leaderREVIEW 50SoUND DEvICES 702tRUSHES 24oLYMPUS LS-10The simple life of sound. Yes – according to light, we get it easy.After all, what is the rudimentary act of exciting air comparedto the relative, quantum, confounding duality of illumination?I don’t know about you, but I suddenly knew my place in thegrand scheme when the very foundation of my chosen subject was introducedas ‘simple’ harmonic motion.They get the speedy photon – zipping around in straight lines like it ownsthe place, and in the office at, literally, the crack of dawn with not so much asa third mug of coffee; we get ripples in a pond, and the knowledge that we’llalmost always arrive late, eyes half open, and doomed to drain whatever’s leftin the pot after the RGB crowd has had its smug way. And to really rub it in,they get to give their different frequencies special names – and not even verytechnical ones at that.Sorry, but while I’m at it, what’s with ‘supersonic’? Superman is calledSuperman because he’s a man, only better. Supersonic gets called that becauseit’s the speed at which sound gets left behind – like it’s somehow better thansound. Let’s just see if it’s as smug with its shoe laces tied together.But, despite all the propaganda, we know it’s not quite like that. We can stirup more emotion with a taut string, a tube, a coil of wire, or a carefully craftedenvelope filter than should be possible. We can launch a full-on sense attack, orcalm a plagued mind just by changing the time signature. We can create silenceby getting out of the way (which I think you’ll agree, is far superior to black), andwe are still creating completely original experiences that can be just as effectiveover a fraction of a second as they are over hours.I started thinking about this leader along the lines of ‘look at how simplesound is, and yet we’ve got so much gear’. But the more I thought about it(approximately five miles of A1M), I realised how ridiculous that was. <strong>Sound</strong>isn’t simple – it’s only the raw material that is. The performers, the microphones,the recorders, the editors, the processors, the consoles, the engineers, theeditors, the producers, the amplifiers, and the speakers all have a hand inpushing air backward and forwards in interesting ways – a bit like a dozenoctopuses trying to make something out of play-dough. Yet somehow it turnsout alright (mostly).Remember, silent films were consigned to history once sound came alongand saved them. We’ve still got music. Ya-boo sucks.Paul Mac, EditorAUDIO MEDIA is a Sustaining Member of the <strong>Audio</strong> Engineering Society.AUDIO MEDIAwww.audiomedia.comAUDIo MEDIA (Europe), 1st Floor, 1 Cabot House, Compass Point Business Park, St Ives, Cambs, UK.telephone: +44 (0)1480 461555 – Facsimile: +44 (0)1480 461550General E-mail: mail@audiomedia.com – Press release E-mail: pr@audiomedia.comManaging DirectorAngela Browna.brown@audiomedia.comProduction EditorLanna Marshalll.marshall@audiomedia.comCirculations Manager/AdministrationJo PerrissFEATURE 40CrEAM StUDIoSAssociate Group PublisherNick Humbertn.humbert@audiomedia.comDesign & Production ManagerJohn-Paul Shirreffsjp.shirreffs@audiomedia.commail@audiomedia.comEditor In ChiefPaul Macp.mac@audiomedia.comRegional Sales ManagerBob Kennedybkennedy@imaspub.com+44 (0)1279 861264Subscriptionssubs@audiomedia.comUK £43News/AMSR EditorJonathan Millerj.miller@audiomedia.comUS Sales ManagerMatt Rubensteinmrubenstein@imaspub.com+1 914 524 5045European (airmail) £60International (airmail) £72Payable in Sterling through UK bankRUSHES 28SAFESoUND DYNAMICS tooLBoXthe contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, isexpressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication butneither IMAS Publishing (UK) Limited nor the Editor can be held responsible for its contents. the views expressed are those of the contributors and notnecessarily those of the Publishers or Editor. the Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.© 2007 IMAS Publishing (UK) Limited. All rights reserved.*Within Broadcast & ProductionAUDIo MEDIA MAY 20085
The complete packageGroove ArmadaKasabianFun Lovin'CriminalsBarenakedLadiesCollege HillProductionsThe layout makes it feel likean analogue desk - then youget all the benefits of adigital console too.Sam Parker,FOH EngineerThe ergonomics aresuperb. I love the userinterface and the Vigives me a crisp,clean sound.Yogi, Monitor EngineerI have found the Vi6to be the most userfriendly digitalconsole on the market.Chris Roberts, <strong>Sound</strong> EngineerThe Vi6 sounds great,is easy to use and takesup very little spacein the truck.Robin Billinton, FOH EngineerIt ’s just such a goodinterface – light yearsbetter than otherdigital desks.Chris Tate, New ZealandPristine sound quality, FOH/Monitor flexibility and an unrivalled userinterface make <strong>Sound</strong>craft Vi the digital console that everybody wants to use.Now a full implementation of features including Lexicon effects andBSS processing, parameter copy/paste and Virtual Vi offline editing makesVi the digital console that no serious engineer can live without.Find out more about the new standard in digital live sound mixing atwww.soundcraftdigital.com
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