems that we have with lowerframe rates in 2D, so it’s a technology choice. I think we have yet todetermine what the high frame rate 2D experience will be. I think that issomething that will be established over time as people tune themselvesto a higher frame rate experience and start looking for movies that don’tlook like old fashioned movies. I think we are on an interesting cusp.”Speaking to the Orange County Register newspaper, Bob Birchard,Editor of the American Film Institute catalogue, observed, “Moviesoperate on a persistence of vision theory. Your brain creates the illusionof movement. The increased frame rate will require less mental filling inand give the illusion of a sharper, smoother picture.” He added that theexperience would be more real “in the sense that you’re not perceivingthe intervals between frames as much.”Critics and cinema-goers have been less technical in theirappraisals. While most agree New Zealand looks wonderful doing itsMiddle Earth impersonation, some say the interior sets and make-uplook obtrusively false. A general criticism of 48 fps is that becauseit does away with the familiar cinema-style flicker, everythingappears too real, which ruins the suspension of disbelief necessary forfantasy films.Jackson is apparently not so concerned about this, saying he wantsto get young people away from their iPads and into cinemas. JamesCameron, a filmmaker with similar sensibilities to Jackson, is said tobe looking at shooting the two sequels to Avatar in higher frame rates,again with 3D in mind.PRODUCT FOCUSSony ProfessionalF65Digital cinematography cameraContact: www.sony.co.ukIntroduced at the beginning of 2012, theF65 digital cinematography camera isthe flagship of Sony’s CineAlta range. Itis smaller and lighter than the F35 andis claimed to offer improved stabilityand handling, particularly forSteadicam work.The F65’s main features include:Super 35mm CMOS sensor with 20Mega pixels, making it suitablefor HD, 2k and 4k resolutions;recording on to SRMemory usinga SR-R4 SRMASTER 4k portablerecorder dock, plus a high-speedSRMemory platform for recordingRAW data at speeds up to 5Gbps;an optional mechanical rotaryshutter to eradicate the rollingshutter effect found on CMOSsensors; and four Neutral Densityfilters, which come with therotary shutter.The camera was updated for IBC 2012 withv2.0, which delivers a recording capability of upto 120 frames a second. This high frame rate isaimed at slow motion work, particularly in thecommercials market.audiomedia.com | February 2013 55

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)1354 669965, mail it to us at Audio Media, Imas Publishing (UK) Ltd, Subscription Dept., Suite L16, South Fens Business Centre, Fenton Way, Chatteris, Cambs, PE16 6TTUnited 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.56 February 2013 | audiomedia.com

ClassifiedLenette Howard on +44 (0) 1223 911153E-mail: lhoward@nbmedia.com57audiomedia.com | February 2013A nice look gives yougrab inspiration a the time of recording.Simplicity grants the microphone a long lifeand durability. After having recorded, youwill never be surprisedby incorrect settings, asand reflections. New tech‘Golden Drops’, is usedcapsule microphones from 2008.PRODUCTStroduced several newSOUNDFIELDSurround 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+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + ++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –A nice look gives you the po sibility 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 ma ters – 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 previouso casion or looks similar in shape to oneo casion 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 physicallywarm in use – or that large microphonesyield a bigger ‘sound image’ (whatever thatmeans) than smaller designs. This la ternotion 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 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 contro led listeningthem requires contro led listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +them requires contro led listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + ++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +them requires contro led listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +under good conditions and, aboveunder good conditions and, aboveunder good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +under good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + ++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +under good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +all, with a prope reference; butall, with a prope reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +all, with a prope reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +a l too frequently a new producta l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +a l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +a l too frequently a new producta l too frequently a new productor design is a sayed in splendidor design is a sayed in splendidor design is a sayed in splendidor design is a sayed 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 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 thataffect perceived loudne s.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 what the sound source is?the grounds of what 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 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 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 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’ microphone goAs far as the ‘perfect’ microphone goes,es,omni-directional capacitor (condensomni-directional capacitor (condensomni-directional capacitor (condensomni-directional capacitor (condenser)designs approach the ideal verydesigns approach the ideal verydesigns approach the ideal verydesigns approach the ideal very closely.Where you wan to favour sound fromWhere you wan to favour sound fromWhere you wan to favour sound fromWhere you wan to favour sound from asingle direction and exclude neighbsingle direction and exclude neighbsingle direction and exclude neighbsingle direction and exclude neighbouringouringinstruments or unwanted sound, then oinstruments or unwanted sound, then oinstruments or unwanted sound, then ofcourse you need a directional micrcourse you need a directional micrcourse you need a directional micrcourse you need a directional micrcourse you need a directional micrcourse you need a directional microphoneophonewhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfecwhich wi l be a li tle further from perfection.tion.For a start, any directional microphoFor a start, any directional microphoFor a start, any directional microphoFor a start, any directional microphoFor a start, any directional microphone (suchne (suchas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate thas a cardioid) wi l demonstrate the so-ca lede so-ca ledproximity e fect when used close to aproximity e fect when used close to aproximity e fect when used close to aproximity e fect when used 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 a centuated.centuated.For a microphone that wi l commonlyFor a microphone that wi l commonlyFor a microphone that wi l commonly be usedbe usedin this situation a compensating freqin this situation a compensating freqin this situation a compensating freqin this situation a compensating 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+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:More Than A Black Box!various proce ses (recording, mixingand mastering) in which various people,locations, and therefore speaker systems,will be involved, co rections may be applieddue solely to phase i regularities thatare not present on the actual recording.I Audio can be compared ers. Our vision is to bepioneers in precision au+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + +PM Series Mk IThe PM-Series Mk I o fer exceptional audioThe PM-Series Mk I o fer exceptional audioperformance matched to jaw-dropping goodperformance matched to jaw-dropping goodperformance matched to jaw-dropping goodlooks at an a fordable price. Fostex strives tolooks at an a fordable price. Fostex strives tolooks at an a fordable price. Fostex strives todesign and build studio monitoring systemsdesign and build studio monitoring systemsthat enable you to experience your uniquethat enable you to experience your uniquesound in a l its dimensions. And throughtirele s research and development, endle smeasurements and real-world listeningtests, Fostex’s engineers have achievedthis in the form of the beautiful secondgeneration PM-Series.Capitalising on Fostex’s supreme+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSICapitalising on Fostex’s supreme+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIknowledge of acoustics and speakerknowledge of acoustics and speaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIknowledge of acoustics and speaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIengineering, and now offering a brighter,engineering, and now offering a brighter,+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIengineering, and now offering a brighter,+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:engineering, and now offering a brighter,The Swiss Precision Active Monitoring Series:tighter sound, these studio monitors aretighter sound, these studio monitors are+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItighter sound, these studio monitors are+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:tighter sound, these studio monitors areThe Swiss Precision Active Monitoring Series:PM-2 Mk IPM-2 Mk ICreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasCreated for large rooms, the PM-2 hasthe power (240 watts of bi-amped powerthe power (240 watts of bi-amped powerthe power (240 watts of bi-amped powerthe power (240 watts of bi-amped powerthe power (240 watts of bi-amped poweractua ly) and sophistication and, mostactua ly) and sophistication and, mostactua ly) and sophistication and, mostactua ly) and sophistication and, mostimportantly, the versatility to handle theimportantly, the versatility to handle theimportantly, the versatility to handle theimportantly, the versatility to handle themost demanding recording applications.most demanding recording applications.most demanding recording applications.most demanding recording applications.Equipped with a 200mm low frequency unitEquipped with a 200mm low frequency unitEquipped with a 200mm low frequency unitEquipped with a 200mm low frequency unitand remaining natural and transparent rightand remaining natural and transparent rightand remaining natural and transparent rightand remaining natural and transparent rightacro s the audio spectrum, even at highacro s the audio spectrum, even at highacro s the audio spectrum, even at highsound pre sure levels, the PM-2 is great forsound pre sure levels, the PM-2 is great forsound pre sure levels, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIsound pre sure levels, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIsound pre sure levels, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItoday’s ba s heavy music.today’s ba s heavy music.today’s ba s heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItoday’s ba s heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSItoday’s ba s heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIPM-1 MkIIPM-1 MkII+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIPM-1 MkII+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIPerfectly proportioned and o fering the typePerfectly proportioned and o fering the typeThe Swiss Precision Active Monitoring Series:Perfectly proportioned and o fering the typeThe Swiss Precision Active Monitoring Series:of clear-transparent sound that singlesof clear-transparent sound that singlesThe Swiss Precision Active Monitoring Series:of clear-transparent sound that singlesThe Swiss Precision Active Monitoring Series:out a great speaker, the PM-1 is capableout a great speaker, the PM-1 is capableThe Swiss Precision Active Monitoring Series:out a great speaker, the PM-1 is capableThe Swiss Precision Active Monitoring Series:of producing extremely highof producing extremely highSPLs a curately acro s theSPLs a curately acro s thefu l audio spectrum. With 120fu l audio spectrum. With 120wa ts of bi-amped power andwa ts of bi-amped power anda ba s response that’s fu l anda ba s response that’s fu l anders. Our vision is to bea ba s response that’s fu l anders. Our vision is to bedynamic, and a crisp highdynamic,and a crisp highers.Our vision is to bedynamic, and a crisp highers.Our vision is to beend that sparkles with vitality,end that sparkles with vitality,the PM-1 delivers the type ofthe PM-1 delivers the type ofsonic quality that’s usua ly thesonic quality that’s usua ly thedomain of monitorscosting thousands.various proce ses (recording, mixingcosting thousands.various proce ses (recording, mixingPM0.5 Mk Iand mastering) in which various people,PM0.5 Mk Iand mastering) in which various people,locations, and therefore speaker systems,PM0.5 Mk Ilocations, and therefore speaker systems,The ideal choice for sma lerlocations, and therefore speaker systems,The ideal choice for sma lerlocations, and therefore speaker systems,will be involved, co rections may be appliedThe ideal choice for sma lerwill be involved, co rections may be appliedstudios requiring nearfieldwill be involved, co rections may be appliedstudios requiring nearfieldwill be involved, co rections may be applieddue solely to phase i regularities thatstudios requiring nearfielddue solely to phase i regularities thatmonitoring, the perfectlyare not present on the actual recording.monitoring, the perfectlyare not present on the actual recording.PM0.4The ultra-compact PM0.4 now completesThe ultra-compact PM0.4 now completesthe lineup of the reputed PM-series rangingthe lineup of the reputed PM-series rangingfrom 4” to 8” woofer size. PM0.4 is natura lyfrom 4” to 8” woofer size. PM0.4 is natura lyrecommended for desktop use but its superbaudio performance in compact physicalsize expands its applications to profe sionalconsole top studio monitoring, audioinsta lation, as we l as portableaudio monitoring.PM0.5-Sub MkIIDesigned idea ly for use with the PM0.5Designed idea ly for use with the PM0.5Mk I, the 110wa t, 200mm driver PM0.5-Mk I, the 110wa t, 200mm driver PM0.5-Sub produces precise, low frequencySub produces precise, low frequencyreproduction and an exce lent deep ba sreproduction and an exce lent deep ba soutput. Easy to set-up (just a single gainoutput. Easy to set-up (just a single gaincontrol and phase reverse switch), thecontrol and phase reverse switch), thecombination of a pair of PM0.5s andcombination of a pair of PM0.5s andPM0.5-Sub provides superb sonic qualityPM0.5-Sub provides superb sonic qualityPM0.5-Sub provides superb sonic quality+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +PM0.5-Sub provides superb sonic quality+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +PM0.5-Sub provides superb sonic quality+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +at an a fordable price. Recommended forat an a fordable price. Recommended forat an a fordable price. Recommended foruse with PM0.4.The Swiss Precision Active Monitoring Series:More Than A Black Box!the sound image is highly a curate. various proce ses (recording, mixingand mastering) in which various people,locations, and therefore speaker systems,will be involved, co rections may be appliedI Audio can be compared to Swiss watch designers. Our vision is to bepioneers in precision audio, combining innovation, creativityChoosing NearfieldMonitors Should Be EasyAfter a l, they only have one job to do. The job of monitoring.Not enhancing, not diminishing, not in any way alteringthe source material.+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –icrophones Made in Latviato picture today’sg industry withoutFor a while only price ma tered, but now, it isGet back to quality, get back to reliability,Get back to what ma ters – get into Violet Microphin Latviato picture today’sg industry withoutA nice look gives yougrab inspiration a theSimplicity grants the mand durability. After hViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –A nice look gives youFor a while only price ma tered, but now, it isGet back to quality, get back to reliability,Get back to what ma ters – get into Violet Microph+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –A nice look gives youFor a while only price ma tered, but now, it is time to:Get back to quality, get back to reliability,Get back to what ma ters – 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 previouso casion or looks similar in shape to oneo casion 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 ma ters – get into Violet Microph6Get back to what ma ters – get into Violet MicrophViolet Design – Microphones MadeIt is almost impo sible to picture today’spro audio and recording industry withoutGet back to quality, get back to reliability,get back to design…Get back to what ma ters – get into Violet Microph+ + + + + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –For a while only price ma tered, but now, it isViolet Design – MIt is almost impo sibleGet back to quality, get back to reliability,get back to designGet back to what ma ters – get into Violet Microph+ + + VIOLETVIOLET + + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + +Violet Microphones –+ + +Violet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundFor a while only price ma tered, but now, it isFor a while only price ma tered, but now, it isGet back to quality, get back to reliability,Get back to quality, get back to reliability,get back to designGet back to what ma ters – get into Violet MicrophGet back to quality, get back to reliability,get back to designGet back to quality, get back to reliability,get back to designget back to designGet back to what ma ters – get into Violet MicrophViolet Design – MIt is almost impo sibleViolet Design – MViolet Design – MViolet Design – MIt is almost impo sible+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:The Swiss Precision Active Monitoring Series:More Than A Black Box!More Than A Black Box!The philosophy of PSI Audio can be compared+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:More Than A Black Box!I Audio can be comparedpioneers in precision au+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:More Than A Black Box!I Audio can be comparedpioneers in precision au+ + ++ + + FOSTEXFOSTEXPM Series Mk IThe PM-Series Mk I o fer exceptional audioThe Swiss Precision Active Monitoring Series:SOUNDFIELDSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround Recording+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUtems can produce, M/S and surroundfrom a single mic? With their surround-ready mictechnology, it’s easy to seeSOUNDFIELDSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround Recording+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUFrom A Single Microphonetems can produce, M/S and surroundtheir surround-ready micThe 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+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIThe Swiss Precision Active Monitoring Series:More Than A Black Box!+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSIHow Everything StartedThe founder of Horch, Gibbs Platen is very familiar withthe world of audio. His recording studio Zuckerfabrikwas famous for American Jazz 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 all time favouritewide variety of microphones, but his all time favouritewide variety of microphones, but his all time favouritefor vocal recordings was the Neumann M49 tubefor vocal recordings was the Neumann M49 tubemicrophone. However, Platen fel that of thesemicrophone. However, Platen fel 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 i luminated from the inside. LaterRM2, which was i luminated from the inside. LaterRM2, which was i luminated from the inside. LaterRM2, which was i luminated from the inside. LaterRM2, which was i luminated from the inside. LaterRM2, which was i luminated 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 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 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.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 especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly designed for femalethe old ELA M251 and especia ly 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 compre sion, and saturation ofconcept – adjustable compre sion, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compre sion, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compre sion, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compre sion, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compre sion, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compre sion, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compre sion, and saturation ofconcept – adjustable compre sion, and saturation ofconcept – adjustable compre sion, and saturation ofconcept – adjustable compre sion, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compre sion, 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 effort is spent onhandmade in Germany. A lot of effort is spent onhandmade in Germany. A lot of effort is spent onhandmade in Germany. A lot of effort is spent onhandmade in Germany. A lot of effort is spent onhandmade in Germany. A lot of effort is spent onhandmade in Germany. A lot of effort is spent on+ + +handmade in Germany. A lot of effort is spent on+ + + PSIhandmade in Germany. A lot of effort 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, 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 customers and artists.keeping in contact with customers and artists.keeping in contact with customers and artists.The company is situated in the German high-The company is situated in the German high-The company is situated in the German high-The company is situated in the German hightechregion of Stu tgart (Mercedes, Porsche),tems can producetech region of Stu tgart (Mercedes, Porsche),tems can producetech region of Stu tgart (Mercedes, Porsche),tech region of Stu tgart (Mercedes, Porsche),which promotes high standards for mechanicaltems can producewhich promotes high standards for mechanicaltems can producewhich promotes high standards for mechanicalwhich promotes high standards for mechanicaland electrical quality., M/S and surroundand electrical quality., M/S and surroundand electrical quality., M/S and surroundand electrical quality., M/S and surroundEach Horch is a precious sound tool, that looks, M/S and surroundEach Horch is a precious sound tool, that looks, M/S and surroundtheir surround-ready micEach Horch is a precious sound tool, that lookstheir surround-ready micEach Horch is a precious sound tool, that looks, M/S and surroundEach Horch is a precious sound tool, that looks, M/S and surroundtheir surround-ready micEach Horch is a precious sound tool, that lookstheir surround-ready mictheir surround-ready micgreat and sounds unique.their surround-ready micare large-diaphragm+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround RecordingWhat other microphone systems can producesimultaneous mono, stereo, M/S and surroundfrom a single mic? With their surround-ready micSOUNDFIELD + + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround RecordingGi bs Platen, founder of HorGi bs Platen, founder of Horch Audio.ch Audio.+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +Since 1945 Klein + Hummel has been se ting global standardsSince 1945 Klein + Hummel has been se ting global standardsin sound reproduction. For over 40 years K+H has focusedin sound reproduction. For over 40 years K+H has focusedin sound reproduction. For over 40 years K+H has focusedon the professional market by developing precise measuringon the professional market by developing precise measuringon the professional market by developing precise measuringinstruments – tools to analyse sound and detec the tiniest auralinstruments – tools to analyse sound and detec the tiniest aural+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +Decoding The DNA Of SoundDecoding The DNA Of SoundDecoding The DNA Of SoundSince 1945 Klein + Hummel has been se ting global standardsSince 1945 Klein + Hummel has been se ting global standardsSince 1945 Klein + Hummel has been se ting global standardsin sound reproduction. For over 40 years K+H has focusedin sound reproduction. For over 40 years K+H has focusedon the professional market by developing precise measuring+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +1212 DYNAUDIO ACOUSTICS AUDIODYNAUDIO ACOUSTICS AUDIODYNAUDIO ACOUSTICS AUDIODecoding The DNA Of SoundDYNAUDIO ACOUSTICS AUDIODecoding The DNA Of SoundSince 1945 Klein + Hummel has been se ting global standardsDYNAUDIO ACOUSTICS AUDIOSince 1945 Klein + Hummel has been se ting global standardsSince 1945 Klein + Hummel has been se ting global standardsDYNAUDIO ACOUSTICS AUDIOSince 1945 Klein + Hummel has been se ting global standardsTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUget integrated TC Electronic digitalget integrated TC Electronic digital signalproce sing. This combinationproce sing. This combination o fers youthe best of both worlds, makingthe best of both worlds, making DynaudioAcoustics speakers second to nAcoustics speakers second to none.Two Main Ranges – One High STwo Main Ranges – One High StandardClarity and consistency come asClarity and consistency come as standard– the question is, how versatile do– the question is, how versatile do you wantyour setup? Dynaudio Acousticsyour setup? Dynaudio Acoustics marketstwo extensive ranges of DSP potwo extensive ranges of DSP powered andanalogue near-field and mid-fianalogue near-field and mid-field monitors.analogue near-field and mid-field monitors.analogue near-field and mid-fiAIRIt makes great sense to compareIt makes great sense to compare the AIRsound with any other speaker ysound with any other speaker you own orconsider acquiring. We both enconsider acquiring. We both encourage andrequires the addition of a numberrequires the addition of a number of externalboxes such as Monitor Matrix Coboxes such as Monitor Matrix Contro ler,ntro ler,Ba s Management Cro sover,Ba s Management Cro sover, externalexternalEQs and Delays. This obviously addsEQs and Delays. This obviously addsEQs and Delays. This obviously adds to thesystem price, and moreoversystem price, and moreover often degradesoften degradesthe signal path. With an AIR Sthe signal path. With an AIR Systemystemeverything is integrated and matcheverything is integrated and matcheverything is integrated and matched – it’srigh there for you to use from thrigh there for you to use from the menue menuon the front of a Master-Module son the front of a Master-Module son the front of a Master-Module speakervia a 32-segment LCD display, ovia a 32-segment LCD display, or throughr throughan optional dedicated hardwarean optional dedicated hardware remote, orremote, oran optional dedicated software aan optional dedicated software applicationpplication(Mac and PC). The user interfac(Mac and PC). The user interface allowse allowsfor storing and reca l o factoryfor storing and reca l o factory and userand userpresets taking into a count THXpresets taking into a count THX and Dolbyand Dolbyrecommendations, reference lrecommendations, reference levels, LFEevels, LFEsensitivity, and so on.sensitivity, and so on.AIR SoftThis MAC and PCThis MAC and PCcompatible remotecompatible remotecompatible remotecompatible remoteapplication a lows centralapplication a lows centralreal-time control of AIRreal-time control of AIRsystem parameters such assystem parameters such assystem parameters such assystem parameters such asvolume control, referencevolume control, referencevolume control, referencevolume control, referencelevel, presets, and setup. AIR Slevel, presets, and setup. AIR Soft is includedoft is includedoft is includedoft is includedwith a l AIR monitors.with a l AIR monitors.AIR RemoteAIR RemoteAIR Remote provides instant a cAIR Remote provides instant a cAIR Remote provides instant a ce s to theAIR system volume, independentAIR system volume, independentof your DAW or computer.of your DAW or computer.Additiona ly, AIR RemoteAdditiona ly, AIR Remotefeatures one-touchfeatures one-touch+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +features one-touch+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +operation of systemoperation of system+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +operation of system+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +operation of system+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +reference levels, presetreference levels, presetreference levels, preset+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +reference levels, preset+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +reca l, and solo/mutereca l, and solo/muteDecoding The DNA Of Soundreca l, and solo/muteDecoding The DNA Of Soundstatus for each monitor.Decoding The DNA Of Soundstatus for each monitor.Decoding The DNA Of SoundDecoding The DNA Of Soundstatus for each monitor.Decoding The DNA Of Soundtracking, as we l as calibrated loudness forany AIR setup. The AIR remote is poweredthrough TC-Link of any AIR monitor.AIR PC-IPThe optionalPC compatibleadvancedInsta ler’sPackageprovidesacce s tovirtua ly anyAIR systemparameter. This includes 4-band parametricEQ in each monitor, placement delEQ in each monitor, placement delay, presetcontrol and more. PC-IP a ce s tocontrol and more. PC-IP a ce s to advancedadvancedba s management features indepenba s management features indepenba s management features independent HP/dent HP/LP cro sover frequencies as we l as phasel as phasel as phasel as phaseand polarity control of any AIR subwoofer.bwoofer.Additiona ly, PC-IP a lows the insta lersta lerto control system a ce s via individuto control system a ce s via individualparameter securing, preset protection,tection,and UI locking.THX CertifiedAIR monitor systems areAIR monitor systems areAIR monitor systems are+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +AIR monitor systems are+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +THX certified for use inTHX certified for use inTHX certified for use inTHX certified for use in+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +THX certified for use in+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +PM3 rooms.+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +Decoding The DNA Of Sound+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +AIR 12Powerful Two-Way NearfieldPowerful Two-Way Nearfield Speaker – 8”Woofer And 1.1” Soft DomeWoofer And 1.1” Soft Dome TweeterThe latest addition to the AIRThe latest addition to the AIRThe latest addition to the AIRThe latest addition to the AIR family. AIR12family. AIR12suits all sizes of controlsuits all sizes of controlsuits all sizes of controlroom and OB vans, androom and OB vans, androom and OB vans, androom and OB vans, andits high precision amp/its high precision amp/driver system (+/- 0.2driver system (+/- 0.2dB a curacy) ensuresdB a curacy) ensurescomplete consistency withcomplete consistency withthe entire AIR family in a varthe entire AIR family in a variety of stereoand 5.1 setups – remote contrand 5.1 setups – remote contro lable viathe AIR Remote or the includthe AIR Remote or the includ+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +the AIR Remote or the includ+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +ed Air Softapplication. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +application. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +application. DSP room adaptiapplication. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +application. DSP room adapti+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +on a lows for+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +on a lows for+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +perfect customisation for anyperfect customisation for any+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +perfect customisation for any+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +perfect customisation for anyroom construction and its introom construction and its introom construction and its introom construction and its intermonitorlevel calibration featurDecoding The DNA Of Soundmonitor level calibration featurDecoding The DNA Of Soundmonitor level calibration featurmonitor level calibration featurmonitor level calibration featureDecoding The DNA Of SoundeDecoding The DNA Of Soundensures consistent levels inDecoding The DNA Of Soundensures consistent levels inDecoding The DNA Of Soundensures consistent levels inensures consistent levels inensures consistent levels inDecoding The DNA Of Sounda lDecoding The DNA Of Soundse sions.se sions.+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +Decoding The DNA Of Sound+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +or computer crashes.It also o fers digital inputs, iCheck (tocheck audio compre sion), and calibratedlistening for headphones and activespeakers.BMC-2: your pro DAC and monitor control!+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ +Decoding The DNA Of SoundDecoding The DNA Of Sound+ + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ ++ + + + techno-physical+ + + + techno-physical+ + + + techno-physiGetting Techno-Physicalmajority 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,equa ly, the key to the succe sful 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 warmon one wi l skew judgements in favour of it.Such experimental pernicketine s has tobe refined even to the extent of intentiona lyadding a sma l imbalance of levels but ona reciprocal basis where, say, microphonese on a titudes to microphort, or the mind?+++HORCH AUDIO+++HORCH AUDIOTHE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINERECORDERS2012AUDIO MEDIAPRODUCED BYIn association with:INTERNATIONAL EDITION01-recorders-buyers-cover-2012.indd 1 21/11/2011 17:10+++HORCH AUDIO+++HORCH AUDIO + + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICA+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICA+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICAThe Sound Of Emotion: HorchHorch was established in the 1990s by a sma l team of dedicatedaudio experts, whose vision was to create a microphone able toconvey emotion through sound. A l Horchs are large-diaphragmtube microphones.+++HORCH AUDIO+++HORCH AUDIOThe Sound Of Emotion: Horchtube microphones.THE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEAUDIOCONSOLES2012AUDIO MEDIAPRODUCED BYIn association with:INTERNATIONAL EDITION+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + +THE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEIn association with:AUDIO MEDIAPRODUCED BYLIVE SOUNDAPPLICATION2012+ + ++ + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUS+ + + + DYNAUDIO ACOUS+ + + + DYNAUDIO ACOUS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUThe Truth, The Whole Truth,The Truth, The Whole Truth,The Truth, The Whole Truth,And Nothing But...And Nothing But...Superior Tools For Critical MoSuperior Tools For Critical MonitoringIn film, post, gaming, broadcast, aIn film, post, gaming, broadcast, and musicproductions, consistency, predictproductions, consistency, predictability, andreliability are key. 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On top of ultimate precisionand sound, an AIR system o fers fland sound, an AIR system o fers fland sound, an AIR system o fers flexibilityand convenience previously unknand convenience previously unknown inown inmonitors. Achieving similar fumonitors. Achieving similar functionalitynctionalityand features from conventionaland features from conventional monitorsmonitorsrequires the addition of a numberrequires the addition of a number of externalThe calibrated volume knob of AIR Remotea lows a curate level se ting, perfectDynaudio Acoustics monitors areDynaudio Acoustics monitors are designed to speak the truth. Youdesigned to speak the truth. Youdesigned to speak the truth. You get exactly what you needfor your mixing – an exact reprofor your mixing – an exact reproduction of your mix – no more, noduction of your mix – no more, noduction of your mix – no more, no less.BMC-2 – How Pro Can You Go?BMC-2 is TC Electronic’s latest digitalaudio conversion and monitor contro ler.With it you can enjoy the luxury ofcontro ling your audiolevels at a l times andduring unexpected dropsTHE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEIn association with:AUDIO MEDIAPRODUCED BYLIVE SOUNDTECHNOLOGY2012techno-physical+ + + + techno-physical+ + + + techno-physical+ + + + techno-physiGetting Techno-Physicalhe artistic viewpoint sees the microphonealmost as a musical instrument – anextra member of the orchestra or ana companis to a singer. With such a view itcan be very difficul to judge the microphoneobjectively. Elements o fashion, nostalgia,and a degree of sympathetic magic can leadto a very subjective choice that owes li tle torationality. The techno-physical approach isthe reverse of this – a who ly reasoned andobjective view that requires a basic knowledgeithin certain restrictions, thechoice of microphone wi l produce a soundthat is predictable and can be tailored withmajority 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,equa ly, the key to the succe sful 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 warmJörg Wu tke o fers his take on a titudes to microphoShould we trus the heart, or the mind?+ + ++ + + techno-physicalGetting Techno-PhysicalThe artistic viewpoalmost as a muextra member ofa companis tcan be very difficobjectively. Elemand a degree oto a very subjecrationality. The techthe reverse of thiobjective view tof physics. Within certain restrchoice of micropthat is predictableJörg Wu tke o fers his takShould we trus the hea+ + + + techno-physical+ + + + techno-physical+ + + + techno-physiGetting Techno-Physicalmajority 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,equa ly, the key to the succe sful 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 thate on a titudes to microphort, or the mind?THE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEMICROPHONES2012AUDIO MEDIAPRODUCED BYIn association with:INTERNATIONAL EDITIONTHE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEMONITORING &HEADPHONES2012AUDIO MEDIAPRODUCED BYIn association with:INTERNATIONAL EDITIONTHE INTERNATIONALBUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPAUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEDAWS &PLUG-INS2012AUDIO MEDIAPRODUCED BYIn association with:INTERNATIONAL EDITIONCall now to be included in the next Guidecall Graham Kirk on +44 (0) 1223 911224g.kirk@audiomedia.comwww.audiomedia.comTHE Buyer’s Guides for Professional AudioAll you need to know for Monitors, Microphones, Recorders, Consoles and Live Sound.All available to download as PDF’s from our websiteS T U D I O A C O U S T I C SS E R V I C E SS E R V I C E SSolid State LogicS O U N D | | V I S I O N

FEATURECLASSICCUTThe MatrixKEVIN HILTON“The gun battleswith the Agentsand cops arealmost deafening,the sound ofspent cartridgeshitting theground addingto the cacophony.The drama isheightened bysilence whenthe shootingstops, with theonly noise thatof Neo’s boots onthe floor as hewalks away.”Kevin Hilton58 February 2013 | audiomedia.comThe ongoing release of multistoryepic Cloud Atlas is a timelyreminder of co-directors theWachowskis’ mind-bendingjourney into cyberspace, The Matrix (1999).Even with the eye boggling, trend-setting visualeffects, stylishly choreographed martial artsand Carrie-Ann Moss in very tight trousers,sound is a defining part of the earlier film,underpinning the histrionic action scenes anddifferentiating the different realities and lifeforms involved.Our first impressions of the world of TheMatrix are set by the opening sequences.Orchestral music with metallic soundingstrings and electronicundertones, composedby Don Davis, gives wayto the buzzing of a phoneline as it connects. On thescreen are many lines ofones and noughts in greenon a black background.The voices of a womanand a man have a prickly,cryptic conversation about“The One”.As the call ends both theimage and the sound ‘bend’,signalling a transition intolive action. In a disusedwarehouse police officershave cornered a youngwoman – Trinity (Moss) –dressed in leather and latexwho, despite the darkness,is wearing sunglasses.She makes her escape,dodging the cops’ bulletsby unaccountably runningup and along the wall.This leads to the film’ssignature visual effect,so influential it spawneda verb, ‘to Matrix’. Trinity faces down a copand then jumps in the air. Both the pictureand the audio slow down and pause as Mosshangs in mid-air. The camera swings round toa different angle and the action – both visuallyand aurally – resumes, with Trinity kicking theofficer in the head.The chase is picked up by secret servicetypes in black suits and dark glasses, with muchwhooshing and zooming as they pursue Trinityover rooftops. She gets to a call box where thephone is ringing but has to jump out of theway as a truck driven by Agent Smith (HugoWeaving) crashes into it. The image cuts tothe camera speeding through a tunnel of lightaccompanied by bass notes on the soundtrack.Someone soon to have his life andperception of existence changed by these eventsis software programmer Thomas Anderson,who leads a double life as computer hacker Neo(Keanu Reeves). Through anonymous emailmessages and symbols he ends up at a clubwhere he meets Trinity. Thumping bass in thedance music segueways into Neo’s alarm clockthe next morning.Anderson/Neo is later arrested bythe Agents and taken to a police station.In the interview room Agent Smith produces alarge valve-like device, which transforms intoan insect with a sickening squelching sound.The noises become even more disgustingas the thing burrows into Neo’s stomach.The scene cuts to black and Neo wakes up inhis own bed. Trinity picks him up and, in thecar, uses something like a vacuum cleaner todetect and remove the creature inside Neo.When sucked out the bug – this is one of thefilm’s few attempts at humour – turns back intoan inanimate object, something confirmed by aclinking noise when it is thrown out of the carwindow and hits the road.During the first meeting between Neo andcyber-rebel Morpheus (Laurence Fishburne),the sound design makes a departure from themodern use of audio in preceding scenes andresorts to old standbys to convey dramaticbackground: driving rain and thunder.This adds tension while Morpheus tells Neothe truth of human existence: in the pastpeople created artificial intelligence and wereoverthrown by machines, who now use humansas ‘batteries’ to generate electricity.Everyday life is a construct known as theMatrix, while human beings exist in podsas part of The Power Plant. The sight of thisis shocking enough, but the true enormityis underlined by audio. In the June 1999 issueof Audio Media Sound Designer Dane Davisexplained how he recorded the sound of 60,000volts produced by a Tesla coil. This provides thebass hum of the Plant, combined with arcing tomake a rhythmic cycle.Morpheus gives Neo the option of stayingwithin the Matrix or becoming part of truereality to fight back against the machinesand the Agents, who are really computerprograms in human form. During the film theWachowskis make many references to LewisCarroll’s Alice stories; when Neo touchesa mirror – the looking glass – it becomesliquid, accompanied by a moulding noisesignifying that reality is changing as he movesbetween worlds.This is the subtle, story-telling side of thesound design. What really grabs the attentionis the aural assault of the action sequences.Thousands of rounds of bullets are expendedduring the shoot-outs and to match thestunning visuals Dane Davis recorded anarmourer firing an Uzi sub-machine gun atdifferent layers of material. By putting a silenceron the weapon he could isolate the penetrationof the shells. A telephone directory was alsoplaced in front of the muzzle to slow the bullets’velocity. Davis then compressed and processedthe tracks in Pro Tools so the bullets could beheard to spin and force their way through walls.The gun battles with the Agents and cops arealmost deafening, the sound of spent cartridgeshitting the ground adding to the cacophony.The drama is heightened by silence when theshooting stops, with the only noise that of Neo’sboots on the floor as he walks away.Many gun battles and the almost allconsumingconflagration when a helicoptercrashes into a glass building lead up tothe final showdown between Neo and Smith.They fling each other round a subway platformand end up on the track, with a train bearingdown. Neo manages to jump clear; as theengine hits him, Smith disappears with acomputer glitch sound, reminding us he is notreal but will return.Now dressed in the obligatory leather anddark glasses, Neo joins the fight against themachines. He makes a call to the AI, throwingdown the gauntlet, his voice distorting as ittravels through the circuits of The Matrix.Or does it? ∫