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ecording newsstreaming news @ www.audiomedia.comNEW PRODUCTKlark TeknikKlark Teknik has launched theDN530 Creative Quad Gate thatBrand Development ManagerRichard Ferriday believes brings“some exciting new tools to theaudio party.” A key feature is‘Transient Accenting’, a newcreative function providing aneasy way to enhance the attackenvelope beyond merely openingthe gate. This can provide up to12dB of additional transient energyto accent drums and percussioninstruments. It can also be usedto enhance the impact of acousticstringed instruments suchas guitar and piano.www.klarkteknik.com. . . . . . . . . . . . . . . . . . . . .SSL X-Desk Now ShippingSSL has announced that its newcompact mixing desk, the X-Desk,is now shipping. The board fusesa sixteen channel SuperAnaloguesumming mixer and a compactanalogue audio hub together,while remaining small enough foreasy transportation. The unit sportssmooth 100mm faders and dim/cut buttons, plus stereo and monoaux sends, as well as channel andmaster bus inserts. Furthermore,a total of eight X-Desks, or X-Deskand X-Rack combinations, can becascaded via D-Sub connection toprovide up to 160 inputs.www.solid-state-logic.comZoom R16Zoom has released the R16 three-in-one portable digital recorderthat claims to be “the first digital recorder with sixteen-trackplayback and eight-track simultaneous recording utilising SecureDigital (SD) memory.” Wrapping a multi-track recorder, an audiointerface, and a control surface into one lightweight package,the R16 provides further convenience by running on just six AAbatteries. The SD memory enables 32GB worth of recording,equating to up to 100 hours of recording using all 16 tracks.Masa Iijima, CEO of Zoom Corporation commented, “We havelearned a great deal from the success of our H2 and H4n, as wellas HD8 and HD16, our past multi-track recorders. With the R16 wehave brought the most important capabilities from each of theseproduct lines into our design to make a unique and versatile musicproduction solution.” The mixer is able to integrate with most DAWsvia USB to provide seamless transfer of audio, as well as tactilecontrol over software parameters.Zoom+44 (0) 1462 791 100www.zoom.co.jpApogee ONEProviding a pocket-sized, affordable recording solution comes the newONE, a USB music interface and microphone from Apogee.With a footprint only slightly larger than an iPhone, ONE squeezesan impressive amount of qualitycomponents into its sleek frame. The internalreference condenser microphone provideson the move recording and is supplementedby a balanced XLR microphone preampwith phantom power and gain range of +10to 63dB. Also included is an unbalanced¼-inch high impedance instrument inputideal for plug-in and play of guitars, bass,and keyboards. Rounding things off is a linelevel,1/8-inch stereo output for headphonesor unbalanced powered monitors.The interface is designed to work withApple’s Logic, Final Cut, or any Core Audiocompliant application, and features44.1/48kHz, 24-bit A/D and D/A conversion.Apogee Electronicswww.apogeedigital.comNEW PRODUCTAudio Ease – CabinetAudio Ease’s new plug-in, Cabinet,offers guitarists who may not beable to affordSpeakerphonethe chance to usethe company’saward winningconvolution-based emulationprocessing. The sofware featuresfive cabs from Speakerphone, agood live room, the best springreverb, and a whole host of micsimulations.www.audioease.com. . . . . . . . . . . . . . . . . . . . .NEW PRODUCTVienna ImperialThe Vienna Symphonic Libraryteam has announced the releaseof ViennaImperial, “themost realisticsampled pianoever created.”All samples are taken from aBösendorfer 290 Imperial outfittedwith CEUS technology for preciseand extensive audio sampling.www.timespace.com. . . . . . . . . . . . . . . . . . . . .NEW COURSEAbleton LiveSAE Liverpool, best known fortraining the city’s foremostengineers andproducers, hasadded a fourweek AbletonLive Course toits educationalroster. The program will provideintensive hands-on experience withAbleton Live 8, plus use of Vestax’sVCM-600 purpose-built controller.www.sae.edu. . . . . . . . . . . . . . . . . . . . .NEW PRODUCTSKB Mac ProTower CaseSKB has announcedthe release ofthe new 1SKB-R04WMAC RollingShockmount MacPro Tower Casedesigned to accommodate thepowerful new Mac Pro Towersand Mac G5 Tower. The casesprovide portability as well as shockabsorbing protection.www.skbcases.com6AUDIO MEDIA JULY 2009

ecording newsstreaming news @ www.audiomedia.comNEW STUDIOOdds On Records & StudiosLas Vegas has a new recording jewel in its midstwith the opening of Odds On Records & Studios,a two-million dollar multi-faceted recordingfacility boasting the biggest duality console inNorth America. At the heart of the studio’s charmis a proud assembly of some of the finest vintagegear available, augmented by state-of-the-artrecording equipment. Heading up the list is arange of restored vintage tube microphonesfrom Bock Audio that includes AKG, Gefell, andNeumann models. These are joined by originalLA-2A compressors, Focusrite/Neve era outboardgear, classic API audio products, and BlackfaceUREI compressors. High-tech gear comes in theform of Allen Sides’ Ocean Way monitors, 40 x 80Protools I/Os in each room, and Universal AudioA/D converters. The newly built tracking roomalso features a 96-input SSL Duality, with an80-input SSL 9000 K console and an SSL Matrixinstalled elsewhere in the 12,000ft2 building.Ensuring that none of the innovative blend ofvintage and modern gears’ quality gets wastedis three-time Grammy award-winning James‘Bonzai’ Caruso (Chief Audio Engineer andIn-House Producer) and multi-platinum EngineerSean O’Dwyer. Already building a strongreputation, Odds On has attracted A-list stars thatinclude Alicia Keys, Akon, and T.I in recent times.Odds On Records & Studios+1 702 318 6001www.oddsonrecording.comOpen Labs Makes LIMS DebutPresenting for the first time at LIMS this yearwas American company Open Labs, whospecialises in fullyintegrated productionconsoles with onboardcomputers able to runalmost any Windows XPbased DAW or plug-in.Its newest product is the DBeat Pro,“the first professional studio that you can playas a musical instrument.” Features include:3.0GHz Intel Core2 Duo processor, trackballwith two buttons, 4GB of memory, 320 GB ofstorage, twelve-inch resistive touch screen,and a high speed dual-layer 8.5GB/disc CD/DVD burner. Audio I/O options comprise24-bit/96KHz recording with four in/six out thatincludes two phantom-powered PreSonus micpreswith instrument inputs. Bundled softwareincludes Open Labs Riff, Ableton Live 7,Reaper, and Guru.Open Labswww.openlabs.comAbbey Road Launches OnlineMastering ServiceAbbey Road Studios has extended its audioexpertise and enviable heritage to anyone withan Internet connection with the launch of a newservice that provides online mastering directlyfrom the world-renowned studio. Clients can takeadvantage of the studio’saward winning engineersand a delectable range ofhardware and software.Hardware includes the EMI TGmastering consoles with theSADiE 5 PCM8 digital audioworkstation, Benchmark A/D/As, and outboard fromPrism, Weiss, Junger, SPL, and TC Electronics. 2GB ofaudio can be uploaded onto a secure server beforemaking processing decisions, and the finishedmaster can be downloaded in WAV, downloadableDDP Image File, or audio PMCD formats. Tracks canalso be cut straight to vinyl (7-inch and 12-inch) orCD. CD mastering costs GB£90 per track with pricesranging up to GB£250 for an LP album.www.abbeyroadonlinemastering.comAUDIO MEDIA JULY 2009

post newsstreaming news @ www.audiomedia.comMelbourne-based Music andEffects, a Dolby licensed audio postproductionfacility, has recentlyundertaken an extensive upgradeproject that includes the purchaseof three Fairlight Constellation XCSsystems. The facility boasts clientssuch as Arena Films, MelodramaPictures, and Retro Active Films.Dual 3-Bay XCS desks have beeninstalled into the main dubbingstage to work as either a seamlesssix-bay large format desk, or as twoindependent systems.www.fairlightau.comDiary of EventsJuly 14-16Develop ConferenceBrighton, UKJuly 16-18PALME AsiaSuntec, SingaporeJuly 17-19NAMM Summer SessionNashville, USAAugust 23-24The PAL Showcase 2009Toronto, CanadaBT Tower GetsScrub-bed UpAudio technologyspecialist Scrub hasbeen called in toemerging productioncompany BT Mediaand Broadcast tohelp upgrade its liveand post productionfacilities. The new5.1 dubbing theatrefeatures DolbyE and Dolby Digital codecs, a DK Technologies MSD600 Jellyfish meter, and a newPro Tools HD system with ICON D-Control ES console. The ICON will connect to theAvid ISIS storage at BT Media and Broadcast to achieve full media integration. BenNemes, Director of Sales at Scrub commented, “The set-up under Andy at BT Toweris as technologically impressive as it is demanding. The sheer amount of time-criticalthroughput makes the right kit, the right infrastructure, and the right knowledge fromall concerned an absolute must. We are very happy to have been brought in to help.”HHB/Scrubwww.hhb.co.ukWindows Wide Open for Neyrink’s SoundCode for Dolby ENeyrink has released version 1.1.3 of its SoundCode for Dolby E that adds supportfor Windows XP and Windows Vista, plus extra features for Avid Media Composer,Apple Final Cut Pro, and other media workstation systemusers. The standalone software can decode a Dolby E streamfaster-than-real time to BWF files, as well as play back a DolbyE stream file in real time for auditioning using Core Audio orWindows MME sound hardware. Other improvements includean encoder capable of delivering multi-mono BWF files inaddition to interleaved BWF files for direct import into ProTools and Pro Tools plug-in support for Windows XP and Vista.Paul Neyrinck enthused, “I am very pleased to say that now we offer a solutionfor nearly everyone, no matter what system they are using.”Neyrinck Audiowww.neyrinck.comWaves just keeps on churning outquality plug-ins and its latest bundle,the Grand Masters Collection, followsthe tradition. Patching on ten newplug-ins to the original Mastersbundle, the suite offersusers “the precisionand processingpower they needfor subtle or surgicalmanipulation of theirmixes.” In addition toL2 Ultramaximizer,Linear Phase Equalizer, and LinearPhase Multiband Compressor, theGrand Masters Collection nowadds MaxxVolume, PuigTec EQP-1A, PuigTec MEQ-5, Waves DorroughMeters, Stereo Edition, WavesCenter, L3-16 Multimaximizer, L3Ultramaximizer, L3 Multimaximizer,L3-LL Ultramaximizer, and L3-LLMultimaximizer plug-ins.Waves Audio+44 (0) 845 500 2 500www.waves.com. . . . . . . . . . . . . . . . . . . . . . . . . . . .After a two-year search, technicalstaff at Bristol-based post-productionfacility Big Bang Post has foundthe perfect solution for controllingits Pyramix DAWs. eMerging hassupplied them with Smart AV’sTango console after Big Bang’s ChiefDubbing MixerNeil Hipkisshad almostgiven up onfinding aneconomicallyviable solution.Hipkisscommented, “Until I saw Tango,I thought you had to pay five orsix times the price for these kindsof features.”www.smartav.net2009Year AnniversaryBe Inspired. Be Creative.Be the Best, with TL Audiowww.tlaudio.co.ukDesigned and manufactured in EnglandTELEPHONE +44 (0)1462 492090 // EMAIL INFO@TLAUDIO.CO.UK //Already Being the Best...Hank Shocklee • Coldplay • Kaisercheifs • Comissioner Gordon • Damon Albarn • Murray Gold • Dizzee Rascal • Duffy • The Commodores • Courtney Pine • The Prodigy

Mulit-Track Recorder16-track playback and 8-tracksimultaneous recording withSecure Digital (SD) memoryUSB Audio InterfaceHigh-definition 24-bit/ 96kHzrecording capability usingdigital audio softwareSurface ControllerControl each function of yourfavorite DAW software fromthe R16 via USB for easy mixingZoom R16 Recorder:Interface:Controller• High-definition 24-bit/48kHz linear PCM recording in WAV format • Built-in stereo condenser microphones • Includes 1GB SD Card andsupports cards up to 32GB SDHC card • Up to 108 hours 12minutes recording with 16bit/ 44.1kHz linear PCM format • Battery operation forremote recording • USB power for studio operation • Mackie control emulation for popular DAW software including Cubase, Live, Logic, DigitalPerformer & More • 8 Mic inputs/ 2 Outputs (8 x 2) • 8 balanced combination XLR 1/4" inputs • Built-in effects on R16 can be used as outboardeffects as well • 1 Hi-Z input for direct connection of guitar or bass • 48V phantom power on 2 channels • Over 100 built-in effects coming fromadvanced DSP • Connect 2x R16s via USB for synchronized operation and 16 tracks of simultaneous recording capability£429.99 rrpZoom UK, 15 Weston Barns,Hitchin Road, Weston, Hertfordshire,SG4 7AX, UNITED KINGDOMZoom Corporation, 2F, ITOHPIA Iwamotocho2-chome Bldg., 2-11-2 Iwamoto-cho,Chiyoda-ku, Tokyo 101-0032, JAPANTEL: +44-1462-791100 www.zoom.co.jp FAX: +44-1462-791117

PREMIUM LINEMADI / AES Technology . Made by RMEHDSPe MADI128-Channel 192 kHz MADI PCI Express Card1 x MADI I/O . 24 Bit/192 kHzAnalog Monitor Out . MIDI I/O . Word Clock I/OSupport for Time Code OptionHDSPe MADIface128-Channel 192 kHz ExpressCard for Mobile Computers1 x MADI I/O . 24 Bit/192 kHzMIDI over MADINo external power supply requiredMADI . All signals within one optical or coaxial cable. Only twocables interface a full 64-channel application, a stage, a theatre, or aconference hall - lossless - over distances of up to 2000 meters!Today MADI is an attractive and convenient interface technology, as itprovides the simplest method of transmitting audio channels sampleaccurateover long distances. The balance between operating distances,installation costs and overall maintenance is exemplary.RME has developed innovative technologies to make MADI productseven more useful and attractive. RME brought the MADI technologyto perfection and made it affordable as well. The RME MADI productscombine analog I/Os and all common digital audio standards suchas AES/EBU, ADAT and TDIF into one MADI audio system. Any MADIinstallation will remain an open system, easily expandable, using RMEdevices or products from any other major pro audio brand.Remote Control. All RME MADI devices can be remotely controlled viaMIDI over MADI from a remote software. Allowing not only placing thedevices on stage, near the microphones, but controlling them fromyour mobile computer.HDSPe MADIface and HDSPe MADI are fully compatible to all deviceswith MADI interface. They can be used perfectly in combination withRME’s own MADI series products, like the high-end MicPreamp Micstasyor the ADI-6432 - a bidirectional AES/EBU frontend with 64 channels.Both cards provide full support for 56 and 64 channel modes anddouble and single wire technology (96k frame) for 96 kHz. Full 64channel support can also be found in the hardware mixer TotalMix.All 64 inputs and 64 playback channels can be routed and mixed to 64physical outputs completely freely, which translates to an 8192 channelmixer.Micstasy8-Channel high-end Preamp & AD Converter24 Bit/192 kHz . Analog to AES/EBU, ADAT or MADI85 dB Gain Range . AutoSet function . Fully remote controlledM-32 AD / M-32 DA32-Channel High-End 192 kHz reference AD & DA convertersAnalog to/from MADI and ADATFully remote controllablewww.rme-audio.deEngineered and manufactured in GermanyUK distributionSynthax Audio UK Ltd.www.synthax.co.uk

geo focus GreeceSantorini’s Studio in the SunAlongside its rich heritage and idyllic Aegean Sea setting, the Greek island of Santorini now boastsa five star residential recording complex. JIM EVANS reports.MEDIA MATTERSState-run broadcasters enjoyed a nearmonopolyuntil the late 1980s, when newcommercial TV services quickly gaineda lion’s share of the audience. PublicTV lost a large slice of its advertisingrevenue as a result. News, domesticallymadevariety programmes, comedies,and game shows dominate the peaktimeTV schedules.Broadcasting is relativelyunregulated by European standards, andmany of the country’s approximately1,700 private radio and TV stationsare unlicensed. An attempt was madein 2001 to impose some order on thecrowded FM dial in Athens, promptinga political row.VITAL STATISTICSPOPULATION 11.2 million(UN, 2008))CAPITAL AthensMAJOR LANGUAGE GreekMONETARY UNIT 1 euro = 100 centsMAIN EXPORTS Textiles andclothing, food,oil productsGNI PER CAPITA US$29,630(World Bank,2006)INTERNET DOMAIN .grINTERNATIONAL +30DIALLING CODERecording studios located onexotic islands are not a newidea – witness Air Montserrat,Capri Digital, Ibiza Sound, CompassPoint – but it’s been a while since anew player joined the sector. Stepforward Black Rock. Located on theSouth Western tip of the idyllic islandof Santorini, the southernmost of theCyclades, Black Rock represents thefulfillment of a dream of owner/ManagerKostas Kalimeris.He states, “It’s been a dream of mineto own and operate a studio of thiscalibre since I began engineering at17. I wanted to have a space thatwould inspire musicians and artists todo what they do best. Create.”As the well-worn cliché goes, itwould appear that little expense hasbeen spared in developing Kostas’dream. The studio and all that surroundsit is in the five star category.And the studio is the latest to be representedby UK-based MIloco.“Black Rock holds the key to a worldyou thought you’d only ever dreamof working in. Its sumptuous accommodation,breathtaking surroundings,and exquisite studio togetherembody everything that recordingartists desire: complete luxury andbliss combined with top-end studiofacilities – the ultimate combinationfor any creative project,” says Miloco.“Guests will have the sole pleasureof a stunning three-storey six-bedroomCycladic villa, boasting manytranquil living areas, a luscious pooland Jacuzzi, several outdoor terraces,and of course a pristine SSL roomwith J-series console and Genelecmonitoring.“Sitting high on Santorini’s incrediblevolcanic landscape and immersedby panoramic views of the sea, neighbouringislands, beautiful historicsettlements, and spectacular Aegeansunsets, Black Rock sets a supremenew standard for residential studios.A phenomenal recording destination,it provides clients with a creativeexperience like no other. Take a breakfrom the real world and escape to itsparadise…”The main villa has been built on acliff-top area of 6,700m2, close to thefamous Lighthouse of Santorini, and isengulfed by some of the most breathtakingoceanic views in the world.Spread across three large floors,the house comprises several living,dining, and reception areas providinga choice of secluded indoor hangouts,sheltered from the baking SouthGreek sun. Black Rock contains sixbedrooms, five of which serve guestsand one used by staff.The outdoor areas at Black Rockare magnificent. Four decked terracesline different sides of the villa, whereguests can relax, sunbathe, or dine.There is an outdoor pool currentlybeing built plus a Jacuzzi and barbecuearea.The studio at Black Rock is locatedon the west side of the house onthe ground floor. Designed by RogerD’Arcy of Recording Architecture, itfeatures a variety of different areasmaking it suitable for both trackingand mixing projects.The studio is accessed through itsown external entrance, which leadsonto a large 40m2 day-lit controlroom looking out over the sea. At thecentre of the room is an SSL 9080 JSeries console with Ultimation andTotal Recall. The desk is joined by anawesome monitoring setup, comprisingGenelec 1035B speakers, and achoice of KRK E8 and Yamaha NS10nearfield monitors.A Pro Tools HD2 rig runs on anApple Mac Pro. There is a good selectionof outboard including Neve 1081Classic pre-amps, Manley, Focusriteand Avalon dynamics, and a variety ofFX processers. Clients will have accessto a great choice of microphones,including several Shure, Sennheiser,Neumann, and AKG models.Situated next to the control room isthe main recording area, which measures25m2. This long and tall roomfeatures a 6m high arch-shaped ceiling.At one end of the room are somesea-facing windows letting plenty ofnatural light into the space.On the other side of the live roomare two good-sized recording booths.The first is a specially designed 15m2drum booth. At the back of the boothis another window facing the sea andthe pool, and at the front is a largeglass divide into a smaller booth,which serves as an isolation space forrecording vocals or guitars. This smallbooth is adjoined to the villa’s kitchenand dining area, providing an additionalentrance and exit to the studio.The design of the studio has allowedfor extensive visibility between all ofthe separate areas, through a numberof soundproof windows and thickglass doors. Each of the studio’s roomshas the benefit of natural daylight.An additional feature, which the studiowill provide, are special tie linesconnecting to Black Rock’s bedroomsand outdoor spaces, providing clientswith further recording options. ∫...........................INFORMATIONW www.miloco.co.uk12 AUDIO MEDIA JULY 2009

Plasa ’09 PreviewThe Show Under SpotlightAudio Media talks to PLASA’s Director of Events, Nicky Roland, about what to expect from this year’s‘number 1 show for the entertainment technology industry’.Audio Media: So, firstly, what’s new atthis year’s PLASA09 show, and what arethe highlights?Nicky Roland: There won’t be changefor change’s sake, but there will be furtherdevelopment and improvement of theshow to ensure that it delivers a valuablebusiness experience and stimulates newindustry opportunities.Industry networking and a focus on realbusiness is something the PLASA Showfacilitates extremely well, so we plan tostrengthen this aspect with the launchof a new networking feature in themiddle of Earls Court 2.Education and learning continueto be an important elementof the show. We are planningsome themed days with relevantseminars and workshops, whilstsome of our exhibitors will beoffering classroom-style producttraining sessions. 2009 will alsosee the introduction of a SmallBusiness Pavilion for exhibitorsnew to the show.AM: How has PLASA09 changed and adaptedto the market since the first PLASA show?NR: Since the first PLASA Show over30 years ago, the event has evolved inparallel with the major developments andtrends in the industry. Last year saw thehighest attendance for five years, [which]demonstrates PLASA’s continuing relevancethrough development, and how well-runexhibitions and events actively complementthe digital and internet ages.One of the key differences betweennow and 30 years ago is the show’s rolein reflecting wider industry and politicalinitiatives. There were numerous governmentand not-for-profit organisations representedlast year, and we also hosted the launchof the Mayor of London’s ‘GreeningLondon Theatre’ campaign, reinforcingour leadership position regardingsustainability in the sector.AM: What does the show offer to the industryin these challenging times?NR: The past 12 months have shownhow valuable trade shows can be inkeeping business flowing through thesector. There’s a major gain to be had inthe industry coming together in a liveexhibition environment to showcase itsnew technologies and expertise, as well asto share solutions addressing the currentNicky Roland, PLASA's Directorof Events.situation. A professionally run exhibitionoffers excellent new business opportunities,and can help companies can find themselvesbetter placed to trade their way out ofrecession.AM: Which sectors do you believe are growing?NR: Clearly those working in the constructionand corporate events markets are findingthings difficult at present, with clientshaving reviewed projects/strategies andeither frozen or slashed budgets.However, there are some indications thatthings are beginning to open up slightlyon other fronts and there aresectors where things are morepositive – the touring, festivaland theatre markets seem to bebucking the trend for instance.AM: How many exhibitors arebooked?NR: At the time of writing theshow floor space is 80% booked.In audio terms, all the leadingmanufacturers and distributorshave committed to the event and we aredelighted to welcome several new andreturning names including Nexo, Cadac,dB Technologies, Prism Sound, andR K Sound Engineering.AM: What seminars will be on offer, and canyou tell us a little about these? Is there anythingparticularly enticing?NR: This year, for the first time, there willbe two Gottelier Masterclasses.The first will see John Stadius ofSoundtracs/DiGiCo, discussing the history ofmixing console design from the earliest daysof Soundtracs to the latest moves beyondDSP, and possible future trends in consoledesign. The Masterclass starts on Monday14 September at 3pm.The second Masterclass will be presentedat 5pm on Sunday 13 September, by TonyAndrews of Funktion-One. Tony will presenta debate on ‘The Importance of SoundQuality’, a presentation about the detrimentaleffect of convenience technology on musicsound quality, how to reverse this trend,and why high fidelity is important.The Education & Learning Programmewill feature other important pro audiosessions, including one by the renownedacoustician Peter Mapp entitled‘Loudspeakers, Rooms, and Listeners’.AM: How many ‘Awards for Innovation’ willbe distributed?NR: A total of eight Awards will be presentedat this year’s Awards Ceremony. As always,the judges will be looking for productsand ideas that demonstrate not just lateralthinking, but forward-thinking too andwill be looking for some ground-breakingdevelopments. With sustainability issuesrising up the industry’s agenda, this year’sEnvironmental Award also becomesincreasingly significant.AM: What are your expectations for visitorattendance?NR: Visitor pre-registration is currentlyrunning level with that of 2008 – which is avery positive indication and something wewill be building on in the months ahead.AM: According to your promotional materials,PLASA is ‘the number 1 show for theentertainment technology industry’.What makes that so?NR: A unique combination of factors: youcan see the best global event, entertainment,and installation technologies under one roof– it’s a real ‘one stop shop’ for anyone in thebusiness and it hosts an exceptional numberof international product launches.We understand the importance of gettingpeople together, so we ensure our visitorfacilities are second to none… providingexceptional opportunities to meet, network,do business, and socialise. ∫................... .................PLASA09Earls Court, London13-16 September, 2009INFORMATIONAUDIO MEDIA JULY 200913

Special Report1814: Rhythm of a NationFact: the American National Anthem was penned in 1814. And a better world through joint effort was surely likewise onJanet Jackson’s mind as she, Jam, and Lewis conspired on her hit album of 20 years ago, Rhythm Nation 1814.MOJO WORKING discovers the vein of ‘God Bless America’ that continues throughout.Released 20 years ago, JanetJackson’s Rhythm Nation 1814,the singer’s fourth studioalbum, confirmed the youngerJackson’s position in the rarifiedatmosphere already occupied byher brother Michael. Rhythm Nationbecame the only album in Billboard’shistory to spawn seven top five hitsingles (Michael, with Thriller, andBruce Springsteen, with Born in theUSA, had earlier achieved seven top10 singles) and is the only album tohave generated #1 Billboard hits inthree consecutive years: Miss YouMuch (1989), Escapade, and BlackCat (1990), and Love Will Never Do(Without You) (1991).Jimmy Jam (born James HarrisIII) and Terry Lewis, having verysuccessfully shepherded Janetthrough Control, her first albumproject with the production team,were the obvious choice for thefollow up. But this was not to be acarbon copy of the previous album.“It was sonically different and itwas certainly thematically different,”recalls Jam. “Even though herlast album was called Control, thiswas her breakthrough record as awriter, also.”The making of Rhythm Nation,which lasted six months, beginningin late 1988, took place during therelocation of the production team’sFlyte Tyme studios in Minneapolis.“It was the first to be mixed atthe new studio and the last tobe recorded at the old studio onNicolette Avenue,” says Jam.The old studio featured a singleroom with a Harrison MR4 console.With the pair working on multipleprojects simultaneously, a previouslyunused garage space hadbecome a second room, outfittedwith a Harrison Raven. Jam wasin the smaller room working on asong when Janet walked in andasked who it was for. “I said, ‘you’,”Jam recollects. “I pointed at a keyon one of the keyboards, a stringpart, and said, ‘press that’.She ended up playing the stringpart on the chorus of the song thatbecame Miss You Much. That wasthe start of the record.”It was during the songwritingphase that the project began toevolve into a socially consciousconcept album, according to Jam.“We would always have the TV onin the lounge, and we started gettingreally affected by whatwe were watching on CNN orwhatever was on.”If Janet got stuck on a lyric,Lewis, busy also supervising thestudio relocation, would step in,says Jam. “We had come up withthe theme for Livin’ In A World (TheyDidn’t Make). Janet knew what shewanted to say but couldn’t figureout how to say it. Terry walked inwith wallpaper and carpet samples.I gave him the concept and heproceeded, in about 15 minutes,to bang out the lyrics.”The typical Flyte Tyme writingprocess often began with arhythm track. Control had utilisedLinn Drum, but the producers,ever eager to use new technology,brought in an Emulator SP-12sampler/drum machine for the newalbum. “I set it up and started messingaround, heard some sounds Iliked, and we ended up cutting thetrack to what would become LoveWill Never Do, Escapade, and MissYou Much,’” says Jam. As for the restof the tracks, “We would trigger differentsounds but the beats wouldbe sequenced on the Linn Drum.[Engineer] Steve [Hodge] wouldeven sometimes plug in a differentdrum sound for a section of a songduring mixing.”Other than for rhythm patterns,the pair eschewedsequencers.“If you listen tothe beginning ofRhythm Nation,for instance, withall the starts andstops, I was justturning thedrum machineon and off.Even the progressionsweren’t four bars– one would be three, one wouldbe five and a half. We then wentback and figured out how to fillthe spaces, with a vocal sample ora sound effect, to make it unique,”says Jam.“At that time, we always playedbass together,” comments Lewis.“It’s a feel we like, bass andkeyboard bass together.” Jam’skeyboard bass parts on songs suchas State Of The World and Alrightwere played on the recentlyintroduced Korg M1.The pair took a low-techapproach to flying in backgroundsand vocal samples with a PublisonInfernal Machine or AMS DMX1580, triggering events by hand.Two songs were also built usingsamples: Rhythm Nation, whichtook a guitar lick from Thank You(Falettinme Be Mice Elf Agin) by Sly& the Family Stone, and Alright,which sampled Think (About It) byLyn Collins. “I loved the idea of sampling.It gave another life to a reallygreat song. We were musicians, sowe looked at it as a musical thingrather than a crutch,” explains Jam.The new Flyte Tyme facilityfeatured Harrison Series 10 desks,among the first digitally automatedanalogue consoles. According toJam, “Steve did a bunch of automatedpanning. We were trying toget this urban, street sound, andto call attention to something wethrew it in one speaker then movedit to another. There were a lot of earcandy things like that.”The biggest challenge wasJanet’s voice, according to Jam:“We would create these big,aggressive, loud tracks for her, andshe has a soft voice.I always thought thatit was almost likeanother instrument,so it wasn’t aboutmaking it loud but justtucking it right into thatspot. Where Steve wasamazing was fitting hervocal in where it neededto be – we called himVocalmaster!”Apart from the title track, whichincludes other vocalists, and somelow harmonies from the producers,“She did 100 per cent of the vocals;she has a big range. We thoughtthat was important, because thatway it’s truly her record,” he adds.Plus, he says, “She’s not the kindof singer you sit and listen to, she’sthe kind of singer you sing alongwith. We would always stack theharmonies in order to bolster that.She worked really, really hard onthat album. There are some tremendousharmonies on Love WillNever Do, for instance, someamazing stuff.”A Jam and Lewis track wasn’tfinished until some final overdubswere added during mixdown(that’s still the case). “As much aswe liked the drum machine wealways tried to have some liveelements on the track. It mightbe a bell tree or wind chimes or avibraslap. It was the polish,” saysJam, who shares that they evencoined a phrase for those overdubs:“It wasn’t done until we hadadded ‘pings and zings.’”. ∫© Copyright Mojo Working International2009. All Rights Reserved.Thanks to Mojo WorkingInternational for putting this featuretogether. Mojo is a PR company forthe global recording, post,and creative markets.www.mojoworking.comLOS ANGELES, CA - SEPTEMBER 04: Singer Janet Jackson presents the BMI Icon Award to her brothers at the 2008BMI Urban Awards held at the Wilshire Theatre on September 4, 2008 in Los Angeles, California.(Photo by Lester Cohen/WireImage, 2008)14AUDIO MEDIA JULY 2009

The M7 Reverb30-day money back trial to convince you it’s the best ever.As a recording professional, you undoubtedly, use reverb every day. So, doesn’t it make senseto use the best there is? The Bricasti M7 is now considered to be the finest reverb evermade. Its halls, rooms and plates are superior to all that we’ve heard up until now, whilst itschurches, ambience and open spaces bring a whole new dimension.Not convinced? Well how about this. Try the Bricasti M7 in the comfort of your owncontrol room and if after 30 days you’re not convinced it’s the best reverb you’ve ever used,you can return it and owe nothing.Participating dealers: Digital Village all stores, KMR London, Funky Junk, StudiocareDistributed by SCV London: Call 020 8418 1470 for your nearest dealerwww.scvlondon.co.uk

Broadcast ReportTwoFour54STEPHEN BENNETT talks to Wayne Borg of Abu Dhabi’s major new media centre, twofour54.In October 2008 I was invited, along with mostof the world’s media journalists, to Abu Dhabito witness the launch of the Emirate’s newMedia Centre. The actual name of the facilitywas kept shrouded in secrecy and at the presslaunch in, what was effectively a high tech, airconditioned tent, several speakers, includingTony Orsten, the Chief Executive Officer of thenew project, spoke about the new venture infront of the journos and His Highness SheikhMohammed Bin Zayed Al Nahyan, Crown Princeof Abu Dhabi. Then, with a flourish of synthetictrumpets and lights, the project’s brand nameand logo were revealed – it’s called ‘twofour54’.The name represents the geographicalco-ordinates of Abu Dhabi – a fact lost on some ofthe, shall we say, more ‘arts orientated’ journalistspresent. Orsten, whose path to the middle eastwas via Viacom, introduced the conceptual basisof the zone; to provide extensive services andtraining for Arabic people to produce servicesfor Arabic consumers in Arabic – films, radio,music, and all other manner of audio and visualmaterials. twofour54 incorporates partnershipsfrom around the world including the BBC, CNN,the Thompson Reuters Foundation, The FinancialTimes, and Random House – who will providetraining, experience, and services for the newventure. Though the media launch was large onconcept and aims, it was short on the precisedetails of the technical facilities that would beavailable when the centre was up and running.So, as the strains of Duran Duran’s music playedout on the closing evening’s party, I was noclearer as to what twofour54 would actuallybe providing with respect to equipment andfacilities for its aspiring producers and students.A Year Later…Fast forward to 2009 and I’m speaking to WayneBorg, Chief Operating Officer at twofour54 andthe man who is responsible for developingand managing the company’s strategicoperations, to finally find out more. “I joinedtwofour54 in March 2008, bringing knowledgeand experience of the global media industryspanning Europe, Asia Pacific, Latin America, andRussia,” says Borg. ”Previously I was with UniversalStudios and responsible for leading all aspects ofUniversal’s commercial activities outside of NorthAmerica. I’ve also held senior positions at WarnerBros and Disney.” twofour54 intaj is where themain state-of-the-art technical facilities for postproduction and production are based, and theseare broken down into several areas of facilitiesand services – as Borgexplains. “twofour54 intajhas five TV productionstudios ranging in sizefrom 60m2 to a large650m2, all equipped withthe latest High-Definitionsystems,” he says. “Skilledtechnical, operational, andcreative teams will makeup the highly qualifiedin-house workforce,while a carefully selectedfreelancer pool will also be available.” intaj serviceswill be available either wet (fully staffed) or dry(equipment and studios only), and also offerextensive post production facilities with 22 suites,including those for high-definition video editing,audio post-production, graphics, and high-endcompositing suites. Media Management will bean important part of twofour54 intaj, accordingto Borg. “It is the only commercially availablefacility in the Middle East featuring stateof-the-artmedia asset management systemsfor indexing and cataloguing of content andelectronic archiving facilities, with redundancyand disaster recovery systems,” he says. “There willbe broadcast and connectivity services, satelliteuplink services, fulltime and occasional uplinkservices to different satellite platforms, satellitedownlink Services, TVRO (TeleVision ReceiveOnly) services from all the satellites covering AbuDhabi and other digital Satellite Platforms.”The TeamAlong with Borg, twofour54 has recruited anexperienced technical team to assist with theoperation of this major facility. Hasan SayedHasan, Head of Media Technology and Head oftwofour54 intaj, has been working in the mediaindustry for the last 16 years, holding seniorpositions with various TV networks based inLebanon and the UAE (United Arab Emirates).As a key founder of Al-Rai TV, the first private TVstation in Kuwait (2003),he was responsible forbuilding state-of-theartproduction andbroadcasting facilitiesand was also ChiefTechnical Officer ofCNBC (Consumer Newsand Business Channel)Arabiya in Dubaiwhere he set up CNBCAfrica broadcastingfrom Johannesburg.In 2007, he received theBroadcast Engineer of the Year Digital StudioLeadership Award for his efforts and contributionto the growth of broadcast and production inthe region. Martin Mueller-Karera, OperationsDirector, has had long experience in the mediaindustry in Germany and Europe. Before joiningtwofour54 (after managing Media Operations forthe Al-Jazeera English Channel in Doha), he heldsenior positions with CTV in London, Disney TV,Nickelodeon TV, and RTL2 in Germany. OmranAbdallah, Engineering Director, has around15 years of experience in the regional mediaindustry. He was Senior Broadcast Managerwith MBC Group, where he was responsible forsetting up and maintaining MBC’s Broadcast andProduction Centres around the Middle East.I asked Borg why he felt Abu Dhabi neededthe facilities offered by twofour54 at this time.“To understand our technical ambitions, we mustfirst look at why twofour54 was established.>16AUDIO MEDIA JULY 2009

While there are many regional TV channels andthe film industry is well established, a sustainablemedia and content industry covering the fullrange of media platforms including broadcast,digital, gaming, publishing, and music doesnot exist – yet the demographic of the regionrepresents enormous potential,” he says.“There are 300 million people in the Middle Eastand North Africa (MENA) region, all bound by acommon language, 60% of whom are under theage of 25 with a great appetite for entertainmentand leisure consumption. On top of this, forecastsfor advertising spend remain robust across allindustry sectors, and this will fuel contentproduction budgets.” – though whether theseprojections remain valid in the current economicclimate is possibly uncertain. Borg continues;“twofour54’s vision is to establish a sustainableArabic media and entertainment contentcreation sector; a regional centre of excellencewhich is internationally renowned. Most pressingis the need to develop and build the talentpool, both in terms of numbers and the skill set.This is the role of twofour54 tadreeb, our trainingacademy, whose task is to take existing mediaprofessionals and up-skill and re-skill them tothe very highest international standards usingthe latest technologies. It also involves explainingto school leavers and college graduates howsophisticated and diverse the media industry is,and to encourage them to view it as a seriouscareer choice when planning their futures.”little in the way of concrete information as tohow the aims could be implemented. Since then,the technical side of things have been firmedup so we now have some building materials forthe road itself. “The intaj facilities are currentlyunder construction, with factory acceptance ofsystems well underway,” says Borg. “This is beingdone in the UAE by Sony and should be completeby the second quarter of 2009. This process andfurther factory acceptance should take about twomonths with the aim of launching in quarter threeor four to take advantage of the peak productionperiod around the month of Ramadan.” Thefacility will have five fully digital TV ProductionStudios with 40-channel and 56-channel CalrecOmega Audio Consoles – expandable to a totalof 120 channels for large audio recording venues.The consoles are linked together using the CalrecHydra Networked Audio system, which offers agreat deal of operational flexibility. There’s also alarge selection and range of microphones to serveany type of live audio recording session – mainlyfrom Sennheiser.“For audio post production we have two>Bricks And MortarAt the launch last year, we were presented withan overview of the ‘road map’ for twofour54, butTHE headphone companyHeadphonesby Ultrasonestand for well-definedexclusiveness andprofessionalismTake a closer lookThe options are yours to explorewww.ultrasone.comAUDIO MEDIA JULY 2009 17

ooms equipped with 5.1 digidesign Pro-toolsHd setups with d-Control eS, dynaudio air seriesmonitors, Neumann u87 microphones for voiceover recording, and a large selection of plug-insand VST instruments for musiccomposing purposes,” says Borg.“as the talent pool grows, we canstart to develop a sustainable,regional media and contentindustry. This will be driven bytwofour54 ibtikar that will beworking with creative talentfrom the region to provide thefunding and business expertiseto get media businesses off theground.” Having spent a few daysin the searing heat and dry airof abu dhabi, i was interestedto hear if Borg thought theremay be any particular technicalproblems that may manifest themselves in sucha climate. “We do not foresee any issues withthe climate except for outdoor shooting whichis difficult during the summer season,” he says.“From a technical support point of view, we havea highly skilled in-house engineering team whowill maintain our facilities, and also extend theservices to offer expertise and“While it’s patently obviousthat there is a need forregional productionfacilities and content inthe Arab world, only timewill tell if Abu Dhabi’sambitious aims will cometo fruition…”support services to partnercompanies within twofour54.as far as maintenance isconcerned, the uae is theregional hub for all majorequipment suppliers whohave support offices locally.”“From a technicalperspective, it is importantthat our international partners,and any local and regionalcompanies looking to basethemselves at twofour54or even just want to useour facilities, have accessto the very latest international technologiesand equipment. We must also stay abreast oftechnological developments in the productionindustry. The same is true for our training offering.if we are to build the talent pool, they need toknow they are learning the latest technologiesusing the same state of the art equipment thattheir counterparts anywhere in the world areusing. These new businesses, as well as existingpartners, will increase the need for state of the artproduction and post-production facilities, and thisis where twofour54 intaj comes in. So you see howtwofour54’s advanced ecosystem, which offersinfrastructure, training, a new business incubator,and production facilities all on one site – allworks together to create arab content by arabs,for arab audiences.”Though productions and training hadnot actually begun while this article wasbeing compiled, Borg anticipates that thebroadcast facilities will be ready in june withproduction facilities ready in august of 2009.‘We will hope to begin production soon afterthat, and currently have some exciting projectsin the pipeline once we start operations,” he says,“among them are TV feature films by one of thelargest regional producers – but we cannot revealmore than that at this stage. “www.schoeps.de/showroom/Best In The World For The Eastaccording to Borg, “twofour54 intaj is bringing thebest of what the world can offer in versatile andmulti-purpose production and post productionstudios and facilities to abu dhabi to servethe middle east & North africa region,” he says.Wayne Borg of twofour54.Excerpt from a contributionto an Internet forum:“Wow, one of thebest online presentationsI've everseen.”Unrivalled innovationa practical comparisonof recordingtechniques“as the twofour54 ecosystem begins to takeshape, and we start to see the establishmentof a sustainable, vibrant arabic media andentertainment content creation industry, thenwe will see increased demand for our facilitiesboth from within the region and internationally. “While it’s patently obvious that there is a needfor regional production facilities and content inthe arab world, only time will tell if abu dhabi’sambitious aims will come to fruition against thecombined pressure from other local media Zones(such as that in dubai) and the current economicclimate. What is certain is that twofour54 is startingfrom a strong technical base with state of the artfacilities and a strong technical team. ∫SCHOEPS GmbHSpitalstr. 20D-76227 Karlsruhewww.schoeps.demailbox@schoeps.deTel. +49 721 943 200....................................www.twofour54.comINFORMATION18audio media july 2009

PCM-H SeriesMulti-track recorder and post-production softwareLRX2RECORD | EDIT | MIXThe near fanatical loyalty of SADiE users istestament to the success of a product range thatprovides all the tools needed on location, in amobile truck, recording studio or production office.For multi-track editing, mixing, working to pictureor in CD mastering, SADiE delivers consistent lowlatency,bit-accurate, phase-aligned recording andplayback every time. SADiE has the slickest, fastestand most user-friendly interface for editing. Nowpart of the Prism Sound family, SADiE will continuedeveloping products with the Prism Soundphilosophy of focusing on performance, technicalexcellence and customer service.PCM2Multi-channel location work stationRadio production desktop editing systemAPrism Sound Business21 Pine Street | Rockaway | NJ 07866 | +1 973 983 9577The Old School | Stretham | Cambs CB6 3LD | +44 (0)1353 648888 | sales@sadie.com | www.sadie.com

An impressive new activenearfield from the companythat invented 20/20 sound,concludes ANDY STEWART.Like my Quested VS2108As, the Event Opals don’t tryand defy the laws of physics by attempting to wring ahuge sound out of a small cabinet. The enclosures areextremely well constructed from heavy-grade injectionmouldedaluminium (their overall weight is over 21kg).The curved cabinet design, like many modern nearfields, isconstructed to minimise diffraction and internal cabinetresonances, with the added bonus of providing extra rigidityand strength, and therefore clarity. The patented frontfacingslotted bass reflex ports unusually wrap themselvesdown each side of the cabinet, looking like goal poststhrough a fish-eye lens.The engine is a Class AB all-analogue amplifier design,providing 750 watts of peak power. On the frontpanel, hidden beneath a removable rubber lid,lies an array of rotary stepped controls. On thefar left is a five-position stepped level control.The next dial along is a three-position ‘Space’control, which provides bass compensation forspeakers should they be positioned in a half space(against a wall) or a quarter space (in a corner).The next three controls relate to the ‘Q’, frequencyand cut (labelled ‘depth’) of a bass EQ filter thatworks (again in steps) between 40 and 280Hz.The next two controls are also five-positionswitches that manipulate the high and lowshelving filters up and down at 5kHz and 200Hz.The final switch controls the intensity of theilluminated ‘Event’ logo on the front panel.apparent ease. Its sharp external outer edge makes thedriver look every bit as tough as the material from whichit’s constructed, and the overall package seems bulletproofand ready for action, even if the aesthetic seemsalmost too aggressive to my eye.The ULD1 high-frequency driver is made up of a oneinchberyllium copper dome, which emits low-distortiontop-end out past 22kHz, again partly due to its extremestrength and rigidity. This super-lightweight highfrequencymetal driver offers a fidelity and dynamicresponse that’s not for the feint of heart.In UseI’ve done a lot of listening to the Opals in recentweeks and to cut to the chase, they’re one of the mostrevealing two-way reference speakers I’ve ever heard.They bring out the brutal details with finesse, andtheir tonal balance is excellent and their bottom-endextension very impressive.The stereo image presented by these powerfulspeakers creates the perfect illusion: the monitorsthemselves seem to vanish from view, leavingyou with nothing but a big, glorious soundstage inwhich to work. Very few speakers have ever trickedmy brain to this extent before. In the dark, andwith the Opals’ backlit ‘Event’ logos switched off,it’s as if the whole control room is the speaker.They don’t just make you look left and right, butsomehow up and down, near and far as well.EVENT OPALNearfield MonitorTHE REVIEWERANDY STEWART is a regularreviewer for Audio Technologymagazine.It's In The DetailThere’s another particular detail I’d like to mention here:when the speakers are first switched on, they enter aself-diagnostic mode (evidenced by a solid white glowfrom an LED on the front right-hand side of each cabinet).This mode lasts for around 22 seconds all up –just long enough to have you reaching forthe volume control as you puzzle over thelack of any meaningful signal. I made thismistake on day one… and by the time thespeakers finally kicked into life I’d crankedmy Neve’s monitor pot. The resultingsound was that of a freight train crashingthrough the front wall of the studio. I onlymade this mistake once.The large waveguide surrounding thehigh-frequency driver is also rotatable(after removing four screws), whichallows the speakers to be placed ontheir side. The speakers come suppliedwith rubberised feet that sit underneaththe monitors equally well in eitherposition and even the backlit Event logois rotatable. Finally, they have a sturdyhandle on the top rear of the speaker tohelp with lifting duties.The main eight-inch driver canproduce a raw signal that stretchesfrom an impressively low 30Hz to a high10kHz, with its published 1000W powerhandling not something I was really prepared to testthe boundaries of.The cone itself is made from a lightweight long-strandcarbon fibre composite that’s incredibly stiff to the touchand very resistant to physical distortion, as it pushesa broad range of frequencies out into the world withThe placement of sounds inside this three-dimensionalspace is quite incredible; asymmetrical reverbs staylocalised to where they’ve been panned, acousticinstruments draw you to their position with startlingresolve, and the air around individual elements canbe heard breathing, rising, and falling with the music.Upright pianos reveal their imperfections and tuningissues, vocal edits demand greater scrutiny, and kickdrums sound like they’re being played right betweenthe monitors.Making Light WorkThe Opals also make light work of big dynamics.This is one of their great strengths, in fact. Most studiomonitors do a reasonable job of playing masteredCDs, but many come up short during the setting upof a kick drum’s signal chain, for instance. Here, theOpals shine, handling a typical tracking session withnonchalant ease. ∫...................................INFORMATION£ GB£2,172.18 per pair (exc.VAT)A Event Electronics, AustraliaT +61 2 9648 5855W www.event1.comA UK Distributors: Source Distribution, Unit 6, PembrokeBuildings, Cumberland Business Estate, London, NW106RET +44 (0) 208 962 5080W www.sourcedistribution.co.uk20AUDIO MEDIA JULY 2009

Lexicon Reinvents ReverbThe PCM96 Stereo Reverb/Effects Procesor - 28 new and legendaryLexicon reverbs and effects delivered by powerful hardware processors,controlled and automated by your DAW.What The Press Say“This is an impressive-sounding, and impressively flexiblereverb machine...Overall, I found that the operating experiencewas just like having the best reverb plug-in in the world.”Sound On Sound“The PCM96 offers the ease of plug-in integration but a soundthat’s leagues above what any software-based reverb can deliver... a sound that flatters almost anything passing through it.”MusicTech“The classic bloom of the reverb that comes from every algorithmis quite definitely amazing and something to behold if you’venever used a high end reverb before.”Audio MediaGet the full story at www.lexiconpro.comand www.soundtech.co.uk/lexiconTECHNOLOGYDistributed in the UK and Eire by Sound Technology Ltd | 01462 480000 | www.soundtech.co.ukA Harman International Company

If you have a less than ideallistening environment,SIMON TILLBROOK has foundthe perfect way to make itperfectly ideal.Having a set of monitors you understand and trust isone fundamental piece of our system setup, and wehave had numerous systems designed to ‘flatten’their response in any given room. Most tend to focus on thespeaker in isolation with little regard for the room itself, andthe equalisation required to correct the many issues it bringsto this problem.Trinnov Audio was established in 2000, and hasfocused on research into the enhancement of recordingand reproduction accuracy of audio in 3D. Back in 2005,Trinnov introduced the Optimizer, a monitor correctionsystem for use with multi-channel monitor arrangements,which has found fans in broadcast and post with the likesof ORF, Fox Studios, and the BBC, to name but a few.Trinnov has now expanded the range of acousticcorrection systems with the Optimizer ST, a stereo monitorcorrection system based on its larger counterpart withboth frequency and phase correction, and the additionof two dual-active crossovers (up to four-way).ListeningIt is possible to store calibration settings with theappropriate correction, so a number of engineers couldhave their custom monitor settings recalled at the touchof a button. This also lends itself to having a number ofsettings for the same monitor setup for different areasof your control room, such as a client area.I ran through the calibration process for a number ofnearfield and farfield monitor setups in different areas ofthe control room to get a feel for how well the TrinnovOptimizer ST could deal with such variation.Listening purely from the perspective of continuityfrom position to position, the Trinnov Optimizer STadapted the monitor delivery remarkably well. The overalltone and balance remained, despite quite considerablevariations in both room acoustics and monitor speakertype. I could feel confident that my clients within thecontrol room space could hear a mix I was listening toaccurately.TRINNOV STEREO OPTIMIZERMonitor Correction SystemTHE REVIEWERSIMON TILLBROOK is the PrincipalMusic Tutor at Islington MusicWorkshop in London. The rest ofhis time is spent as a freelanceengineer, mainly in the USA.OverviewThe Trinnov Optimizer ST is housed ina 2U box and utilises the same Linux-based software asthe multi-channel version. This can be controlled eitherby connecting a keyboard and mouse to the onboarddual–core PC, or through a local network connection andPC or Mac with a VNC client.Network connection can also be utilised to connectto Trinnov to update software and perform variousdiagnostic processes if required.Audio connections available with the TrinnovOptimizer ST include two balanced analogue inputs andsix balanced analogue outputs. Digital connectivity iscovered with two channels of AES, ADAT, and SPDIF I/O.Onboard 64-bit floating point processing can handlesample rates of 44.1, 48, 88.2, and 96KHz. The TrinnovOptimizer ST uses Max. Length Sequence (MLS) signalsgenerated and then distributed through your monitoringsystem to take measurements of the impulse responseof the room as delivered by your monitor setup.The Optimizer then takes this data and applies Trinnovtime and frequency analysis algorithms to identify specificroom modes and what correction should be applied.By default, this correction is defined against a targetcurve that neutralises the effect of room modes, butvarious target curves can be used. They can either be arecognised standard or a custom curve of your choice.Setup of the Trinnov Optimizer ST to initially calibratethe system involves inserting the Optimizer into yourmonitor signal flow chain and setting the measurement.The software with the Trinnov Optimizer ST issurprisingly straightforward to use and understandconsidering the complexity of information and process.General settings include input configuration, I/Orouting, crossover settings for 2, 3, or 4-way monitors, clocksource, and system status. Selecting 'Optimizer' presentsa graphical representation of the basic monitoringarrangement, options for target curves, and toleranceparameters. You can, for example, set maximum levelsof corrective cut and boost or time alignment. In factthere are many options, clearly explained and illustratedin the excellent manual. When you hit the 'start' button,the Optimiser sends out test signals through each monitorin turn, and once the cycle is complete, frequency andphase curves are shown, before and after, or each speaker.The system applies FIR and IIR filters to correct frequencyresponse and phase delivery across the spectrum, and youcan manually refine to taste.From the primary engineering position I went througha number of basic tests with the Trinnov Optimizer STcorrection in place and bypassed. These were all monitorsI am very familiar with in a space I have worked in onmany occasions. The difference in mid range clarity wasvery impressive, and the overall feel was one of a moresolid and uncluttered delivery. The corrections were allreally quite subtle and not overbearing, but achieving aclarity that made for more precise balancing.I went back and mixed a couple of songs that I hadpreviously done to see how the Trinnov Optimizer STcorrections affected the process and results. I can saythat there were subtle changes in the imaging andsubsequent overall dynamic feel of the mixes due tomore precise imaging and signal processing resultingin a far more efficient phase relationship.The differences were small, but the Trinnov OptimizerST had simplified the need for compensation in the wayI normally have to employ.ConclusionThe Trinnov Optimizer ST is the most efficient and simpleto use room correction system I have used. The defaultmodes are excellent, as is the flexibility for fine tweakingor full manual custom settings for your monitor setup.Refinement of detail and clarity made for very pleasantuse over extended periods of time.If you have a less than ideal acoustic environment forcritical listening, or a facility where multiple instantlyswitchable configurations are desirable, then the TrinnovOptimizer ST will look very appealing indeed. ∫...................................GB£2,669.00 (exc.VAT)A Trinnov AudioW www.trinnov-audio.comINFORMATIONA UK Distributors: Sound LinkT +44 (0) 1223 264765W www.sound-link.co.uk22AUDIO MEDIA JULY 2009

“ Man! This thing reallyDOES sound like ass! ”(Joe Barresi - Tool, QOTSA)Cabinets for guitar re-ampingMegaphones for windy protest marchesPhones and radios for hip hop and post proTrent Reznor in the trunk of a Volvo on a moonlit parking lotIt’s a plug-in but not as we know it.speakerphone 2see and hear it allUK Distribution: www.unityaudio.co.ukTel: 01440 785843 • Fax: 01440 785845 • sales@unityaudio.co.ukaudioease.com/toursee and hear it allJuly Audio Media special offer :Buy Speakerphone 2 in July and get a free snappercheck www.audioease.com/july for info

Easy to use and intuitive;Novation’s ZeRO SL MKII knowsexactly what SIMON TILLBROOKwants from a MIDI controller.Since 1992, Novation has been producing an everexpandingrange of modelling soft synthesisersand controllers for virtual instruments and DAWs.These controllers, coupled with Novation’s Automap server,have found numerous fans at every level of the industry.The latest to join this well established product line isthe Novation ZeRO SL MkII. The version for review is theunit without the keyboard and XY control pad, so gearedtowards DAW control more than performance.Control Surface OverviewSupplied out of the box, along with the Novation ZeRO SLMkII, are a couple of disks with drivers and manuals, alongwith the Excite+ pack which includes a copy of NovationBass Station synth and a variety of samples and loops.A copy of Albeton Live 7 Lite is also supplied.The ZeRO SL MkII is a table-top device, supplied withscrew-in feet that increases the height and angle of themapping control parameters of supported instrumentsand DAWs is now at version 3. All MkII units come suppliedwith this version.There has been quite a lot of development sinceI last saw Automap. The user interface, described as atransparent heads-up GUI, is far more refined and can beaccessed as you need.Automap integrates HUI control for all compatibleDAWs, and an additional start-up screen gives even easieraccess to general setting up. There's also one-click accessto online support, updates, and tutorials.The Autoview feature brings up the GUI whenevera controller is touched. You can simply drag and dropan assignment from one controller to another for quickand easy arrangement of your interface, and computerkeyboard button combination shortcuts can be assignedto one of the 32 buttons using keystroke assign.The new facility that most users will be excited aboutNOVATION MUSIC ZERO SL MKIIHarware ControllerTHE REVIEWERSIMON TILLBROOK is the PrincipalMusic Tutor at Islington MusicWorkshop in London. The rest ofhis time is spent as a freelanceengineer, mainly in the USA.unit if required – though it will fitnicely into a standard rack tray.The top left corner of the unit iswhere you find the 144-character LCDdisplay sitting above a number ofdifferent controls.First we have a row of eight touch sensitiveendless rotary encoders, each surrounded by 11LED indicators. Next we have a set of eight touch sensitivepots, with about 300 degrees of movement stop-to-stop.These sit above eight velocity sensitive trigger pads. At thebottom of this first control section are 16 of the 32-backlitassignable buttons set out in two rows of eight. On theright side of the ZeRO SL MkII are the other 16-backlitassignable buttons, six of which can be used for dedicatedtransport control, and are labelled as such. Above theseare eight touch sensitive 60mm faders.Sitting between these two main controller sections is amulti-function rotary control, which can be used to scrollthrough and select templates and preset configurations.It is also the Speed Dial. This feature is found on virtuallyall Novation controllers, and allows direct and immediatecontrol over whatever parameter you place your mousecurser over, on screen. Just below this rotary control is atouch sensitive 45mm crossfader.Along the bottom of the unit are various navigation andmode selector buttons, including a Preview button that,when held down, will show the parameter data in the maindisplay of whichever touch sensitive control you use.The ZeRO SL MkII can be powered by either an external9v DC supply or via USB. Connectors for both, along witha power selector switch, are found on the rear of the box,joined by two jack sockets that let you connect a sustainpedal and an expression pedal. There's also a standard setof MIDI in, out, and thru connectors supplied, along withan additional MIDI out port.Advanced And Automap ModesThe ZeRO SL MkII has two primary modes of operation:advanced and automap. Advanced mode is used whenthe unit acts as either a stand-alone MIDI controller awayfrom your computer, or when using it with software thatis not supported by the Automap system. A number oftemplates for popular applications for advanced modeare supplied as standard and can be called up using thenavigation control.The Novation Automap software for automaticallyis the implementation of multiple device support.You can now have a number of controllers, each assignedto a different part of your own system setup, and allrunning simultaneously.UseAlong with the ZeRO SL MkII, I was also supplied with aNovation Nocturn to test the Automap 3 Pro multi-devicesupport. I setup and installed the appropriate software,then connected both controllers.I was utilising Pro Tools for this test. It took a littletime to configure the system to recognise the controllersetup, but I eventually managed to get the ZeRO SL MkIIimplemented. I would suspect that integration and setupwith other DAW systems, in particular Albeton, wouldprobably be a little more straightforward. The manual iswell written and various common setup configurationsare covered.Automap has come a long way since I last used it to anyreal degree, and is now far more straightforward and quickto use. The auto mapping works consistently, and havingthe Nocturn to control my chosen plug-in, keeping theZeRO SL MkII for primary mixer interface control, made fora very intuitive workflow.Rearranging controllers by drag and drop to suitpersonal preferences and mapping of additional featureswith a simple point and click learning process made thesession flow with ease.The whole setup around the ZeRO SL MkII feels morerefined overall, and even though it is not a dedicatedcontroller for the DAW I was using, it did not take long tofeel fluent with use.The Novation ZeRO SL MkII is a very neat solidly builtlittle controller that, when coupled with the NovationAutomap 3 Pro server, becomes an easy to use andintuitive working interface. ∫...................................£ GB£329.99 (inc. VAT)A Novation MusicT +44 (0) 1494 462246W www.novationmusic.comINFORMATION24AUDIO MEDIA JULY 2009

Model shownCMS 50“ In a classof its own.”- Audio Media Review - April 2009CMS Active Nearfield MonitorsClean. Transparent. Smooth.Getting rave reviews and winning awards world over and based upon Focal proprietarydriver technology, the CMS 65 and CMS 50 monitors deal out supreme performance andexceptional versatility in equal measure.From the superbly finished aluminium die-cast cabinets which offer total rigidity, the internaldamping and bracing which banishes unwanted colorations and on to the unique Al/Mg(aluminium/magnesium) inverted dome tweeter which easily extends up to 28kHz at -3dB,with a close to perfection pulse response, nothing can touch them.But you don’t have to take our word for it. Sound on Sound, Audio Media and the M.I.P.A.panel are all in agreement.These professional monitors are winners all the way.Voted Best studio monitor in theM.I.P.A. awards by over 220 audiomagazines across the globe.- M.I.P.A (April 09)I would personally choose the CMS65 monitor forday-to-day use without hesitation. For me, the FocalCMS65 is in a class of its own.- Audio Media (April 09)I can honestly say I found nothing about their performanceto dislike. ...they have to count as some of the sweetest andmost natural-sounding desktop monitors I’ve heard in theprice range. Highly recommended- SOS (April 09)Distributed by SCV London: Call 020 8418 1470 for your nearest dealerwww.scvlondon.co.uk

e inspired14 -16 JULY 2009The Develop Conference is an inspiring place – over 80 great sessions given by a host of international games developmentexperts and around 1200 developers from 29 countries getting together to share ideas, learn from each other and socialise.Plus this year there’s innovative new content with the launch of Evolve - a new one-day event focusing on developing games fornew platforms, new markets and new technologies - which will open the Develop Conference on Tuesday 14 July and continue as a newtrack within the conference on Wednesday 15 July.The Audio Track line-up for 2009AUDIOKEYNOTEThe Runtime Studio in Your Console:The Inevitable Directionality ofGame AudioGuy Whitmore, Microsoft Game StudiosDolby in Games – Every Bit AmazingSimon Arnold & Marc Langsman, DolbyGames Group EMEAMoore's More Story-Telling Power OfSound: The Eagerly Anticipated SequelTo Last Year's Highly Popular SessionPaul MoorePainting With Sound: The Futureof Procedural AudioAndy FarnellGold Blend: Audio Code and DesignWorking Together for the Perfect FlavourSteve Emney and Ciaran Rooney, Disney BlackRock StudioReal-time Audio: Context Is EverythingKenneth Young, Media MoleculeOrchestral Soundtracks for Videogames:The Vital Do's & Don'ts For a SuccessfulOrchestral ProjectAllan WilsonGuerrilla Tactics: Designing Audio forKillzone 2Mario Lavin, Guerrilla GamesThe 2009 Open Mic Panel Session: Whatwill be the key factors for the developmentof game audio in the future?Alastair Macgregor, Rockstar NorthGreg O'Connor-Read, Music4Games, Inc.Guy Whitmore, Microsoft Game StudiosKenneth Young, Media MoleculeMake sure you stay ahead of the game – come to Develop in Brighton!www.developconference.comMobile SponsorInternational Media SponsorMedia SponsorMedia Sponsor Media Sponsor Media Sponsor Media SponsorMedia SponsorMedia SponsorMedia SponsorMedia Sponsorgamesindustry.bizMember DiscountsOrganised by

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialSound Game SpecialSound Game Game SpecialSound Game SoundSpecSWith the 2009 Develop Conference Audio Trackupon us, Audio Media has put together a host ofaudio articles for just such an event. Whether it’smusic or FX, action or ambience, platform orfire-power that floats your boat –or even if it’s all of them – we’ve got it...Final Cut: Dead Space • One Plus One: Music ForPrototype • Music To Fly-By: Tom Salta • Simon Prytherch:Asset Management • John Broomhall: A New Era •Stefan Strandberg: Pushing The Boundaries • Mere MortalsStudios • Richard Aitken: At The Front Of The Flow •Dolby Axon: He's Behind You… • Kenny Young:LittleBigPlanet • Richard Jacques: Hunting For The BestSound • Play TAG: The Audio Guys & Stafford Bawler •Aliens, Apes, And Psychotic Rabbits: Yoan Fanise

28 AUDIO MEDIA JULY 2009>Dead SpaceFear emitters, Dead Script, the creepy ambi’patch, and a composer named Graves are not-sosubtleclues to the general gist of Dead Space.Paul Mac talks to Audio Director Don Veca.Dead Space is a very special game.There aren’t too many full-on suspense/horror experiences in the gamingcanon, and that may be because it’s avery difficult thing to get right. Arguably, the audioin this genre is more important than any other– you have to build expectation and apprehension,and then you have to push the alarm button at justthe right moment. Get it right and you have awinner on your hands; get it wrong, and all theeffort will come to nothing – there’s no middleground when it comes to scaring people.The initial premise of the game is that amining ship, the USG Ishimura, sends out a distresssignal, and another ship, the USG Kellion, issent to investigate. On board is Isaac Clarke (theplayer’s character), an engineer with, as itturns out, a special talent for dismemberingNecromorphs (dead, alien scourge-infected, andmutated humans) with unorthodox weapons.The game progresses through a good plot, andsome impressive scenarios – including zerogravity and de-compressed environments – to aspectacular end.Got My Arms, Got My LegsWhile he is at pains to point out that Dead Space wasvery much a team effort , Visceral Games’ (formerlyEA Redwood Shores) Don Veca, the Audio Directoron the project, could be said to be the main brainbehind the mayhem.Veca was well aware from the beginning thataudio would be absolutely vital to the game’s success,so the systems that controlled the audio ingamehad to be designed specifically for the job.“You have to have a really seamless system – anadaptive system,” he explains,”…one that causesthe music to react naturally to what’s going onin the game – gradually build the tension andgradually subside the tension – as well as havingautomated triggers for stingers – when thingsjump out and scare you.”For example, rather than going for a basic‘branching system’, where the music mightsimply switch between streams depending on thesituation, Dead Space has four stereo musicstreams playing all the time and the game isconstantly mixing those streams. What controlsthose streams, as well as other aspects ofthe game’s audio, is whatVeca refers to as ‘fearemitters’. These could be anyaspect of the game itself –from a creature to a blindcorner. The game is constantlycalculating what fearemitters exist within a certainradius of the main character,what their fear strengthsare, and coming up with afear value for that moment.That fear value is whatdictates the balance of themusic in the game, as well asthe balance of other contentand mixing parameters.“What I’ve always missedas a sound designer, andI think what most sounddesigners miss, is the control,”he says. “It’s not just thesounds that you create – it’sthe control those sounds.”One of Veca’s first tasks inthe development was towork on a scripting system– one that sits on top ofboth the low-level audiodrivers and the middleware.This script, calledDead Script (“It needs acool name…”), gave Vecathe power to work withaudio at an audio-friendlylevel: “…Not render it,not do DSP, and not stuff buffers with sound,but just start sounds, mix sounds, set volumes,change filters, and do all the high-level controlof the audio.” All of these parameters could befine tuned and honed, and content tried andtested without interrupting the flow due tolengthy code changes. Veca: “As far as control wasconcerned, I could do whatever I wanted, anytimeI wanted.”Boo!The combination of fear-emitters, fear value,and Dead Script led Veca to the overall conceptof “fear-based mixing.” And of course, this wasn’tjust about music tracks.Another contributor, withanother special name, wasthe ‘creepy ambi’ patch’.During the preparation forDead Space development, Vecaand the team watched a lot ofhorror movies (“the good ones,the bad ones, and the really,really bad ones…”): “I watcheda movie called Saw one night– I was really picking apart theaudio and the soundtrack – andI noticed something abouthorror movies that you can’tget away with in other movies.You can have weird sounds andcreepy spacey sounds floatingaround you for no reason atall… It’s not a real sound, it’snot a door creaking, it’s in yourhead… They can be anything;they can be completelysynthetic – they can be weirdmoans or subliminal sounds,they can be whispers.”This is where the creepyambi’ patch comes in. Veca:“It lets us take different RAMbasedloops and one-shotsound samples, and playthem around you in 3D… Wecan track them and changethe pitch, the volume, thefilter values, the panning…So that’s a lot of the weird,creepy, spacey ambiences that you’ll hear in DeadSpace.” The creepy ambi’ patch is controlled by theGRAVE TONESThe music composer for Dead Space wasone Jason Graves (of course), and he had todeal with a commission that cited both the“dark, dreary horror – the lonely, desolatedude,” and the “gore, horror, and dissonance.”While a mix of Sci-Fi and horror was required,they moved towards the horror because,as Veca points out, many of the guns andcomputer effects carry the Sci-Fi element.It was also Veca’s wish to keep away from atraditional score; he wanted something “moreambient and textural.” The solution was atrawl through all his favourite soundtracksto find moments and techniques that mightapply to Dead Space. He sent Graves a bigsession of audio clips with instructions toorchestrate elements in that vein, but notto actually write any music or compose anysongs. All those elements were then recorded,with Graves conducting, in orchestral sessionsin Seattle and in Skywalker Sound, California.Graves then composed and created the musicfor Dead Space from the elements recordedin those orchestral sessions, in four moodlayers: creepy, tense, very tense, and chaotic.“You don’t really hear a lot of thematic music,”says Veca, “I didn’t want people to walk awayhumming a tune… So it was a different wayof approaching music composition, I think.”Don Veca, Audio Director on Dead Space.lund Speciallund Speciall ame Sound Speciallund SpeciallGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame Sound SpeciaGame Sound SpecialGame 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PRESENTED BY:lnd ecialGame SpecialGame Sound Sound Game SpecialGame Sound Sound SpecialSpecialBringing Entertainment Alive!Gam> same fear system as the music is – with oneimportant difference. The creepy ambi’ patchis more active when not much is happening.The advantage is two-fold. First, of course,‘creepy’ happens between the horrific bits –not during. Second, it lends itself perfectlyto the basic mixing technique of getting ridof unwanted sounds as main focus builds:crescendo, not cacophony, in other words.Another example is the surround reverb.At low fear, the music reverb is very presentin the rear, for a more open, ambient sound.As the fear level rises, that reverb is proportionatelylowered, ‘de-muddying’ the mix.Veca also notes a very system co-operativeapproach to visual effects. In Dead Spacethe audio system tracks effects and modifiesparameters during their life, as opposed tosimply firing a single effect at the start of adiscrete event and forgetting about it:“We were able to look at values inside thevisual effect at every frame and say ‘okay, it’schanged slightly, we’re going to change theaudio to match exactly what it’s doing’.”Tooled UpAs far as core audio gear in Veca’s studio isconcerned, we can start with Steinberg’sNuendo, an RME Fireface 800 interface, andBlueSky monitoring. “I wanted to do greataudio, but not overspend,” he says. And thenhe adds an interesting point to the great valuedebate: “I never want quality to suffer – we havetonnes of plug-ins and a lot of great software– but another employee, another head workingon the game, is worth a thousand plug-ins.”In plug-ins, Veca definitely has a fewfavourites from the Dead Space experience:“GRM Tools was just phenomenal. We usedthat for creating just weird, strange effectsthat you don’t normally hear. AudioEase’sAltiverb is some of the best software that I’veever heard in my life… and Speakerphone– we used that a lot too. Brilliant stuff.”The Visceral Games team also used a goodselection of synths and outboard in the designfor Dead Space. Moog Little Phatty, KorgMS2000, Access Virus, Electrix Warp Factory,dbx, BBE, and more were all employed.Heavy BreathingThere are some very specific moments andenvironments in Dead Space that neededspecial attention. For example, the excellent‘Zero G’ (zero gravity) scenarios move awayfrom an orchestral music arrangement to an allsyntheticsoundtrack, “Using synths and digitaleffects,” explains Veca. “I wanted to give you asense of floating in space.”There’s also the de-pressurised areas – noair. “People were asking ‘what are you goingto do when there’s no air?’… I said ‘I’m goingto turn everything off because you can’t hearthings in no air’.” Though Veca did leave inanything that might be conducted throughIsaac Clarke’s equipment and body, and stillbe audible in his suit: muffled breathing,heartbeat, his own muffled footsteps, creaturehits, and so on. On entering de-pressurisedareas Veca employed real-time filtering to‘suck out’ normal sound in a very short time.Then again, on leaving the zone, sound rushesin and gets exaggerated: “It’s an explosion ofsound,” he says. “I wanted it to be as loud aspossible… from no sound to loud and ugly,and grating.” For this, Veca recorded the SanFrancisco BART train (Bay Area Rapid Transit):“The wheels squeal, they go crazy… I went onthe BART train with a Sony portable recorderand was standing between the two cars whileit was going under the bay… Where it says‘Do not stand between cars’… I stood there.”That's how horror movie characters get intotrouble…. ∫THE WINNER IS… (X20)Obviously we can’t know if Dead Space has won any more awardsfor audio between writing and going to press, but to the best ofour knowledge, here’s the 20 it has picked up so far…• BAFTA: Best Use of Audio, Best Original Score• Developers Choice Awards (GDC): Best Audio• AIAS (Academy of Interactive Arts & Sciences): OutstandingAchievement in Sound Design• GANG (Game Audio Network Guild): Audio of the Year, SoundDesign of the Year• Kotaku: Best Sound• Game Spot: Best Sound Design• IGN: Best Use of Sound (PS3)• GameSpy: Best Audio• Edge-Online: Best Audio Design• Game Focus Awards: Best Sound Design• NAViGaTR: Use of Sound, Sound Editing in Game Cinema,Sound Effects• Golden ‘Fro Awards: Best Sound Design• TeamXbox Game of the Year Awards: Best Sound• TGR Awards: Best Sound Design• Cody Awards: Best Sound• The Sixthaxis (TSA Awards): Best Audio.........................www.visceralgames.comINFORMATIONAudio Director – Don VecaSound Designer – Dave FeiseSound Designer – Andrew LackeySound Designer – David SwensonMusic Composer – Jason GravesAudio Software Engineer – Jay WellsAUDIO MEDIA JULY 200929

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialSound Game SpecialSound Game Game SpecialSound Game SoundSpecSOne Plus OneMost creative media projects are collaborations – everyone has a job, and everyonecontributes to the pot. But what happens when you give two people the same job? Trouble?Not with Prototype… Paul Mac explains.Prototype is an ‘open world’ game (freeroaming)centred around Alex Mercer. Alexwakes up in New York with no memory, butgradually realises he has some very specialabilities, such as shape shifting, and an appetitefor ‘consuming’ other creatures and taking on theirabilities. As the plot unfolds, he realises that he’s agenetic mutation – a result of his past as a scientist.New York gradually disintegrates as Alex battlesmilitary factions, infected civilians, and otherassorted creatures.Scott Morgan (Audio Director) and a smallteam at Radical Entertainment spent almosta year working on the basic IP for this game,honing the ideas and setting the tone for thecreative input. Once the core ideals were in place,Morgan could go about gathering the content,which included starting the commissioning processfor Prototype’s music.Cris Velasco (L) and Sascha Dikiciyan (R).After working through a lot of demos, hefinally came to Cris Velasco (Monarch Audio)and Sascha Dikiciyan (Sonic Mayhem). The twoof them have worked together on many titles,each taking on complementary roles – one of themain reasons Morgan settled on their services.“They do this electronic meets orchestra thing ina really unique way,” explains Morgan. “It actuallyfeels like each side is really legitimate and hasa place in the music. We really wanted somethinglike that for the score, something that feltgrounded in the orchestra and very heroic,but at the same time had this kind of otherworldlyscience fiction element to it.”Morgan already had ideas for the feel of thescore, with ideas of both avant garde and thematicorchestral elements from Velasco, and intentionsto take advantage of what he describesas Dikiciyan’s ‘unique’ electronic sound. Afterplanning in as much of both the global music (forfree-roaming) and the mission-specific music, itwas time to get Velasco and Dikiciyan properlyinvolved. Velasco notes that the whole projecthad simple beginnings: “Sascha and I sat downat a piano for a couple of days and came up withwhat was to become the main theme.” The pianowork went to Morgan, who was keen that thecontent would not be just about ‘big themes’, butwould stand on its own in a minimal arrangement.Velasco: “You put any sequence of notestogether with a big enough orchestra and a choir,and it’s going to sound pretty good… But if wefall in love with it on the piano, then we know it’sgoing to sound awesome when we record withan orchestra.”The pair has been working together, mostlyon games, for quite some time. Credits includeUbisoft’s Haze and Beowulf games, John WooPresents Strangehold (Midway Games), Hellgate:London (Namco), Tom Clancy’s Splinter Cell DoubleAgent, and quite a few more. Their workingmethod, while not fixed, does follow a pattern:“I will come up with a rhythmic idea or something,”explains Dikiciyan – referring to the Prototypeproject. “I will give that to Cris and see whathe thinks, and then we say ‘okay, this fits thescenario’… I will do a rough arrangement of mystuff and then give it to Cris, and he will use hisorchestral samples to compose over that andthen shoot it back to me.” After this, Dikiciyanfine-tunes the result and sends it for approval orchanges. At that point the pair can go into thestudio and record the orchestral parts for real– Dikiciyan’s parts will go to the session in theform of stems – as a completed contribution.The final version would then go to Morgan atRadical Entertainment for mixing and integration.This process is a far cry from any traditionalsense of composition. As is so often the casethese days, it’s hard to separate compositionfrom recording, from production, from sounddesign. For a lot of the percussive content, forexample, Dikiciyan went from a workstation andsome varied rhythmic ideas, to a live percussionistwith a few ideas of his own – and some veryunusual things to hit. Then it was back to theworkstation with the samples to start buildingagain. So sound design is alive and well in musiccomposition? Dikiciyan: “Absolutely… This isdefinitely a big part of what Cris and I do in thishybrid scoring of orchestra meets electronic.We call it musical sound design.“I’m using a Kyma audio workstation, whichI’ve had for a few years; and I also use thingslike Metasynth. I have many pedals, everythingfrom a Metasonics masher to a WMD GeigerCounter – weird stomp boxes… I’ll put soundsthrough those and this stuff will somehow endup in Kyma, and I’ll maybe do a bunch ofsynthesis passes…”Even on the orchestral side, the first bigsession was for effect… Velasco: I had a full daywith a 60-piece string ensemble where I recordedjust a bunch of crazy effects and aleatoricstring pad type things… We didn’t wantthe score to sound like anything else, so wedid our own custom libraries for this one.”That first session was recorded with an orchestrain Prague, via the orchestra.net service andSession software. The second and main sessionwere at Skywalker Sound.And thus the experimentation and creationcontinues, and in turn plays a key part in thecomposition process. The pair has a long historyof successful collaboration (Cris estimates over20 game projects so far), which is a rare assetin any creative medium. The pair put this downto a variety of things. One important aspect is adistinct lack of ego. Dikiciyan recalls his concernwhen he first critiqued a Velasco contribution:“I was really sweating it,” he says. But the worrywas unnecessary. Another part of the equation isequal opportunity when it comes to the arrangements.Velasco: “We definitely have a good senseof what the other is going to do, so we’re prettygood at leaving space for the other one, withoutcompeting.” This kind of partnership is theconstructive kind – essential when deadlinesare looming. Long may it continue. ∫............................INFORMATIONMonarch Audio www.monarchaudio.comSonic Mayhem www.sonicmayhem.comRadical Entertainment www.radical.caFor further insight into the music creation forPrototype, download the Games Special PDF fromwww.audiomedia.com.30 AUDIO MEDIA JULY 2009

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialGame Sound Sound Game SpecialGame SpecialSound Game SoundSpecSTHE SONNOX TOOLSETHigh end plug-ins that can add sparkle,impact, and energy to your sound.Tom Clancy’s H.A.W.X. – music by Tom Salta.Music To Fly-ByHigh energy games music specialist Tom Salta talksabout his work, and his tools.KKnown for his epic, high-energy music for thelikes of Tom Clancy’s H.A.W.X. and GhostRecon: Advanced Warfighter, Ubisoft’s Red Steel,Sony’s MLB 2006, and EA’s Need for SpeedUnderground 2, Composer/Producer Tom Salta hascreated a strong niche for himself in a highlycompetitiveindustry. With a music background thatincludes work with artists such as Peter Gabriel andWhitney Houston, Tom Salta’s combination of melodiccreativity and technical skills consistently produce afirst-class product.What led you to the world of video games?One day I was playing Halo on the Xbox, and thelight bulb went off. I was listening to the musicon-screen and starting paying attention to it…At that point I figured it would be smart to usemy strongest assets to create music that would beuseful for certain kinds of video games – particularlydriving and/or high action extreme sports. I decidedto create an album of licensable high-energyelectronica music… It was called Two Days or Dieunder the artist name Atlas Plug.Overall, the idea actually worked very well;before I was done with it, Microsoft came along andlicensed three or four songs for a game called RallySport Challenge 2. Right at the same time, Volvo wasdoing a new ad campaign for a car that was featuredin the game. They heard the music the game wasusing and said they wanted it for their commercial.It was a grand slam in terms of licensing andexposure, and it gave the album a terrific launch.Tom SaltaWhat is your main production platform?I work with Logic Audio mostly, but also with ProTools. While I combine both hardware and software,it’s become an atrophying studio (of hardware).I still keep my rack Mini Moog, and Roland 1080s, andthe rest of my old keyboards hanging on my wall forsentimental value. Now, it’s pretty much all softwareand my favourite instruments are from companieslike Spectrasonics and Native Instruments.Are most of your deliveries in stereo?Yes. I have done some 5.1 and quad deliveries, butthe trend in games is more for me to deliver stereo.For some of the larger companies, I end up givingthem stems and they can mix the surround,although it depends on the company and theproject size.So when did you start using the Oxfordplug-ins?A friend of mine turned me on to them, and whenI had a chance to listen, they jumped out at me.I really liked the Inflator, Dynamics, and EQ. The EQhas a very sweet sound to it. It’s a subtle quality thatmy ears, after so many years, just know.How about the Oxford Dynamics?I was really impressed with that one. I find that goodsoftware compressors are generally hard to come by,especially if you want to do something comparableto the ‘days of old,’ when I would plug into an LA-2Aor the Fairchild and it simply worked or didn’t.That’s the way the Dynamics feels to me andI’m blown away by its flexibility. It has a lot ofcomponents in there, which help me out whenI need them. I also like the way you can turn thedifferent modules on and off.So how do you use the Inflator?Generally, I like using it on the stereo mix. It addsa lot of energy without compressing the sound.I don’t use it in a subtle way and prefer ‘slamming’ it.Most often, it adds just the right amount of powerand loudness without losing the sense of dynamics.It’s an energy enhancer. ∫Two tools that are proving extremely popularfor the games market, mostly because of theenergy and impact they can inject into audio– without kicking the stuffing out of it withcompression – are the Oxford Inflator and theTransient Modulator.The Inflator provides an increase in apparentloudness, without obvious loss of quality or audiblereduction of dynamic range. It can also add power,presence, and warmth, and even provide headroomoverload margin abovedigital maximum witha subtlety and musicalcharacter reminiscent oftube systems.The Transient Modulator allows dramaticmanipulation of signal transients. It cancompletely exaggerate or dampen the attacks,with continuous variation between all settings.So, if you’re after more ‘snap’ in your gunfireor more ‘crack’ in your explosions, this is youranswer. Conversely, it can bring up the ambiencesurrounding a specificsound by softeningthe attack. TransientModulator gives life todull sounding recordings,without the unwantedchanges in overall timbreassociated with compression.Other Sonnox plug-ins include the famousOxford EQ and Oxford Dynamics – both based onalgorithms from the acclaimed Sony OXF-R3 digitalmixing console.The Sonnox Reverb plug-in has a pool ofstunning presets as well as full control overmany parameters, including a comprehensiveearly reflections section, and integrated fivebandEQ. The Oxford Limiter provides programloudness control and limiting functions.Its Enhance function provides sample valuelimiting, and allows unprecedented volume andpunch to be applied to program.The Oxford SuprEsser is fully-featured proDe-Esser and a Dynamic EQ. An intuitive FFT displayand three listen modes enable the user to easily seeand hear exactly where the problem frequenciesare, and since the SuprEsser can operate at allfrequencies, ‘plosives’ and other annoyances canalso be removed effortlessly.............................SonnoxINFORMATIONwww.sonnoxplugins.comAUDIO MEDIA JULY 2009 – PROMOTIONAL FEATURE31

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialSound Game SpecialSound Game SpecialSound SpecAsset To The ProjectSimon Prytherch, CEO of Lightning Fish Games, has more than the average amount ofaudio and video content to deal with during a development cycle. Paul Mac finds out aboutstrategies for an easier life…Lightning Fish Games specialisesin family-orientated fitnessgames, with a twist.It’s rejected the traditionalapproach to avatars with thephilosophy that both imaginedcharacters and attempts atcomputer-generated ‘real’characters tend to alienatethe user. Its solution is tobring real video to the game,using in-house developedsystems and multi-camerashoots to create seamlessaction with real people.Simon Prytherch.The inevitable result, forboth audio and video, is a massivenumber of assets that need to bemanaged. Simon Prytherch, theCEO of Lightning Fish Games, has anumber of weapons in his armouryof solutions, some based on lessonslearned from the more traditionalmedia – film and television.However, the first step is probablythe most common denominator inA New Era For Game Audio?As technology improves, will this dampen or expand creativity in video game sound?John Broomhall looks at what the future might bring…Over the last couple of yearsthe vital importance ofdynamically controllingand manipulating audioin complex ways at run-time ingames has gained increasingrecognition – re-creating,re-purposing, re-shaping, re-mixing,re-compiling, re-ordering,re-engineering ‘on the fly’ accordingto game events and conditions,narrative stages, and the player’sactions – the equivalent of a fullyinteractive film mix.Let’s face it – it’s not until fairlyrecently in games we’ve had enoughraw computing power to play aroundwith. Prior to the current generationof game consoles was a longperiod where significant disparitiesbetween the technical capabilitiesof PC, PS2, and (the original) Xboxmade last-gen audio a headachefor cross-platform developers.But today’s major console games andcutting edge PC titles enjoy manyasset management: planning. “Weplan everything to the nth degree,”he explains. “…From shot lifts to theaudio scripts. They have to be lipsynched, and in multiple languages– six different languages, so moreaudio than video in somecases. For one video clip youmight have five or six audioclips to alter the mood andfeel of it.”The project that Prytherchhas just finished with –NewU, Fitness First PersonalTrainer (due to be releasedin September for Wii) – has acast of 36 different actors.The tool that brings all thiscontent together is an in-housesystem that, in its current version,is called Thor (previously Zeus…lightning themes, you see). Thorhelps the team manage assets fromingest to integration, which makesit an enviable piece of technology inany games environment. “It takes inless barriers to audio excellence.Practical issues over the control ofaudio can now be addressed in ‘realtime’e.g., multi-band compressionrunning ‘live’ can control dynamics.Then there are aesthetics – e.g., realworld acoustics with increasinglyhigh quality reverbs.But there’s also more potentialthan ever before for the creative,subjective, ‘non-literal’ use of realtimeaudio techniques with reactive,dynamic mixing, and constantlymorphing DSP treatments changingfocus and feeling, and providingcharacter and story exposition.This can potentially lead to newexpressions of creativity that gobeyond film sound. Why shouldn’tgames build on and furtherdevelop their own audio languageand grammar? Game audio hadan extremely creative beginningwhen much of it was symbolic andfigurative, limited heavily by very lowfitech. Then as technology enabledall of our rushes from our audio andvideo and then, using the editor andnotes from shoot days and recordingdays, processes it automatically. Italso allows you to edit it and describehow it is used in the game.” LightningFish has been asked about whether itwants to exploit Thor commercially,but issues like support, and distractionfrom its core role of making games,mean that’s not currently a pressingconcern.After planning comes the capturephase, and Prytherch explains thatthe sessions are run very much like amotion capture session, except withcameras. An important aspect at thisstage is the logging of sessions. “Weproduce a script, with all its directionnotes,” Prytherch continues. “…Butthat’s only half the file. During theactual sessions people make notesabout which takes we should beusing, and there might be notessaying ‘this doesn’t work because ofthis, so we’ve changed it to somethingincreasingly better quality sound,and more of it, our attention turnedto valiant scientific attempts tomodel and re-create the literal soundof the world, albeitoften a larger-than-lifeor stylised version. Thatapproach is of course,still valid and needssuperb executionas a bedrock ofsoundscape. However,we also realise thatin many instances,literal sound and a literal mix is farfrom what we want creatively – indramatic terms. That’s why we arefiguring out and exploring how ourlinear mixing techniques, approaches,and workflow can be available andimplemented as games are beingplayed and in response to the ‘live’input and actions of an unpredictablepublic. The rich heritage of moviesound creativity can always informand inspire, helping us answer theJohn Broomhall.else’. When our tools take that file,because of the way those notes arewritten, we can import a lot of thedata automatically.”A demonstration of the LightningFish asset process is one dimensionto Prytherch’s session at the Developconference this year. Another iscentred on roles within developmentteams – something else that he thinksfilm can contribute: “Those rolesare not appreciated in the gamesindustry, but we could learn a lotfrom what an Audio Director does,what a Script Writer does, and so on.”And this is where the technology canhelp – by separating creative rolesfrom technical roles, he thinks theindustry can create better games.∫..........................INFORMATIONwww.lightningfishgames.comall-important ‘why’ question – whyshould we change the sounds, themix, the focus, the perspective?Have we reached a new era ingame audio? It’s an alluringsound-byte. I think we arecertainly entering an erawhere it’s a given that wecan, and will, have technicalexcellence and high fidelitywith as many channels andas much run-time DSP as weneed. In such an era, whatwill differentiate gamesoundtracks is the power of ideas.The creativity that’s been with ussince those early 8-bit days willcontinually find new expressions andtake precedence over technologyconsiderations. ∫John Broomhall is Audio Director andConsultant of Broomhall Projects Ltd.with 16 years of experience in videogames. He will chair the Audio Trackat this year’s Develop conference.32 AUDIO MEDIA JULY 2009

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialGame Sound Sound Game SpecialGame SpecialSound Game SoundSpecSPERFECTION WITHOUTPUSHINGSolid design advancements withGenelec’s 8000 MDE and 7000 LSE Seriesmeet the demanding world of gamesproduction.Pushing theBoundaries of GamesAudio Media talks to DICE’s Stefan Strandberg about ideasand vision, and the biggest gun shoot in the world.DICE is a Swedish video game productioncompany based in the nation’s capital,Stockholm, whose fast paced Battlefieldadventure games benefit from the skilledattention of Stefan Strandberg and his audio designteam. Strandberg is the Audio Director on thecompany’s latest release – Battlefield: Bad Company 2,as well as its numerically deprived predecessor – bothof which are available for the Xbox 360, Playstation,and PC. Like many people who end up in the audioside of the video games industry, Strandberg was amusician first – but he was also a player of games too.“In the 1990s I started freelancing and I noticed thatpeople actually bought my sounds and started hiringme for my sound design,” he says. “So seven years agoI was hired by DICE.” The company employs a crew often people working specifically with audio – threeprogrammers and seven sound designers, each withtheir own area of expertise. “One specialises in voiceover, one on the vehicles, and one on the ambienceand so on,” says Strandberg. “We work on everythingfrom field recording all the way down toimplementation – and everything in between. We doa lot of recording together with professional fieldrecordists – here at DICE we are kind of rookies in thatarea! So we‘ve gotten help from professionals withinEA (Electronic Arts)” – of which Dice is a part.“We’ve worked with the EA people in the USA and someof the best sound recordists around – for example, onwhat I think was the biggest gun shoot in the world,we had 83 channels of recordings made withStefan Strandberg, DICE.everything from small portable recorders and videocameras all the way up to the best microphones andpreamps available. Equipment is secondary here; I’dsay that ideas and vision and implementation are inthe first room – rather than us being anal aboutequipment.” However, Strandberg is at pains to pointout that the company does take pride in deliveringhigh quality content, but feels that his is an industrywhere the execution and the idea are more importantthan the equipment used. Having said that, suitablemonitoring does play an important part in the audiodesign work. “We have Genelecs throughout thestudio – I’ve always used the company’s products,” saysStrandberg. “The 8030s – I really love those!They produce a perfect sound at the perfect level –you don’t have to push them.”Strandberg says that his team “really pushedsome boundaries in the audio department for afirst person shooter” with the Battlefield series,and elaborates on the difference betweencreating audio for a game and audio for a movie.“The fundamental difference is that there is a playerinvolved!” he laughs. “So if you don’t give theplayer any feedback, they wouldn’t be doinganything. The obvious answer is that film is a linearmedium whereas games are a non-linear one – andone of the first problems you encounter is how tocombat repetitions. You give the player a set oftools to interact with the game world – in our caseit’s a weapon – and the player is going to fire a gunone million times in ten hours. In a movie, everysound can be unique as it’s only played back once!You have to create a non-repetitive soundscapeusing something that is by its very nature repetitive.You need to expand on how you perceive soundand present different, subtle layers of variation.You can still perceive that the identity of the weaponis the same, but there are changes in how it soundsin different environments, for example. The morefreedom you give to a player the less control youhave over the player’s perceptions – you have togive them a toolset which allows them to identifywith, and navigate through, the story.” ∫Finnish-based speaker manufacturer Genelechas spent decades measuring, analyzing, andcalibrating its monitoring systems, both in itscustomers’ working environments and thecompany’s own testing chamber. Genelec believesthat, as modern digital production environmentsbecome more commonplaceand vast amounts of digitalaudio are produced, processed,and transported around theglobe, that the addition ofDSP (Digital Signal Processing)technology will allow speakermanufacturers to expandtheir toolset to reach ‘a new target resolutionfor acoustic calibration of monitoring systems’.All rooms impart their own audio signatureonto any monitor system – after all, a monitoris only as good as its acoustic integration intoa room. The advancements Genelec has madein the development of the 8000 MDE series and7000 LSE series products haveprovided significant performancegains, both in the test chamberand in conjunction with customercontrol rooms. Genelec’s new8200 and 7200 DSP Systems arebased on the solid foundationsof the earlier 8000 and 7000 series, and havebeen designed to be suitable for wide rangingapplications such as post-production in film andvideo, large and small broadcast environments,and the demanding world of music recording,mixing, and mastering. An extremely powerfulfeature of the Genelec DSP systems is automaticcalibration using the AutoCal algorithmwhich Genelec says ‘provides the industry’s firstintegrated process for the complete automatedmeasurement, analysis, and adjustment of everyspeaker in the network, enabling the engineer tocorrectly integrate each speaker into the mixingenvironment.’ AutoCal has the potential to savethe user hours of work and provides well-balancedresult in just a few mouse clicks. The company saysthat it is suitable for use even in the most difficultroom conditions.............................INFORMATIONwww.genelecdsp.comAUDIO MEDIA JULY 2009 – PROMOTIONAL FEATURE33

Cut SceneGame Sound SpecialGame Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialSound Game Sound SpecialGame Sound Game SoundSpecMere MortalsJonathan Miller crosses the Tyne for a lesson in regional and international success across arange of disciplines – games, film, TV, web, and more...Co-founded in 1999 as a partnershipbetween David Jeffries and Graeme Love,Mere Mortals has grown, in part, into aninternationally respected gamescompany with an enviable reputation for the rangeand scope of titles developed on all majorplatforms, such as Harry Potter Quidditch Cup(modelled, rigged, and textured the Spanish teamand arena for Electronic Arts) and PDC WorldChampionship Darts.Mere Mortals has evolved and expandedto its impressive current staffing level of46 (in Newcastle-upon-Tyne) and eight (inNew Zealand), thanks largely to the sterlingstewardship of current Managing Director SteveWalmsley.Big RiverWalmsley took over as MD three years agowith, as he explains, “The specific purpose ofconverging three businesses together to createthe conditions where we could grow.”“Three years ago there was also a separateweb business, so three completely differentindependent companies run in three completelydifferent independent ways with their owndiscrete client bases, I think largely driven byindications in the marketplace that we weremoving more towards 360 delivery of services,whereby we could move across the gamesenvironment into web and TV seamlessly,”“Today we’ve got revenues of around £2.5million; three years ago, as a Group, when youput the three companies together, we madejust under £1 million… There would have beena certain amount of organic and inflationarygrowth going on anyway, but I think bringingthe three businesses together has given us anextra dynamic, so that we can actually offer ourservices to other clients, whereas, perhaps, asthree individual businesses, we weren’t able todo that before.”The Mere Mortals Group of Companies’ eyecatchingNorth Eastern HQ is sited in The OldForge within Hoults Yard in Newcastle-upon-Tyne. Originaly built for the Tyneside potteryMalings, Hoults Yard has been transformed froman industrial estate into a funky and flexibleoffice complex.It’s easy to see the attraction for the likesof Mere Mortals. “The move to this buildingfacilitated the acquisition of a local postproductioncompany called Fine Cut Facilities,”says Walmsley. “And also the starting of the webbusiness… The move gave the space to be ableto do that by putting it under one roof. I thinkthe building adds to the creative process. Youcould never define this, but there is a bit ofinspiration that comes from being in such apleasant environment.”Forging New(castle)RelationshipsThere now appears to be something of a floodof media companies converging on Hoults Yard– fatfrog (www.fatfrog.eu), Green Media (www.green-media.com), Standing Stone Productions(www.standingstone.tv), Yipp Films (www.yippfilms.com), all following in Mere Mortal’sfootsteps. Walmsley thoughtfully views it thisway: “The North East has always had a fairlybuoyant creative industry – largely, it has to besaid, based around the broadcasters… but thecutting back of ITV’s output has significantlyreduced the North East’s creative industry.Yet there is very definitely a fight back, and HoultsEstate has become, I suppose, a representationof that fight back with smaller and larger media >34AUDIO MEDIA JULY 2009

ialSpecialund Game Sound SpecialGame Sound Game SpecialSound Sound Game SpecialSound Game SpecialSound Game SoundSpecia>companies gathering on the site. And there’s a lotto be gained from collaboration; as a companyourselves, we encourage other companies to comein and work with us.”Some from as far afield as New Zealand, even.In August 2007, Mere Mortals founder DavidJeffries took the company to New Zealand in hisnew capacity as Strategic Development Director.Mere Mortals NZ has been established ‘to dealwith title progression’, leaving Mere Mortals UK tohandle new IP.Why New Zealand? “MereMortals is a company competingin a global marketplace,” explainsWalmsley. “We had to payattention to the fact that somecountries – let’s say Malaysia,Thailand, and China – were ableto produce things more costeffectively than we could in theUK, just because of their lowercost economies, so we neededto look for somewhere where wecould outsource and save costs.Interestingly, when we looked atChina, we discovered that whileyou could save money on labourcosts, you often found that yourmanagement overhead in theUK climbed, because you weremanaging such a remote facility. Also, there weresome significant cultural barriers to working inplaces like China and Thailand – language beingtop of the list. When we looked at New Zealandwe had, probably, about a 30 percent saving interms of cost – not enormous, but because wedidn’t have all the cultural barriers we consideredit a nightshift solution rather than outsourcingto a low-cost economy. It works very well for us,and gives us 24-hour operation, which is veryeffective.”United Colours Of AudioThe company actively encourages collabortaion,idea sharing, and social interaction between staffacross the company – it’s a strategy with a goalof increasing creativity. And audio, of course, cancontribute to driving those creative dynamics.Walmsley: “Audio does actually go across all threeareas – very much so; strangely enough, the audioteam have probably been more involved in thatcross-company activity – right from the start,because our games team needed audio, as did ourweb team, so they’d always actually focused onThe team at Mere Mortals.audio, whereas, perhaps, the web team wouldn’tnecessarily need as much contact with the gamesteam in terms of the visuals. Audio was a place thateveryone was familiar with.”Mere Mortals’ Michael Coates – former Final CutFacilities ‘last man standing’ – concurs: “CertainlyI think the guys in the games side of things findit really useful, because in the past they wouldmaybe have had to buy a load of CDs themselves,then search through them to find the soundeffects they want and drop them in, but now theybenefit from having broadcastqualityfacilities in the nextroom, so you get the guys whoare actually coming up withthe ideas and programmingthe games being able to sit inthe studio at no extra cost tothe company, because we’vegot those audio facilities. Evenwithout final renders, we canget source files fired acrossthe network, and, because it’sPyramix, which is obviously veryvideo-based as well, the gamesguys can render a QuickTime,AVI, MPEG, or whatever, andload it into Pyramix, so we’vegot something to work withstraight away – even if it’s justadding or trying out little things.”Perhaps, then, the secret of Mere Mortals’success is that creative cross-company, crosspollinationof ideas, which in itself begs thequestion that Walmsley willingly poses: “DoesMere Mortals specialise in anything in particular?Well, the answer to that is, ‘Yes; we specialise in anawful lot of things.’ But, more than having specialistaudio engineers, editors, 2D and 3D artists, so wecan service clients who just specifically need thoseindividual discrete items, I think it’s the addedability to be able to see the bigger picture – howall these things connect up. So, for instance, wecan take a media artefact – an asset of somedescription, and, provided that we’re aware thatit needs to be used across a variety of differentplatforms, we’ll engineer or create it to be usedin a number of different platforms, so, therefore,there’s a cost saving there. You’ve really got tobe aware of where your audiences are; there’s nopoint in producing something and putting it on aplatform if there’s no audience at the end of it, sothe three main ways of reaching the audiencesthat our customers are trying to reach are throughgames platforms, the web, and TV. Of course, theinteresting thing about TV is that IPTV is becominga stronger contender – same production values, interms of the quality and creativity of the TV asset,but it’s just a different delivery mechanism.”To a certain extent, the same can also be saidabout the games industry, which is where westarted. Walmsley signs off with the following foodfor thought: “For the foreseeable future, there willbe a need of a large body of consumers out thereto have their own platform and to be able to buyboxed games, but it will change – undoubtedly,and, of course, it’s part of our job to keep aheadFINE CUTWhen launched in 1988 by ex-BBC Look North newsreaderJohn Kyle and business partner Colin Bone, Newcastleupon-Tyne’sFine Cut Facilities started life in the spirit of1980s entrepreneurship, providing stable employment for15-plus people during its relatively long lifespan, as well asbeing the first North Eastern UK post-production/editingcompany to embrace several new technologies, includingAvid, AudioFile, Betacam SP, and Digital Betacam, to namebut four.However, come 2005, and Fine Cut Facilities was nolonger the cutting-edge proposition it had once been.Michael Coates, who had joined Fine Cut fresh from BradforUniversity recalls: “The sound guy went to a differentcompany, and they made an offer for the AudioFile, sothey literally bought the sound studio out from under us...When Mere Mortals came in with an offer for Fine Cut, thecompany had shrunk from six members of staff to John andmyself, though John didn’t work much anymore. My bosssaid, ‘Yes, but you have to take Michael with it.’ Basically,I was purchased! Mere Mortals’ Operations Director MickStockton used to ring me just to check I was alright... I wasliterally padding around this big post-production facilityon my own.”Things took a considerable turn for the better whenCoates carried Fine Cut Facilities’ remaining equipmentover to Mere Mortals’ more salubrious surroundings of TheOld Forge: “In the process of that switchover, Dave McPheecame up from London as our new Head of Post Production –he was a sound engineer as well, and basically got the veryenviable position of building a new studio for himself.”Enter the likes of Merging Technologies’ thoroughlymodern Pyramix Virtual Studio and VCube – togetherwith a Yamaha 02R96 automated digital mixing console,5.1 surround monitoring, CEDAR Tools Auto Dehiss, andupmarket outboard from TC Electronic and Solid StateLogic – and more besides. “It’s not Dave’s dream studio,”Coates concedes, before adding: “There were obviouslybudget restrictions, but the audio suite was built to hisspec. Getting the sound booth in was, I think, the mostchallenging aspect, because this was just open office space,and we’ve turned it into a post-production facility.”The varied services since being offered include – butare not limited to – broadcast dubbing, voice recording,dialogue replacement, track-laying, ISDN sessions, radiocommercials, television commercials, sound design,location recording, and podcasts.of that curve and to try and predict where thingsare going.”Onwards and upwards for Mere Mortals, mostlikely. And on the strength of the evidence so far,why not? It’s a creative goal for Newcastle, that’sfor sure – with a little help from those friendly NewZealanders. ∫......................................INFORMATIONMere Mortals Group of Companies0191 224 2333www.mere-mortals.comAUDIO MEDIA JULY 2009 35

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialSound Game SpecialSound Game SpecialSound SpecFOCUSRITE’SFLUID TECHNOLOGYLiquid Mix allows users to easily go withthe flow, to make the most oftheir creativity.Focusrite’s innovative Liquid technologyfirst appeared on its high-end microphonepreamplifier, the Liquid Channel that, for thefirst time, allowed the engineer to select froma variety of emulations of classic equipment.Since then, thetechnologyhas appearedin a variety offormats, includingthe company’ssuccessful desktop-based mixdown units, theLiquid Mix, and Liquid Mix 16 – the latter beinga particularly inexpensive way to take advantageof Focusrite’s emulations. The latest iterationof Liquid Mix software, Liquid Mix HD, runs onDigiDesign’s Pro Tools HD TDM hardware. Liquid Mixalready ships with a wide range of emulations, butFocusrite has continued to make more available forfree via download – the latest of which are the API2500, Empirical lab’s Distressor, MIillenia’ss STT-1, and the Chandler Limited Passive TG ChannelMKII Abbey Road. Focusrite’s commitment to itscustomers also extendsto the provision of anemulations and settingsdatabase – ‘Liquid Assets’(located at www.focusrite.com/support/liquid_assets/) where users canshare snapshots and alsoreview the actual names and descriptions of thedifferent emulations, along with a summaryof their history, their potential uses, and whythey were specifically chosen for emulation.Focusrite’s Liquid Mix preamplifier range hasexpanded from the original Liquid Channel to theLiquid 4PRE, which, as its name suggests, featuresfour channels of preamplifier emulations. There'salso the Liquid Saffire 56, a FireWire interface withtwo 'liquified' preamps, six Focusrite mic pres, plusSPDIF and ADAT inputs. Most recently, the companyhas introduced Liquid Mix|HD – a Pro Tools plug-inwith the Liquid advantage. Though the number ofemulations and adjustable parameters are limitedcompared to the company’s flagship products, theSaffire should allow more users to benefit fromthe company’s excellent Liquid technology.............................www.focusrite.comINFORMATIONAt the Front of the FlowRichard Aitken, Production Director of forward-lookingproduction company Nimrod, talks to Audio Media about howthey’ve made a name for themselves.Nimrod is a British-based audio productioncompany formed by Marc Canham andRichard Aitken in 2001. Nimrod has its feetin music, film, and TV production, but hasalso made a name for itself in the video games industrywith its work on the likes of Killzone 2, Far Cry 2 and theWii Fit series. “We are a major outsource company,mainly in the games industry,” says Aitkin, thecompany’s Production Director. “We have a studiowhich is both digital and analogue – we have a bigNeve V Series console alongside various Pro Tools andNuendo rigs. My background is in mathematics, butboth my partner and myself have always had a massivepassion for music.“ A record deal with EMI in the early1990s didn’t make Aitkin a star – but it did providefunds for him to equip his own studio. “I thought videogames were going to be the next big thing. At thattime, the production quality of the music was quitepoor – though the writing quality was usually high.I wanted to challenge that and use professionalrecording techniques in the video games industry.”Aitkin was drawn to Focusrite’s emulations viahis interest in numbers. “I first started using Liquidtechnology because, as mathematician, I likeconvolution!” he laughs. “So as soon as it becameavailable I decided to give it a shot – especially asI wanted to try and recreate some of the sounds ofthe older gear. I do own some classic equipmentand a range of high quality outboard, like theRichard Aitken, Production Director at Nimrod.Massive Passive and Distressors, but I wanted moreof a flavour of other equipment – and the LiquidMix gives me that.” Aitkens’s first experience ofLiquid technology was with the company’s Liquidchannels. “I still use a Liquid 4 pre which I really likeand, while it’s not exactly the same as using racksof old gear, it certainly takes up less space and ismore cost effective. In my business, we’re oftenasked to produce music with a ’date specific’ feel –someone might say ‘ I want a 1970’s funk piece’, forexample. Obviously, the best way to make it soundtruly authentic is to use the same gear that was usedto record the original material – but the Liquid Mixgets you most of the way there.”Aitken started using the Pro Tools HD versionof Liquid Mix as soon as it became available.“It was an obvious choice for me and I use it almostexclusively now – I don’t need to mess around withcompensation any more,” he says. Having access tosome of the equipment on which the emulationsare based, Aitken took the time to do somecomparisons between the two. “I have donesome comparisons – I compared Manley’s MassivePassive with Liquid Mix and it was as close asyou could get when taking into account thephase changes of converters,” he says. “On thewhole you can get the same flavour of classicgear with something like Liquid technology.It’s always nice if you can be an audiophile andalways use the best of the best, but sometimes youjust need to get the bloody job done with a certainsonic flavour! If I need a Fairchild 660 sound I canjust dial it in – and, for me, the best emulation is onthe Liquid mix. I also like the fact that the graphicson the LM don’t in any way pretend to be theoriginal equipment – you have to just use your ears.”Aitken sees convolution techniques playingan important part in the future of emulationtechnology and for now, the Liquid series are hisweapons of choice. ∫www.nimrodproductions.comKillzone 2.36AUDIO MEDIA JULY 2009 – PROMOTIONAL FEATURE

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialGame Sound Sound Game SpecialGame SpecialSound Game SoundSpecSTHE DOLBYEXPERIENCEMission Against Terror (Kingsoft).He’s Behind You…Dolby is the global leader ine n t e r t a i n m e n t technologies –at the movies, at home, or on the go.Since 1994, Dolby has leveraged itsexpertise in high quality audio toelevate the game-playing experience.It therefore makes complete sense thatthe surround sound specialists whobought cinematic surround sound togames with the integration of Dolbysurround sound in consoles, is targetingonline gaming.Dolby has been behind the most significant audio revolutions in media since recordsbegan. Now it plans to do the same for gamers, with a new technology called Dolby Axon.Very recently, Dolby announced the firstgame – not alienated by the traditionally weakcommercial implementations of itslink of voice comms.Dolby Axon integrated voice The basic problem is that there are lotscommunication technology. of stress-points in the system. You haveJumpgate Evolution, an MMOG by NetDevil players using mono headsets and low qualitybased around an immersive, persistent universe microphones, the codes aren’t very good, andwith spaceship pilot characterisation, and there is also the issue of people whoMission Against Terror, an online FPS developed have their microphones settings too lowin China by Kingsoft Dalian JingCai Studio, both or too high. The results even on relativelytreat players to the realism provided by high controlled services such as Xbox Livequality, 3D-positioned online comms.are clipping, distortion, and microphonesOnline gaming has become a huge picking up echoes: essentially an audio mush.phenomenon over the last decade with voicecommsa vital part of the multi-player experience. complaints about online voice quality andTalking to developers, Dolby heard a lot ofMost games now have Dolby surround sound, decided this was a perfect opportunity for it toand most now have an online component. solve an industry problem.You’ll hear footsteps,In addition to basic 3Dgunshots, and explosionspositioning, Dolby Axonin surround sound oftenprovides volume attenuationtied to a character orwith distance, and occlusionplayer. But when another(muffling when obstructed).person online talks to you,There’s also a volume levellerit is often low quality andthat normalises the signalcomes directly from thefrom different players, so nocentre channel as a monoone is significantly louder thanexperience. Dolby lookedanyone else. The advantagesJumpgate Evolution (Net Devil).at this as a problem that itare obvious when it comes tocould solve firstly through surround sound and things like FPS games – you hear enemies andbecause of its expertise in signal processing – team mates’ voices coming from wherever theyit could make the experience better.are standing; and enhancement of directionalDolby Axon is a scalable integrated voice clues in the gaming experience is effectively ancommunication solution which the company enhancement in the gamer’s experience.thinks will raise the bar for voice communication Dolby’s Matt Tullis (Director, Dolby Gamesin online games, allowing thousands of players Group) told Jerry Ibbotson in Audio Media, Aprilto communicate and remain involved in the 2009: “We think it really shines in first personshooters – anything that requires co-ordinationwith other players.”Equally enthusiastic were the clients.Pak Kwan Kau, Executive Director at Kingsoft(Mission Against Terror): “Kingsoft is proud tohave worked closely with Dolby in makingMission Against Terror a premieronline game for the Chinese marketthrough the incorporation of DolbyAxon… Players will now be able touse voice and hearing as a new element ofthe game-play by understanding the positionof team-mates and adversaries.”Hermann Peterscheck, Producer at NetDevil(Jumpgate Evolution) said: “Dolby Axon offersus the highest quality 3D voice communicationsystem available for our title. Dolby is a leaderin audio that has shown a commitment toimproving the voice chat experience in onlinegames. It is cost-effective and we are excitedat the great new game play experience DolbyAxon will offer our users.” ∫With thanks to Simon Arnold, Marc Langsman,and Matt Tullis.............................INFORMATIONwww.dolby.comDolby’s Simon Arnold and Marc Langsmanwill be hosting a session at this year’s DevelopConference, Brighton, and explaining moreabout Dolby Axon, and Dolby’s new Pro Logicinnovation – Dolby Pro Logic IIz (inclusion ofheight channels for up to 9.1 playback).AUDIO MEDIA JULY 2009 – PROMOTIONAL FEATURE37

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialSound Game SpecialSound Game Game SpecialSound Game SoundSpecSLittleBigPlanetWho’d have thought a platformer could wow the modern games world in the wayLittleBigPlanet has? Paul Mac talks to Media Molecule’s Kenny Young about audio’scontribution to the Sack Boy sandbox.Media Molecule is an independentdeveloper with just under 40 staff,formed in 2006 by ex-Lionheademployees, off the back of an initialindependent success with a game called Rag DollKung Fu – mostly credited to Mark Healey.The team behind Kung Fu approached Sony withthe outline of another game, but this time with aSack Boy: LittleBigPlanet.In the strangely unreal realism of the gameworld,the irresistible cuteness and innocentpersonality of the oft-abused Sack Boy, thevastness and variety in the main game andonline community, and audio support judged toperfection, and you have one of the Playstation3’s biggest software assets to date. However, tryexplaining LBP to anyone who hasn't actuallyplayed the game and the conversation inevitablyends: ‘Look, it’s hard to explain – you just haveto play it to understand.’ But then, a degree ofexclusivity is how vibes are created.Planet AudioMedia Molecule was about 30-strong whenLittleBigPlanet development was in full swing,but since that time the ongoing commitment toadditional content for the game and number ofother ‘secret projects’ has swelled its numbers.Kenny Young is the audio guy at MediaMolecule – he works with Matt Willis, theAudio Programmer. “I’m the audio creative onthe team,” expands Young. “I make sure that,Kenny Youngeven if I’m not creating the assets myself, I’mcommissioning composers to write the musicor getting in freelance sound designers to help.”For LittleBigPlanet, Young was responsible forall the original sound design, and some of theoriginal music.The music in LittleBigPlanet (a mix of originaland licensed) draws inspiration from the maintheme of the game – a trip around the world.The tracks are created and chosen to relate to theregion being represented. “The general directionI took was to embrace the slightly eclecticpresentation of the game,” Young explained.“And because the game’s about letting playerscreate their own things using the tools we’veprovided, they need a big library of tracks sothey can find something that fits the style or theemotion of the thing they’re creating.”To this end, another strategy for the musiccontent was to make sure that no two pieces ofmusic stepped on each other’s toes. One exampleis the game’s Mexican theme, where the spaghettiwestern genre, Mexican Rap, and a licensedtrack from the “Mexican equivalent of U2” are allfeatured. The game gave Young the opportunityto “play against people’s expectations”.Certainly a driving game or high-drama shootercould not get away with such liberties.Players can also pick up a variety of soundobjects to incorporate in their own levels. In fact,there’s a whole subset of player-created levelsdedicated to playing music, with such ingeniouscontraptions as triggers and sequencers used.Young predicts a greater number of thesesound objects for the future.Bing Or Bong?As mentioned before, Young was whollyresponsible for the game’s sound design.It would have been easy for Young to getaway with some very cartoony and clichédboings, beeps, and bangs, but it would havebeen a very poor relation to the brave realismthe audio actually brings to a small clothmanexploring places made from craft tableoff-cuts.Young explained that there were two distincttypes of sound to be considered. The firstdeals with reality: “We have a bunch of objectsand actions that happen in the game, whichare meant to be realistic – or at least plausible– and sound like they might sound in the realworld. An example of that might be the physicssounds… So whenever a bit of polystyrene landson the ground it makes an appropriate kind ofpolystyrene chunk sound. You can’t get a goodpolystyrene sound in a library, so that needs tobe custom recorded by me in the studio to fitthe implementation of the sound in the game.”It sounds simple, but there’s a lot of pressureon every sound in LittleBigPlanet as it relies verymuch on the movement of discrete objects,mostly without the convenient cover of wall-towallambience and incidentals.This pressure increases when you considerjust how much the audio contributes duringplayer level construction – itself an integral partof the game. Young: “It’s nice to have a piece ofwood or metal feel like a real piece of wood ormetal… When they’re building something andthey’re clattering bits together and cutting themup, that all has to feel just right.”On the other side, there are what Youngterms the ‘game-play sounds’. “They don’t reallyhappen in the game world. They happen maybesomewhere in the orchestra pit alongside theimaginary orchestra. The user interface soundsare another good example.” In this area, Young isfreed from the constraints of the real world, butthe sounds still have to fit the game. It’s this partthat Young (as most of us would) has difficultydefining: “I wanted them to fit the game,but quite how to describe that, I’m at a loss.”This is not an uncommon LBP problem. ∫............................INFORMATIONMedia Molecule www.mediamolecule.comKenny Young will be speaking at the upcomingDevelop conference in Brighton.For an extended version of this article, downloadthe Special PDF at www.audiomedia.com38AUDIO MEDIA JULY 2009

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialGame Sound Sound Game SpecialGame SpecialSound Game SoundSpecSBattle Stations Pacific – music by Richard Jacques.Hunting ForThe Best SoundRichard Jacques explains to Audio Media why thereshould be no reason for game audio quality to be inferiorto that of films.Over the last sixteen years, the nameRichard Jacques has become synonymouswith high quality video game music.Richard started out in the industry as anIn-house Composer and Sound Designer at SEGAEurope, working on titles including Sonic,Jet Set Radio, Daytona and one of his personalfavourites: Headhunter.In 2000 he went out on his own and formedRichard Jacques Studios, based in South London.The key areas of the business are music composition(with an emphasis on orchestral music), recording,surround mixing, and music licensing. He’s in greatdemand from some of the world’s top gamesdevelopers and publishers to deliver in-game musicwith the same sound and quality as a blockbustermovie. It’s no wonder the walls of his studio arecovered with awards.He’s been using Prism Sound products for yearsand first used the ADA-8XR converter when recordingthe music for Headhunter: an 86-piece orchestra atAbbey Road. This was the first time the famous studioshad been used to record games music in this way.The ADA-8XR had just been launched onto the market,and Richard was one of the first to get his hands onone, direct from Prism Sound. In Richard’s own wordsit sounded “mind-blowing”. The game, and its music,went on to receive critical acclaim and won a place inthe hearts of gamers the world over. As a footnote:the Abbey Road engineers were so impressed thatthey kitted outRichard Jacques.every room in thebuilding with one.S o w h y g oto such lengthst o r e c o r dgames music?Why orchestratea n d r e c o r da f u l l - b l o w norchestra whenso many samplelibraries exist?To many outsiders, game audio is still very much abedroom business, with practitioners seen as keenamateurs. Richard is keen to scotch this myth fromthe start. “There’s no reason on earth why gamesound should not be as good as that found anywhereelse,” he said. “If I’m sat at home watching a DVD orBlu-ray movie playing on my PS3 or 360, it will soundgood. If I then take that disc out and start playing agame, which had probably cost me a lot more to buy,I want it to sound just as good.”Mass Effect – music by Richard Jacques.He’s seen a lot of changes in the industry over thelast few years. “The technology has really moved on,allowing us to do what we really want to do. Not justin terms of sound quality, but in real time mixingand effects, giving the best possible overall sound tothe player. I always want to do the best I can but inthe past the limits of the hardware could hold youback. That’s no longer the case.”He’s currently working on a major projectthat he’s keeping under wraps for the time being.But he says the demand for complex interactivemusical scores is higher than ever. “With respect, it’snot something a lot of film or TV composers wouldbe able to do; compose and orchestrate music thatchanges according to the actions of the player.Some have tried but over the years we’ve provenourselves. I have just about every musical samplelibrary going, but I still believe that nothing beatsrecording a live orchestra to bring the very best soundto a game. We’re using Prism Sound kit all the time.At first it was quite groundbreaking but todayit’s a given. ∫A MULTI-FRACTIONOF USESPrism Sound’s ADA-8XR and Orpheusprovide the highest quality andversatility for interface and conversion.Prism Sound’s ADA-8XR multi-channel modularAD/DA converter provides all the pristine soundquality you’d expect from the UK-based company,as well as a hugely versatile choice of interfaceand conversion options. The unit can be configuredas a 16-channel AD converter, a 16-channel DAconverter, or an eight-channel AD/DA converter.It doesn’t stop there though. It can also functionas a multi-channel FireWire interface, an AES/EBU/AES3/SPDIF digital to analogue or analogueto digital converter, a high resolution Pro Toolsinterface, or as an interface for a wide array ofother DAWs. The 8XR is ideal for music and soundrecording, mastering, broadcast, and postproduction,and has been used in many of theworld’s most revered studios.Providing a more affordable opportunity toharness Prism Sound’s world-renowned audioquality is the company’s new Orpheus FireWirerecording interface. Its design philosophy is ano-compromise approach to providing the bestsound quality available. The company statedits mission was to, “Get Prism Sound qualityconversion and mic preamps into a 1U box at a moreaccessible price point.” The dedicated FireWireinterface is compatible with both Windows andMac OSX, andoffers fourintegratedmic pres withswitchablephantom poweraugmentedby eight premium-quality AD and DA channels.For added versatility, output can be selectablebetween workstation bus or the Orpheusmixer itself.............................INFORMATIONwww.prismsound.comAUDIO MEDIA JULY 2009 – PROMOTIONAL FEATURE39

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialSound Game SpecialSound Game Game SpecialSound Game SoundSpecSPlayTAGForza Motorsport 3.Stafford Bawler has recently joined The Audio Guys as Lead Sound Designer and alreadyhas Forza 3 under his belt. PAUL MAC talks games, cars, and normally aspirated trumpets.Many might well kick themselves in themarketing department when theyhear someone refer to ‘the audio guys’and realise that no matter how orwhen you say it, you’ve got to check yourself inorder to work out if you’re talking about peoplein general who do audio, or The Audio Guys…who also do audio. Recent game credits for thecompany include Virtua Tennis 2009 (SEGA), andOverlord II (Codemasters); but it’s in the numerousdriving game credits that TAG seems to have founda particular niche. Ferrari Challenge (System 3), SegaRally 3 Arcade Machine (SEGA), and GTI Club+(Konami) are amongst the list, and most recently ittook on the formidable new Xbox 360-only realracingtitle Forza Motorsport 3, published byMicrosoft Game Studios and developed by Turn 10(a Microsoft development company).The Audio Guys is an audio outsourcecompany founded by ex-Codemastersoperatives Tim Bartlett and Dan Gardner in 2006.So the car specialism is hardly surprising, as thatis the stable that brought us the Colin McRaeRally series – commonly blamed for a continuinginsistence to shout, “three left... two right” on theway to the supermarket.Stafford Bawler, Lead Sound Designer at The Audio Guys.Now the company has a regular team of sixpeople, although there are no central premises.All contributors work from their own homes– equipped with the necessary audio bits, plusSony, Microsoft, and Nintendo dev’ kits. The mostrecent full-time appointment has been StaffordBawler, into the position of Lead Sound Designer.Stafford had actually been working with TAG ona freelance basis since late 2007, a relationshipmade more permanent earlier this year. It wasStafford that did most of the work on the Forza 3title – designing the all-important engine soundsfor the game.Stafford has been in the industry for about 12years, formerly working for another developmenthouse that got into trouble and had to let staffgo, and subsequently for Codemasters, withBartlett and Gardner. Before that, Stafford cut hismusical teeth on electronickeyboards and an old AtariST, playing at raves and smallfestivals, alongside an earlymulti-media degree. “I don’tdo any music compositionor creation these days for mywork – it was more a sort ofgateway,” explains Stafford.“…These days I’m purely into designing soundeffects and sound systems for games. I’m verypassionate about car audio as well – quite apetrol head, and very much into recreating allthe idiosyncrasies of car engines. They’re likea horrendously complicated musical instrument.”That’s a small insight into Stafford’s approachto car sounds, but something more practical?Stafford: “The starting point is finding a car torecord. That can involve contacting owners clubs,posting on Internet forums, or – if it’s a racingvehicle – contacting the works teams or chasingdown privateers.“Then you have to get it onto a dyno’ [rollingroad]… Good dynos in sound proof environmentsare few and far between. They’re mostly in themidlands, like MIRA. I think we’ve used Milbrookonce as well.”Stafford takes with him a fairly standard kitbag:two Edirol R44 recorders, and a selectionof DPA mics (including the 40 series miniaturemics and 4011 standards). “The great thing aboutthe DPA mics,” volunteers Stafford, “Is the factthat they can handle so much level. Cars arehorrendously loud and in the early days whenwe were all learning how to record cars for gamesthere were many problems with mic distortion.”As far as mic positions are concerned, there’sa few standard ones that Stafford wouldalways explore. “The two places you want arethe engine and the exhaust, because they’rethe significant sound sources. But we tend tofocus in on more detail. With the engine bay youusually want to get an ambient recording – amic hung over the top of the engine – and thenyou want to get an induction recording as well…If the car’s normally aspirated you’ll have a micright up to the trumpets, or if it’s turbo charged,near the turbo.“It’s all down to listeningto the mix on the dayreally. I don’t want togive too much away– some things we want tokeep secret!”The outsourcingbusiness within gamesis, according to some, coming into its own.Developers don’t have to commit to largestaff counts for single projects anymore whenthere are service providers like The Audio Guysabout. Stafford recalls his time at a full servicedeveloper: “Whenever there were worries aboutmoney, you could see HR people eyeing upthe swollen teams left over from big projects…it was always a big worry.“And it’s only going to get more difficult astime goes on and as the technology improves.The amount of time needed to create gamesincreases, and so do the man hours and numbersof people required, so the costs are continuingto sky rocket.” Stafford likens it to outsourcingper film production projects – the reliance onspecialist talent outside the core productioncompany’s staff list that makes good financialsense. And bodes well for The Audio Guys. ∫............................INFORMATIONwww.theaudioguys.comFor an extended version of this article, with moredetail on the Forza 3 project and Stafford’s preferredkit-list, visit audiomedia.com and download theGames Special PDF.40 AUDIO MEDIA JULY 2009

Cut SceneGame Sound SpecialSpeciald Game Sound Sound SpecialSpecialGame Sound SpecialSound Game Game SpecialGame Sound Sound Game SpecialGame SpecialSound Game SoundSpecSOf Aliens, Apes, andPsychotic RabbitsWhen you get to do the Foley for a rabbit that burps so loud,Paris crumbles, and enjoys taking on the world with onlysink-plunger guns to work with, you know you’ve made it.Yoan Fanise talks to Audio Media.Yoan Fanise, Audio Director, has beenworking in game audio at Ubisoft since2001, starting with the acclaimed BeyondGood & Evil. He’s worked on plenty ofgames since, such as Peter Jackson’s King Kong,which gathered multiple awards for its audiocontent and had its sound effects approved bythe WETA Workshop team several monthsbefore the film’s audio post was done. Thatgame was especially notable for its early use ofdynamic group mixing in-game.Yoan is still very proud though of the BeyondGood & Evil work which, he says, overcame alot of PS2 graphical limitations by making upfor it in the immersive audio experience, withdetailed, streaming atmospheres.Most recently though, he and his team havebeen working on the incredibly successfulRaving Rabbids series, derived from the Raymanfranchise, and is, as you read, working on thenext incarnation: Rabbids Go Home. The beautyin the Rabbids audio is the comedy it brings tothe game, complementing the very silly antics ofthe cute yet psychotic Rabbids. Their signature“Bwwahhh!!!” scream and huge range of cartoonlike‘almost-dialogue’ comes from the mouthof one Yoann Perrier, a Graphic Programmerat Ubisoft. “I give him ideas, sometimes withFrench dialogue, and record one minute of eachsmall expression. We cannot work for more thanan hour as he loses his voice.” Sound EditorJean-Marie Viollet then does a massive editjob on the recordings, and leaves the rest to athree semitone pitch rise (the only processingnecessary). In 2006, Rayman Raving Rabbidsscooped the IGN Game Of The Year Wii Awardstrophy for Best Use Of Sound.The studios at Ubisoft’s Montpellier, France,studios consist of three isolated rooms, includinga main recording area where the voices and Foleyare recorded. Equipment-wise, the main weaponis Steinberg’s Nuendo. Previously a Pro Tools userin film post, Fanise switched to Nuendo for gamesound. “It was a huge saving of time and money,”he says. He cites many reasons for the choice,such as the range and cost of plug-ins, and thefreedom to choose any hardware he wants toaccompany it. However, he does mention thecalculated bouncing and ability to open severalsessions simultaneously as the two biggest draws.His day is no longer punctuated by waiting forbounces after changing small elements in layers.Fanise claims to have ‘converted’ quite a numberof colleagues to the Nuendo way. His currentcontroller is a Mackie Control, and the otherequipment around the studios includes an AKGC414 and SPL GainStation (with AD conversion)combination – a set-up that Fanise prefers ashe can move it around without worrying aboutinferior interfaces on other systems. There are nosuch worries with the studio’s RME Hammerfallinterface. Monitoring options are Tannoy RevealPassives, Adam ANF10s, and Audio-Technicaheadphones.Fanise has a number of favourite plug-ins,including the PSP mixpack and PSP master Q(with the mix saturator pulled out for specialpraise with regard to dealing with fast transientFoley work), and the SIR Convolution reverbplug-in. He has recorded his own substantiallibrary of impulse responses for the latter. ∫............................INFORMATIONwww.ubisoft.frYoan Fanise working on Foley.STEINBERG NUENDO 4Delivering a next-generation audio productionenvironment for audio post, studio productionand live recording, Nuendo 4 empowers audioprofessionals by elevating creativity andproductivity to new heights. Technologicallyadvanced yet extraordinarily intuitive and fullycustomisable, Nuendo 4 offers streamlined,precision tools that save time and boost creativityfor audio professionals in today’s media, recording,and film industries. Nuendo 4 provides scaleable,cross-platform systems that integrate easily andfully with premiere components by industryleadingplug-in and hardware manufacturers.Steinberg technologies provide power, flexibilityand speed – accelerating recording, mixing,editing and sound design workflows to anunprecedented level.Nuendo 4 offers a state-of-the-art automationsystem, which combines with new recordingfunctionality and TrackPreset managementfeatures to speedup audio productionworkflows. A nextgenerationVST3 effectplug-in suite, theinnovative MediaBaydatabase, new editingcommands and the Track Quick Controls raiseproduction efficiency and quality to new heights.With the introduction of the 4.2 update Steinbergrefreshed Nuendo by introducing extensivesupport for Yamaha KS and Yamaha Motif XSseries, as well as for the Steinberg MR816 CSX/XAdvanced Integration DSP Studio and the CC121Advanced Integration Controller. Nuendo 4.2 isa major maintenance release for Nuendo 4, andincludes several workflow enhancements andimprovements.............................INFORMATIONSteinberg www.steinberg.netAUDIO MEDIA JULY 2009 – PROMOTIONAL FEATURE41

SSLVocalstripduende plug-inSSL’s Duende finds its voice with along-awaited vocalstrip plug-in.RICHARD WENTK takes it for a yodel.THE REVIEWERRICHARD WENTK is theowner of Skydancer Media, adigital production companyproviding sound, image, design,and consultancy services tovarious clients in London and theWest Country.There’s no doubt that Duende has been an impressivesuccess for SSL, packing most of the SSL sound intoan affordable and accessible format. But given SSL’sreputation for pop mixing and tracking, the absenceof a vocal processor in the plug-in range has been obvious.Vocalstrip was announced towards the end of last year, andis available as an optional extra for owners of any Duendehardware model, and also as part of a comprehensive pluginand hardware bundle available for both the PCI-E andMini Duende processors. If you want to try it out beforebuying, a 10-hour demo is available as part of the Duendesoftware installer. As usual for Duende demos, the clock onlycounts down while audio is being processed, so this is agenerous try-out period.The on-screen design has the same look and feelas previous Duende processors, with curvy buttonsthat ‘light up’ when clicked. Input and output sectionsinclude a gain setting each, and also use Duende’svery useful dynamic bargraph display system, whichsimultaneously shows peak, average, and approximatedynamic range settings.Power Of FourThere are four processing sections, including a compander,EQ, a de-ploser and de-esser, and one display area.The processing order can be changed by selecting oneof the processors on the flow diagram at the bottomand clicking > buttons to move it – which>42AUDIO MEDIA JULY 2009

ssl vocalstrip>does the job, but drag and drop would havebeen simpler and more intuitive. Sections canalso be switched in and out individually, so if youonly need a de-esser, you don’t have to use theother sections. This has no effect on Duende’sinternal processing assignment – Vocalstrip usesa single processor slot no matter how it’s set up.But it may make a difference in the forthcomingDuende 3 update, which uses SSL's Hybridprocessing to share the load between the Duendeand the host machine.Comprehending TheCompounderThe compander has a comprehensive set ofcontrols that include attack, ratio, threshold, andrelease for the compressor section, an expanderwith a variable threshold but preset dynamics,and gain makeup. A ‘drive’ button adds a hintof sweet-sounding distortion that thickens outthe sound. You can also select hard and softknee curves. A ‘bargraph’ display indicates howmuch compression is happening and how openthe expander is. The sound isn’t quite clinical,especially with drive selected, but it’s not asovertly transformed as it is with the Buscompand Channel Strip Duende plug-ins. It’s certainlyeasy to make lines sound thicker and richer, andalso to tame performances so they can bed downin a mix.The EQ section is a three-band design witha low-cut, tight mid parametric and a looserhigh parametric. It’s a basic design, which seemsto have been picked from typical user choicesfor vocal EQ, and it covers the bases. But moreflexibility in return for smaller on-off buttons foreach stage would have been welcome. Arguably ahi-cut or a shelving stage would have been usefulat the high end, and Q control would certainlyhave been appreciated on all of the stages. But it’sstill possible to make both creative and surgicaladjustments, and the sound is fairly smooth andunobtrusive. If you need more versatile EQ youcan always use one of the other Duende plugins.But because this has to happen outside ofVocalstrip’s processing chain, it’s not quite a dropinequivalent. And there isn’t, as yet, any way tocross-route or patch between plug-in subsectionson Duende, or to set up sidechains.Quicker, Quicker..!As a useful extra the display section can be madeto show pre- or post- FFTs, which can help withfine-tuning the EQ. The FFT update rate isn’t quickenough to catch fast transients, but it can displaypotential problem areas on slower vocal elements.There’s also a dynamic amplitude graph, whichcan give you some clues about how aggressivelyyour vocals are being treated. (There isn’t,unfortunately, a self-destruct button that turnsoff all processing when there are no dynamicsleft at all.)The de-esser and de-ploser are more hit andmiss. As always, they’re available to compensatefor the compressor’s tendency to magnifyunwanted consonants, turning a smooth vocalperformance into a hiss, spit, and pop fest.But the active frequency ranges are preset, whichmeans they’re less versatile than a completesidechain. To be fair you get two processors, whichis generous and more than you’ll find on mostconsoles or outboard boxes. And the dynamicsare dynamically calculated, which means that intheory you don’t need to set them by hand.But in practice some vocal lines could betreated effectively, while others were morechallenging. A low and breathy trip hop vocalwith a heavily aspirated ‘You’ fell between thetwo active frequencies and couldn’t be tamed.This might not be a common problem, but atuneable sidechain would have made light workof the problem. On other material, the de-esserseemed to work smoothly, but the de-ploserhad a tendency to click when used moreaggressively, and was perhaps more effectiveon spoken voiceover material than sung vocals.Some fine-tuning of the dynamics might be worthconsidering for the next update.Theory Vs. PracticalOne other limitation is that Vocalstrip is monoonly. In theory this makes sense, but in practiceit means you’re limited to solo vocals, and thesehave to be processed before you add reverb andother effects to them. Compressing a line withreverb already added is sometimes useful, so thisis a limitation. It would have been good to havethe choice.Overall, it’s possible to get an excellent varietyof vocal stylings out of the Vocalstrip, fromtraditional ultra-compressed breathy female bvoxto aggressive male growls and snarls. I’d like tosee a little more versatility and user control insome of the sections, but Vocalstrip is still a fineaddition to the Duende range and an essentialpurchase for anyone who works regularly witheither spoken or sung vocal material. ∫....................................£ GB£199.00 (exc.VAT)INFORMATIONA Solid State LogicW www.solid-state-logic.comA UK Distributor: Sound Technology, LetchworthPoint, Letchworth Garden City, Herts, SG6 1NDT +44 (0) 1462 480000W www.soundtech.co.ukE sales@soundtech.co.ukAUDIO MEDIA JULY 2009 43

TCR . 10:00:00:0000 TCR . 10:00:00:00 TCR . 10:00:00:00TCR . 10:00:00:00TCR . TCR . 10:00:00:00TCR . 10:00:00:0TCR . 10:00:0The SoundChangeofIt’s all new at Molinare…TCR . 10:00:00:0A new phase has begun inthe long life of one of London’sleading post houses.KEVIN HILTON talks to SteveMilne to find out just howMolinare is shifting in thisera of change.Companies change and grow over the years,altering direction and adapting with the times.In some cases the name is all that remains, withwhat goes on under its umbrella bearing littlerelation to what the founders intended. Molinare hasdeveloped from its audio for radio and commercials rootsin the 1970s to become a leading ‘one-stop shop’ in London’spost-production market, with video editing, digital filmtransfer and processing, colour grading, and visual effects.Despite this expansion in services and skills over theyears, sound remains what director Steve Milne calls“the jewel in the crown” for Molinare. The facility hasmoved into film relatively recently, not just providing postproductionfacilities but also being part of getting Britishindependent features made and financed; and whileMolinare's extensive vision department is attracting work,Milne says audio expertise is as big a pull for producers.Another LevelOver the last two to three years Molinare has beenupgrading audio and video suites on a floor by floor basisin its two buildings on Foubert's Place, London. A floorof seven cutting rooms, called Planets, has been built tosupplement the 14 edit suites on the Space floor. A newADR room has been added, and most dubbing roomsrefurbished. A new audio floor has also opened, housingthree Foley-fit rooms, one Foley performance area, plustwo stereo and three 5.1 mixing suites.This was part of a £5 million programme, and Milnesays another £5 million will be available from majorityshareholder Century Communications Limited (CCL) tocontinue the process of upgrading and improving thefacility. Molinare started out with more modest facilitiesbut no less ambition in 1973, set up by Australians StefanSargent and Robert Parker as the first purpose-builtcommercial radio production facility in London, servingthe then-new independent local radio stations Capitaland LBC.Base BeginningsThe first studios were in the basement of a buildingin Broadwick Street, which was rented from fashionphotographer Michel Molinare, who had his studio above.As he was not supposed to be sub-letting the premises,Sargent and Parker took Molinare's name for the business,so as not to arouse the suspicion of the landlord.In 1979 Molinare the company moved into CravenHouse, a former school, on Foubert's Place, which hasbeen its main base ever since. The building oppositewas later taken over, and in the modern round ofimprovements it will provide space for the visual effectsdepartments of both Molinare and former Ealing Studiosbasedcompany Men from Mars, taken over by CCL lastyear and now moving into what was once Stefan Sargent'sapartment. Molinare's old drive-in television studio, atone time the largest in central London, is now closed andwill be converted into a digital grading theatre, which,Milne says, at nine metres wide will be an impressiveaddition to the London post scene.During its long history Molinare has passed throughthe hands of several owners, including media groupTelevision Corporation. The post-production marketgoes through regular bouts of tough times andin 2003 Molinare appeared to be struggling, withthe distinct chance that an established name inthe business would disappear.TV Corps was clear that it wanted to concentrate onprogramme production, and in September 2003 sold>44AUDIO MEDIA JULY 2009

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molinaire the sound of change>Molinare in a management buy-out (MBO) headedby Steve Milne and Mark Foligno, who had beenrecruited as trouble-shooters in July to turn thebusiness around. Both came from a manufacturer/business background, having worked togetherat the packaging giant Tetra Pak, althoughFoligno spent time at Sony promoting HD.This relative inexperience of running a largeAll-in-One 16:4:2 Digital Mixing and 16-Track Multitrack RecordingLR16Live Recording MixerCAT-5DIGITALMULTCOREpost house, says Milne, gavethem a different approach torunning the company and anentrepreneurial culture wasestablished.The Prize OfConstancyWhile Molinare's video divisionhas grown since the late 1970s,with online and offline editingleading into VFX, grading, andnow digital intermediate (DI) forfilm, including scanning and printing, audio hasbeen a constant. "We do combined picture andaudio projects," says Milne, "but our menu allowsthe sound department to work as a stand-aloneaudio house."From its radio days this audio facility withina larger operation has expanded into sound forpicture, first for the television sector and nowfeature films, both supported by track-layingrooms and Foley/ADR theatres. During its darkerdays, getting on for ten years ago, Molinarebrought in some star name dubbing mixers tobolster its sound operation and attract more work.Among those who arrived were documentaryspecialist George Foulgham, whose recent creditsinclude 2009 Oscar winner Man on Wire, and BillyMahoney, who moved from Magmasters with hisentire track-laying team to established the dramaaudio department.From that foundation the company hasconcentrated on bringing on talent from within.Among those who started out as either runnersor juniors are Mahoney's sons, Aaron and BillyJunior. The audio team numbers 35, with 20concentrating on drama. There is also the soundhouse within the sound house; in 2006 strugglingdocumentary facility Fusion Post was taken overby Molinare and its D'Arblay Street premiseshouses two dubbing theatres and a track lay suite.Molinare D'Arblay Street is overseen by SteveCookman, who mixed the first of Molinare's threeSundance award winning documentaries, In theShadow of the Moon.Over the years Molinare has rented out spaceto a number of other companies, production firmsas might be expected, but also facilities, includingMill Film and Grand Central. The commercialssound specialist moved into its own facilities inGreat Marlborough Street during 2006, givingMolinare the opportunity to revamp the old suites."We had run out of audio capacity," explains Milne,"and Grand Central wanted to grow, so it was asituation that suited us both." Soundtracs DS00digital consoles are among the desks used aroundMolinare, while the digital audio workstation ofchoice is Pro Tools, although the last incarnationof AudioFile is still found in some suites.On the floor below the former Grand Centralarea Dubbing C and D are supported by twotrack laying rooms and all are used for whatcomes under the general heading of factualprogramming, including Trawlermen (Molinare hasworked on series two to four of the gritty look atearning a living in harsh conditions) and cookingcompetition Masterchef, plus its variations.These dubbing rooms have been refurbished,including a change in decor to bring the suites inline with the company-wide design policy. Milnecalls 2009 ‘a big refurbishment year’, with the areassurrounding C and D being a work in progress,with six new Avid Nitris suites due to running bythe end of July.The new Fostex LR16 is a clever all-in-one solution integrating a flexible,feature-rich live digital mixer with a full-specification 16-track MultitrackHard Disc Recorder and CAT-5 Digital Multicore.A totally new concept, this easy-to-use audio tool can serve as a FOH oron-stage mixer and is ideal for schools, houses of worship, clubs, coffeehouses, project studios, mobile recording and rental sound/recording, etc.- In fact any application where flexibility of use is important.Also Available: LM16 - Live Mixer Model - see online for more informationwww.fostex.jpFostex Company, 3-2-35 Musashino,Akishima, Tokyo, Japan 196-0021Email: info_sales@fostex.jpA New PlaceThe ongoing development of the facilities is partof Milne and Foligno's plan to reposition thecompany. "Five years ago we were best known forpost-producing Robot Wars," says Milne, harkingback to a time when a show featuring mechanicalgladiators controlled by geeks and electronicsgenii was a big TV ratings pull. Now Molinare isbeing marketed to attract "high end factual andTV drama", alongside what Milne describes as an"aggressive move into features".Over the last four years Molinare has workedon 130 feature films and that trend is continuingthis year, with recent productions includingEdinburgh Film Festival award winner Moon,the directorial debut of Duncan Jones (who isprobably haunted by the phrase ‘son of David>46AUDIO MEDIA JULY 2009

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molinaire the sound of change> Bowie’ and being named Zowie Bowie), whichwas mixed by Scott Jones, Doghouse and PelicanBlood, a love story set among those obsessivebirdwatchers, twitchers.Television continues to be the predominantmedium for Molinare, with the ratio 75-25between TV and film. Milne and Foligno achievedtheir ambition of moving away from lower endreality TV and avoiding commercials altogether.Milne says the company has benefited from there-commissioning of a number of popular dramaseries - Silent Witness and New Tricks amongthem. There are also individual dramas and shortepisode runs, the hotly tipped productions forlater this year being Small Island, adapted by PaulaMilne from the novel by Andrea Levy, and ITV'srevisiting of The Prisoner. The sound, includingFoley, for Small Island was done at Molinare andproduction Ruby Films has confirmed that its nextproject, Chatroom, directed by Hideo ‘The Ring’Nakata will be completely posted at the facility.The new audio floor in Molinare's secondbuilding, across Foubert's Place from CravenHouse (currently promoted as ‘The TV and FilmFacilities Village’) was previously an offline videoediting area and now houses the three Foley fitrooms, the Foley stage and mixing area, three 5.1rooms, and a track-lay suite.Recent audio upgrades have included 14 ProTools HD systems bought from Digidesign resellerScrub. Three of these have ICON D Commandconsoles, while ten LE packages are used variouslyfor track laying and prep. Genelec DSP Series5.1 monitoring systems were chosen for suitesbecause of the integral self-calibrating capability,allowing the same parameters to be reproducedin different sized rooms.The main theatrical re-recording rooms,Dubbing A and Dubbing F, based aroundSoundtracs D4s installed approximately two anda half years ago. The D4 was used to mix sevenfeatures that were screened at the Edinburgh FilmFestival, including DJ Mark Tonderai's low-budgethorror Hush and Gillian Anderson starrer BoogieWoogie, directed by Duncan Ward.Questions, Anyone?At one time the Molinare drama departmentwas based firmly on audio projects but now theproportion of video work is beginning to increase,partly because of the amount of features beingbrought in. Billy Mahoney says the picturesbeing done in the same building, or evenover the road, is positive. "The picture cuttingrooms are based here and we can answer anyquestions the video people or producers haveabout the audio," he says. Mahoney mixedthe sound on Pelican Blood and comments thatthis way of communicating was a great benefitto the production.Molinare's infrastructure will be expanded laterin the year with the instalaltion of a massive SANsystem, with a new Xytech booking system due togo live in September. There is also an audio-onlynetwork for the sound effects library.A New Point In HistoryA new phase in Molinare's history, and theopportunity to continue developing its facilities,came in May last year. Indian media entertainmentgroup CCL, which owns Pixion – operator ofpost-production houses in Mumbai, Noida, andChennai – bought a majority share in Molinare,taking a 76 percent stake, with the remainder heldby Milne and Foligno.Steve Milne calls the arrangement a "goodfit" that will continue Molinare's growth intofeature films. There is a circuit link to India, sowork can be done there as well as in London, butMilne hopes to continue pulling projects intoSoho, including audio from Bollywood."Molinareis now a substantial player again with the scale todeliver fast response and flexibility," he concludes."Molinare is 36 years old and we are very proud tobe custodians of the brand. We are about audioexcellence and we must fight to maintain craftskills in what is a tough environment..."” ∫....................................INFORMATIONMolinarewww.molinare.co.uk48AUDIO MEDIA JULY 2009

27 THAES CONVENTIONMAKE THE RIGHTCONNECTIONSOctober 9-12, 2009Jacob K. Javits Convention CenterNew York, NYwww.AESshow.com

professionalheadphonesUltrasonePRO 900 & Edition 8Ultrasone Pro 900STROTHER BULLINS thinksthat the PRO 900 could wellbe the cause of some fightsin the future, they’re just sodarned desirable.S-LOGIC PLUSThe basic Ultrasone S-Logic systemdoesn't, as the name might suggest,use any digital magic – the systemis purely physical. The fundamentalmechanic is a 'de-centralised'driver positioning that, accordingto Ultrasone, means signals arereflected off the surface of the outerear before entering the ear canal– a process more akin to listeningon monitors than headphones.The 'Plus' in S-Logic Plus addsnew "precision dampening withmicro-acoustic reinforcement",which optimises the relationshipbetween driver, buffer-board,and spatial parameters. LastlyS-Logic Plus incorporatesre-designed, finely-tuned earcups.That should be enough techtalkto make even the most hardypragmatist drool. Admitting youdon't know what buffer-board is,is the first step to recovery.THE REVIEWERSTROTHER BULLINS is Editor ofPro Audio Review.Perched atop Ultrasone’s high-quality professionalheadphone line, the new PRO 900 closed-backheadphone is a luxurious, comfortable, andwell-made pair of studio-grade cans.Specifications include a 6Hz to 42kHzfrequency range, 40mm Mylar/titaniumdriver, 40Ω impedance, 96dB maximumSPL, and a weight of 0.65lbs.The complete PRO 900 packageincludes a canvas-covered hardshellcase with coiled and straight 10-footcables terminated with Neutrikconnectors, a quarter-inch to minijackadapter, spare ear cup pads, a20-song reference audio CD compiledand largely recorded under thedirection of Ultrasone, and a manual.Featuring proprietary S-Logic Plustechnology – which in part requiresoff-centre drivers angled towardsthe listener’s outer ear – the PRO 900has a unique sound for headphonesthat you may, or may not, be used to.However, it is my belief that the S-Logictechnology greatly contributes to thePRO 900’s impeccable imaging andfine detail necessary for engineers whouse (or would like to use) phones formeticulous editing and monitoring.Comparing DetailIn direct comparison with highqualityconventional studio monitors,I did hear detail in the PRO 900’sperformance that wasn’t apparent inthe monitors; for example, in listeningto The Beatles’ I’ve Just Seen A Face, Idistinctly heard a harmony vocal,albeit short and mixed way back,with depth and detail that Ihad never even noticed before(and I’ve surely listened to thesong several hundred timeson dozens of sound sources).To my ears, the PRO 900 offerspronounced detail and acousticpresence at comparativelylow levels; this quality willsurely have you monitoringat lower-than-normal SPL, thushealthier listening habits over time –“I distinctly hearda harmony vocal…with depth anddetail that I hadnever even noticedbefore…”a notable and beneficial feature indeed.On the PRO 900, pristinely produced vocal-orientedpop music – with reference material rangingfrom music by Beyonce to Big & Rich –was translated with notable ‘air’, wellexposed reverb tails, and an overall‘depth of mix’.At The TopThe PRO 900’s street price is atthe top of our industry’s pro- orstudio-specific headphone range.As such, you’ll initially cringewhen handing them to a musicianin your studio (or at least I did).Luckily, the PRO 900 is a headphonebuilt to take common studio abuse,such as ear-bleed-inducing trackingsessions while perched on the heads ofrock drummers, guitarists, and vocalists.The PRO 900 is also physically fit: ready forstudio wear and tear and, dare I say, builtto be droppable. I’ve yet to use any set of‘phones that I consider worth buying forstudio use that can’t be dropped, yanked,or accidentally kicked across the flooragain and again. In use as musician cans,the PRO 900 will seal well around mostears and heads; thus, you can give themplenty of juice and not suffer much frommonitor bleed into your microphones.In my time with the PRO 900, everymusician that used it had nothing butgood things to say about its sound andfeel, nearly to the point of disappointmentif I didn’t hand them the sole pair ofPRO 900 cans I had during multi-musiciantracking sessions.In summation, I wholeheartedlyrecommend the PRO 900 to modernrecordists and mixers who need atop quality set of pro headphones,and whose work generally rangesanywhere from dynamic classical,jazz, and lightweight pop toconservatively compressed rockmusic. The PRO 900 is an incrediblemusician’s studio headphone, too.Just be prepared for a band fightif you’re a tracking engineer with onlyone pair. ∫50AUDIO MEDIA JULY 2009

Edition 8 headphones are serious pieces of workmanship and material excellence. The ear cups have a classy rutheniumprecious metal coating, which gives them a mirrored finish. The headband and pads are covered in dark grey Ethiopiansheepskin leather – very soft and exceptionally comfortable. They have a new titanium plated tri-bass-tube driver,contributing to a frequency response quoted at 6Hz to 42kHz (yes… 6Hz), and they incorporate the Ultrasone S-LogicPlus technology (see the PRO 900 review opposite for more). Even the supplied storage bag is made from fine Madrasgoatskin, produced in France. No, I didn’t just describe the latest in designer handbag opulence – I just described apair of headphones.To test the Edition 8s I sat down with several pairs of headphones and ploughed through some favourite recordings,including some raw DSD material.The first thing to note is that the Edition 8s did sound the best. Not very descriptive, I grant you, but when it comes to,say, identifying particular strengths like bass reproduction, imaging, transient response, and so on, I got a little tied up.The fact is that the Edition 8s won on every aspect.If you want the gory detail, I found a complete and stable centre, and convincing LR soundfield in some stereo classicalrecordings that I would never normally trust to headphones. In fact, this particular focus brought it home to me exactly whynobody should trust ‘other’ headphones in a critical stereo set-up. It was also these examples that proved it is possible topick out instruments in an orchestral recording – if the recording is good enough. The less easily pin-pointed symptom ofthis was a correlated connection between the left and right channels that formed a whole image – not two speakers stuckin two ears.A couple of good vocal tracks and a drum recording to die for also cleared up a few other points. First, the LF is as clean, aspresent, and as fast as can be. That is, the bass wash you normally get with less able headphones went away – replaced by themicrophones that recorded the takes. To explain,one vocal hung out its dirty washing with somelow-down plosives from a close-miked mouth thatjust didn’t get through on the other headphones.This and a tight kick drum on another track wasenough to show that Edition 8s succeed where somany others fail – they allow you to experiencewhat it really sounds like to be the microphone.That’s something that is normally only possible witha great studio monitor.Tracking and auditioning stereo materialon headphones is usually fraught with risk.Sometimes they can tell you everything is great,until you get back to base and the monitors tellyou that you might need to have another go.I feel bound to say that I would trust the UltrasoneEdition 8s to both expose problems when it’swrong, and give you the thumbs up whenit’s right.The question of whether anybody would payover a GB£1,000 for any pair of headphones isanother thing altogether. If you want reasonable,inexpensive headphones, then the high-endUltrasone ranges don’t fit the bill. If you wantsuperb headphones that don’t cost the earth,then the Ultrasone Pro series is ideal. If you wantsuperb headphones that have something extra,then Edition 8 is your [goatskin] bag. They arethe ultimate sound person’s special present, orindulgence, or talking point, or demonstrationof appreciation that extends beyond the purelyfunctional. ∫INFORMATION£ Pro900 – GB£323.00 (exc.VAT)£ Edition 8 – GB£1,100.00 (exc.VAT)A Ultrasone AG, Bernrieder Str.17b, D-82327Tutzing, Germany/BavariaT +49 (0) 8158 9078 0F +49 (0) 8158 9078 50W www.ultrasone.comA UK Distributor: Audio Limited, Audio House,Progress Road, High Wycombe, Bucks, HP12 4JDT +44 (0) 1494 511711F +44 (0) 1494 539600W www.ultrasoneuk.comE info@audioltd.comUltrasone Edition 8ultrasone pro 900 & e8THE REVIEWERPAUL MAC is the Editor ofAudio Media magazine.AUDIO MEDIA JULY 2009 51

PRODUCT SAMPLERPlug-Ins & DAW UtilitiesAs CPU processing power continues to rocket upwards, so does thepotential for innovation from software developers. The following demonstrateexciting new avenues for applications, as well as giving respectful nods toanalogue inspirations.Abbey Road’s Brilliance Pack features threeplug-ins, RS127 Rack, RS127 Box, and the RS135,based on the original external EQ units therenowned Abbey Road Studios used tosupplement its REDD console during the 60s.The emulations providecontrol of frequenciesto improve the presenceand definitionof recordings whileenabling instrumentsto stand out in a mix. The company claims thatthe original hardware was used on almost everyBeatles album.www.abbeyroadplugins.comCelemony’s hotly anticipated Melodyne Editorhas at its core Direct Note Access technology(DNA), an extremely intelligent and potentiallyrevolutionarypiece of software.It allows editingof individualnotes withinpolyphonicaudio materialby changing their pitches, key, and position. Thishas huge ramifications for both corrective andcreative work. All of the monophonic capabilitiesfrom the original Melodyne are still on offer.www.urlrequired.comiZotope’s ‘complete mastering system’ Ozone V4provides users with, well, exactly that.The new version featuresa redesigned user interfaceplus a new IntelligentLoudness Maximizer, PerfectReconstruction crossovers,mid/side processing forsuperior control over the sound stage, and a newTrue Envelope dynamics processing mode. Theplug-in’s total array of mastering tools comprisesLoudness Maximizer, Paragraphic EQ, MultibandDynamics, Multiband Stereo Imaging, HarmonicExciter, Dithering, and Mastering Reverb.www.izotope.comThe new Speakerphone 2 from Audioeaseboasts a whole host of new features, as well asnewly sampled guitar amp cabinets, antiquephones, toys, answeringmachines, and mega-phones. Other standoutintroductions are amicrophone simulationmodule that emulatesmodels ranging fromRoyers to toy mics plusCoverup, a feature thatreplicates the effect ofenclosed spaces on sounds.www.audioease.comFocusrite’s Liquid Mix HD provides the samepool of classic EQ and compressor emulationsas the Liquid Mix range, and offers upto 60 processingtools. These arecomprised of 40compressors and 20EQs, all featuring apatented DynamicConvolution process to deliver unique EQ andcompression emulations. The plug-ins havebeen optimised for use within Pro Tools HD toprovide over one hundred simultaneous monoinstances on a standard HD3 system.www.focusrite.comLawo has launchedits way into the puresoftware domainwith the release of atwelve-strong bundledesigned to emulatethe audio quality fromits renowned mc2series of mixing consoles. The full list of toolscomprises automatic gain control, compressor,compressor with side chain filter, delay, expander,gate, gate with side chain filter, graphic equaliser,hyperpanning, image X, limiter, and parametricequaliser.www.lawo.deBrainworx’sbx_dynEQ bundlecomprisesbx_dynEQ mono,bx_dynEQ stereo,bx_dynEQ M/S,and bx_boom, which all utilise M/S technologyto create ‘very mono-compatible stereosignals’. Notable features include one-bandand two-band dynamic EQ, mono, multi-mono,and stereo (L/R and M/S), and a complete set offilter types for both main audio paths and signalchains. The company states that the bundleis not just an EQ or dynamic EQ, but a truedynamics processor and EQ system combined.www.brainworx-music.deThe multi-faceted Evolve virtual instrument fromHeavyocity blurs the line between music andeffects providing a raft of instruments and a vastarray of samples to workwith. Essentially, the softwareimbues users with theability to manipulate andcontrol a massive range ofsounds to suit almost anyatmospheric requirements,both musically and for useas effects. Heavyocity hasalso recently announcedfree expanded contentavailable for download.www.innovativemusic.com.auThe Mark Studio 1 amp modelling system fromMarkbass has been designed to recreate thesound of the company’s renowned amplifiersin any hard disk recording application.The software provides the user with threeMarkbass amp models (TA501, R500, and Classic300) and six Markbass cabinets, plus a choice ofsix microphones that can be used simultaneouslyto capture the woofer, tweeter, and/or port.www.markbass.it52AUDIO MEDIA JULY 2009

Mathew Lane’s DrMS Version 2 spatial processorbenefits from an improved sound engine and acompletely new internal algorithm to allow thecreation of wider and deeper soundstages. Theexcellent mono compatibility from previous versionsis still present as well as extended MS processingthat sees the stereo signal split into foursections instead of the usual two. Each of thesesections features a resonant high pass filter, a tiltequaliser, and a sample-based delay line.www.mathewlane.comPRODUCT SAMPLER | PLUG-INS & DAW UTILITIESSonnox’s Oxford SuprEsser fuses a professionalDe-Esser with a Dynamic EQ to give “completecontrol over aggressive frequencies whereverthey may bein the audiospectrum.”Control overfrequencies isenhanced byan intuitive FFTdisplay, plus three listening modes, as well as fullband compression triggering. Other notable featuresinclude Automatic Level Tracking, LinearPhase Filtering, and Wet/Dry blend control.www.sonnoxplugins.comThe Tube-Tech CL1B TDMfrom TCElectronictransfersthe sound of the CL 1B compressor/limiter toDigidesign Pro Tools|HD, HD Accel and VENUEusers. The tool supports a host of clever featuresthat include: continuously variable ratio rangingfrom 2:1 to 10:1; advanced metering capable ofdisplaying the input, output, and compressedsignals for either the left, right, or both channelscombined, and 30dB gain.www.tcelectronic.comMcDSP has recently released its ‘sonicallysuperior’ Live Pack for mixing live performances.The tools are optimised foruse with the DigidesignVenue live sound system butalso support TDM, RTAS, andAudioSuite formats for ProTools HD, LE, and M-Poweredsystems. The bundle includesChannel G Compact, ChromeTone, DE555, FutzBox,MC2000, ML4000, and NF575,that all feature low-latencyand the flexibility essential for livesound applications.www.mcdsp.comSource-Connect 3.1 from Source Elementswas described by our reviewer as “a ridiculouslynifty little tool”, and itmost certainly is. Thetool enables audioconnections betweendigital audio systemsanywhere in the world,allowing direct-tothe-timelinerecordingwith real-time, broadcast-qualityaudio using only T1, Cable, or DSLInternet connections. The software is availablefor most DAWs and there’s also a stand-aloneversion available too.www.sourceelements.comThe world-renowned SSL 4000 console hasa proud place in the history of recording.Universal Audio’s UAD 4K Channel Stripemulates the consolechannel from this classicconsole providing transparentto ‘in-your-face’VCA compression andrich EQ. The softwarefeatures the Type E ‘blackknob’ four-band EQ andfilters, as well as a massiveamount of other effectsthat includes fully parametricmiddle EQ bands.www.uaudio.comSurCode for Dolby E Encoder from MinnetonkaAudio Software allows processing and managementof file-based Dolby E assets and metadatain your DAW or computer.The plug-inprovides encodingof up to eight channelsof audio, witha variety of userselectable programtypes, ranging from5.1 and stereo, tofour independentstereo or eight mono channels.www.minnetonkaaudio.comTwinTube from SPL ispart of its Analog Codeplug-ins, and is modelledon the TwinTube processorfrom SPL’s RackPackmodular system. The tooloffers harmonics and saturationeffects typical oftube emulators providing‘warm, transparent, andsmooth sound’ to your DAW. Presence, clarity,and subtle to heavy harmonic distortion canbe applied to improve vocals, acoustic guitars,drums, brass, and much more.www.soundperformancelab.comThe ever-industrious Wavesteam has recently releasedthe Grand Masters Collectionthat adds ten-new plug-insto the previous Masters bundle, to completea suite of thirteen mastering tools. The entirerange comprises the Masters bundle (L2Ultramaximizer, Linear Phase Equalizer, andLinear Phase Multiband Compressor) plus thenew MaxxVolume, PuigTec EQP-1A, PuigTecMEQ-5, Waves Dorrough Meters, Stereo Edition,Waves Center, L3-16 Multimaximizer, L3Ultramaximizer, L3 Multimaximizer, L3-LLUltramaximizer, and L3-LL Multimaximizer.www.waves.comNeyrink also has a Dolby E compatible packagein SoundCode for Dolby E, a stand-alone softwarepackage and Pro Tools plug-in for managingDolby metadata and Dolby E encoding anddecoding functions formulti-channel broadcastwave files (MBWF).Two modules comprisethe software, theBroadcast Encoder andthe Broadcast Monitor that, when combined,provide powerful tools for post-production studios,TV mixers, broadcast and content distributionorganisations.www.neyrinck.comPro-Convert from SSL is an audio projecttranslation tool that facilitates the exchange ofentire projects between different DAWs. Over 40distinct audio applicationsare supported by the software,which uses Pro Tools7.x to convert to and fromdisparate workstations.Features include simplestep-by-step operation,‘audio tool’ audio file formatbatch converter, frame accurate offset, fadecurve translation control, plus pan and volumeautomation curve conversion.www.solid-state-logic.comWaves Audio recently released H-Comp andH-Delay from its Hybrid Line, so called for itsphilosophy of fusing the colour and characterof classic analogue hardwarewith the featuresand flexibility of digitalplug-ins. The H-CompHybrid Compressorfeatures wet/dry mixoption, analogue modelled release behaviour,and transient pass-through control, while theH-Delay Hybrid Delay offers slap-back echo,ping-pong delay, and tempo-sync withmodulation amongst others.www.waves.comAUDIO MEDIA JULY 2009 53

video guideA Sound Pro’s Guide To VideoEditing: Post Production Part 4KEVIN HILTON looks at what thelate 20th century brought to thecraft of editing for audio post.MontageA real cinephile word, which isusually associated with eithera specific style of editingby filmmakers from certaincountries, notably Russia andFrance, or a sequence thatcompiles images from earlierin a film or of different viewsof the same scene. Montagecomes from monter, the Frenchfor ‘to assemble’, ‘hoisting’,and ‘setting up’, and is usedto describe several editingtechniques. It can be appliedto any edit but generallymontage is seen as distinctfrom basic continuity cutting,although this is sometimesknown as narrative montage.More arty forms are referred toas expressive montage, whichhas its roots in early 20thcentury Russian cinema. Evenhere there are two differentstyles: linkage, as laid downby the director and cinematheorist Vsevolod Pudovkin;and collision, developed bySergei Eisenstein, whosework includes The BattleshipPotemkin (1925) and October(1927). Pudovkin did notbelieve in images beingobtrusive, so his brand ofmontage, as used in his filmMother (1926), is a sequenceof related events that moveforward the narrative.Eisenstein, on the otherhand, juxtaposed unrelated,sometimes conflicting imagesto move the audience bothemotionally and intellectually.This style is generallyconsidered to be the true formof montage and Eisenstein iscredited with inventing it.Editing is a creative process, but it is also a physicalone. From its earliest days a medium had to be cut,something removed, and then the free ends attachedto each other to achieve the desired juxtaposition. In audioit was quarter-inch tape, in cinema and early television, itwas film. This is an effective, highly tactile way of working,but it is destructive and going back if an edit does notwork is a laborious job. And it was a linear procedure, soas much as editors valued the tactility, the thought of nondestructive,random access editing must have been veryattractive, even if it seemed like a dream.Non-linear editing (NLE) is now so well establishedand accepted that many of today’s up and coming editorsmight boggle at the thought of actually cutting film, ormagnetic tape, to make a splice. Linear video editing is nondestructive,but there is still the business of duplications ifit's film, using a telecine machine, and then having to fastforward and rewind tapes to find the required sequences.The Eddiflex off-line system of the early 1980s, designedby Engineer Adrian Ettlinger, was an attempt to give editorsaccess to more footage at the same time, but it was not nonlinearin the true sense of being able to call up a scene andhave it ready for viewing almost instantaneously. There isthe occasional misconception that non-linear audio editing(NLAE) came first – the thought being that early computersand disk storage systems could cope better with only nonpicturesignals – but the reality is that NLE for video (NLVE)did come first, much in the same way that recording imageson relatively easy to handle celluloid pre-dated recordingsound on malleable magnetic tape.The late 1960s and early 1970s was a time of greatinnovation and development in the burgeoning computerindustry. What was achieved back then was all the moreremarkable considering the equipment available: hugeprocessors running data tapes, all contained in big,temperature-controlled rooms. Compare that to desktop orlaptop PCs that have more storage capacity and processingpower, all for a couple of hundred pounds, and which canrun professional video editing programs and the ingenuityof those behind the CMX600 can be properly appreciated.Breakthrough For SandcastlesDeveloped by Adrian Ettlinger and manufactured by CMXSystems, in a collaboration between CBS and Memorex,the CM600 appeared in 1971 and is recognised as the firstgenuine NLVE. With two control consoles that lookedlike old IBM computer terminals set into a sideboard,the Model 600 worked with disk pack drives that aregenerally described as being the size of washing machines.These contained removable stacks of eleven 29MB digitalplatters, with each platter giving five minutes of storage inhalf-resolution black and white pictures, along with audioand the forerunner of SMPTE timecode.Of the 600’s two monitors, the right hand screendisplayed preview video, allowing the editor to manipulatethe data/footage using a light pen, aided by a text menu.The left-hand screen showed the edited final result.Because the 600 worked with low-resolution video it wasused only for offline editing. CMX produced an onlineversion, the Model 200, which could auto-conform theedits performed on the 600; the two systems were soldtogether for $500,000.The first use of the CMX600 was on a now littleseenAmerican 1972 TV movie called Sandcastles, starringJan-Michael Vincent, later to achieve cult fame in Airwolf.Sales slowed during the early to mid ‘70s, but new versionswere developed and by the end of the decade, accordingto Bob Turner of Videography magazine, 90 percent of USbroadcast videotape editing was done on CMX products.CBS sold CMX to Orrox in 1974 and it was later bought byChyron, that discontinued the product in 1997.The CMX system was described as a Random AccessVideo Editor (RAVE) and it is the random access (RA) elementthat makes NLE such a powerful concept. Following the leadof CMX, developers and manufacturers experimented withvarious ways of giving editors the ability to search for anduse footage out of sequence from a number of sources.The 1980s became the decade of experimentation in thesearch for a new form of picture editing and compositing.George Lucas has built his empire on technology, sothere is no surprise that Lucasfilm worked on its owncontender. EditDroid was introduced to the industry at the1984 NAB Convention, along with the SoundDroid digitalaudio workstation.RA-WarsEditDroid used laser discs to store footage, with therequired clips cued up using a computer schedulingdatabase. Apparently there were sometimes problems andgaps if the sequences were far apart because the processorwas not fast enough to always fire one clip after another.The workstation was connected to three monitor screens:one was the computer graphical user interface, another asmall video screen for previewing material, while the thirdwas a large, rear-projection unit to show the finished edit.Only 24 systems were produced and there were doubtsabout overall efficiency. Nevertheless, the EditDroid didintroduce features that are now common to all NLEs,including a timeline, along which the editor can selectwhere to insert a sequence, and clips bins, where materialis stored to be near at hand.Other hybrid systems, using either Laserdisc or videotape,were tried out during the ‘80s, but the big leap towardsdigital, random access editing came in 1985 when Quantelintroduced the Harry. This was a video effects compositingworkstation, but it did offer some cutting capability. Its greatstrength, and possibly, with hindsight, its great weakness,was that the integral hard disk could record 80-seconds ofmaterial and then add effects.Computer equipment was becoming smaller and moreefficient, but processing power and recording capacitywere still primitive by today’s standards. In the case of Harrythis was perhaps understandable as Quantel opted foruncompressed broadcast quality video, encoding footage >54AUDIO MEDIA JULY 2009

video guide A Sound Pro’s Guide To Video>Post Production: Part 4in 8-bit CCIR 601 for storage on the hard disk.In 1989 the AES published a paper detailing howSSL’s HarrySound could be integrated into theHarry workstation to create a combined audiovideopost-production system (both companieswere part of the Carlton group at the time andworked on joint projects). The concept didn’t catchon at the time but has been revisited by both Avidand Apple in recent years.Avid InterestThe real breakthrough came in 1989 with therelease of two landmark systems, the EditingMachines Corp EMC2 and, shortly afterwards,the Avid Technologies Avid/1 Media Composer.The EMC2 has been overshadowed by its thencontemporaryand slipped into the shadows oftechnology history. The system was based on ahard disk array, giving half-screen resolution withvideo running at 15 frames a second.Avid was founded in 1987 by Bill Warner,who had tinkered around with electronics as ateenager. Warner attributes his shift from tinkererto innovator to being given the Signetics 7400Series Digital Logic Guidebook by a neighbour.Now running software development companyWarner Research, back in the ‘80s Warner workedon methods of recording video footage on tocomputer drives in real time.Avid would come to heavily influence postproductionduring the 1990s with its MediaComposer range of NLE workstations but in1989 the Avid/1 was a low quality – equivalentto VHS – system aimed at offline work. Based ona Mac II computer, something of an irony nowas Apple is Avid’s biggest NLE rival, the Avid/1used Motion-JPEG (Joint Photographic ExpertsGroup) compression to get more material on adrive, although it was only enough for short-formproductions, including commercials.Come NAB 1990 and the Avid/1 boasted newfeatures, for a NLE workstation at least, such asdigital dissolves, higher picture quality, greaterstorage capability, removable storage, support forPAL and upgraded audio editing.As innovative as the Avid/1 was it was upstagedat that year’s NAB by the NewTek Video Toaster,a processor card designed to work with theCommodore Amiga computer. The hardware andsoftware combination included four VLSI customchips and RAM, with early models working toall NTSC RS-170A standards and producing a fullresolution colour output.The cards slotted into the Amiga’s singlevideo expansion ports, rather than conventionalbusses, with four video inputs and two outputs.The system was priced at US$1,499, foreshadowingthe computer desktop editing systems of today.The Video Toaster Flyer was an improved secondgenerationversion, with more control capabilityand drive capacity, which made the Amiga an evenmore powerful NLE.NewTek now markets the SpeedEDIT system asthe fastest NLE available but back in the ‘90s theVideo Toaster, despite its innovations, could notstem the tide of Avid. The next Video Guide willlook at the development of the Media Composer,MPEG compression, and the NLVEs that have viedfor market supremacy. ∫newsGuy Morley, a leading Editor at London post-production facility Concrete, has won the Film and TV Editors Association Awardfor Best Editing at the 17th Archipelago International Festival of Short Films for his work on Another Thing.Written and directed by former actor Ilaria D’Elia, Another Thing was shot by Director of Photography Simon Minett onthe Red One camera. The short, which plays with identity, time and atmosphere, was post-produced completely at Concrete,including grading, DI, visual effects, compositing, audio design and sound effects.Morley performed the offline edit on an Avid Adrenaline andwas praised by D’Elia for “skilfully putting it all together”. The sounddesign was by Dino Sofos and Peter Woolliscroft, with HD grade byVictor Riva.On the acquisition side of the production Simon Minett won theWinner’s Kodak Award for Best Cinematography at the ArchipelagoInternational Festival. Editor Guy Morley commented, “The filmworks well with the Red One – it looks great and is also a greatcamera to use when working with tight budgetary constraints.”THE SYMPHONY SYSTEMThe Most Powerful Audio Workstation AvailableThe Symphony System combines Apogee’s legendary X-Series and Rosetta Series converters withApple’s revolutionary Mac Pro and Logic Pro audio workstation using the 32-channel SymphonyPCI card.BEST SOUNDINGThe most sonically advanced audio hardwareinterfaces combined with the most advancedmusic creation and production tool.HIGHEST PERFORMANCE1.6 milliseconds at 96k and up to 192simultaneous channels of audio.GREATEST VALUEA fraction of the cost of popular card-based,DSP systems.The Total PackageIntroducing Logic StudioA suite of powerful, easy-to-use musiccreation and production tools, Logic Studiogives musicians everything they need towrite, record, edit, mix and perform.Symphony PCIE Card32-Channels of I/O percard & up to 96 channelsper system.AUDIO MEDIA JULY 2009 55

TOURING • INSTALLATION • THEATRE • SYSTEMS INTEGRATION • PRODUCTIONAUDIO MEDIASound ReinforcementAMSR News – 56Technology, application, and installation news fromthe global sound reinforcement community.Maximo Park at the Brixton Academy – 58The Indie band from Newcastle are opening for Glastonburythis year, and their UK tour saw sell-out performancesin every venue. PAUL HOLMES met up with FOH veteranHuw Richards for an insight into the band’s sound.Allen & Heath iLive-T Series – 60ALISTAIR McGHEE gets proudly patriotic about the innovative newrange of live digital mixing systems from the industrious British brand.Audio-Technica M3 – 62Audio-Technica’s new wireless monitoring kit sounds‘amazing’, according to WILL JAMES. Check outwhat else the dynamic system has to offer.Fostex Release LM16Fostex has added to its live mixerrange with the LM16, a 16/4/2digital mixer featuring the sametechnology as the LR16 LiveRecording mixer.The unit is designedto look and feellike a conventionalanalogue mixer, andalso functions as theI/O Box and Controller Box.w www.fostexinternational.comiLive Series ExpandedAllen & Heath has introduced twonew modules to the iLive digitalmixing series. RAB2 is a remoteaudio card enabling iLive digitalmixing systems to work with avariety of common audiointerface and networkingstandards. Additionally thenew MADI 64 option cardprovides two 64-channelMADI links.w www.allen-heath.comMeyer UnveilMeyer Sound has a couple of new productsout this month. First up is its new self-poweredarrayable loudspeaker christened the JM-1P. The high-Q system offers a 20-degreehorizontal by 60-degree vertical patterndesigned to control coverage and minimisereverberation, and can be integrated intightly-packed clusters for efficient horizontaldispersion. The speakers can also functionas a point-source system in horizontal orvertical orientations. The JM-1Ps also benefitfrom Meyer Sound’s patented REM ribbonemulation manifold technology, which results in lowdistortion and a tight pattern control. The cabinets areperfect for theatres, houses of worship, stadiums, andconcert halls, and are ideal for centre or side-fill dutiesin touring sound applications. The frequency rangeruns from 55Hz to 18kHz with a maximum peak SPLof 136dB (at 1m).Meyer has also released high-resolution measurementdata for thirteen of its most popular loudspeakers in theDr Wolfgang Ahnert, Helen Meyer, and John Meyer.GLL (Generic Loudspeaker Library) format, enabling usersof EASE design and simulation software to model theinteraction of Meyer Sound self-powered loudspeakersystems with the acoustics of rooms. The EASE softwareprogram was created by Acoustic Design Ahnert, and isdeveloped and supported by the Ahnert Feistel MediaGroup of Berlin, Germany.Meyer Sound+1 (510) 486 1166www.meyersound.com56AUDIO MEDIA JULY 2009

www.audiomedia.comButterworth The WaitInfoComm 2009 HighlightsThe hottest new releases from the massive audiovisual tradeshowInfoComm 2009 took place in Orlando this June andsaw the audiovisual industry and its admirers flock toFlorida to see what was in store.EAW showed its new MicroWedgeSeries MicroSub, a fifteen-inch sub“designed to address the uniqueenvironment of onstage low frequencydemands”. The loudspeakeris mounted at a 45-degree angle,and the cabinet height is exactlyhalf of the cabinet width when theMicroSub is laid flat to facilitate avariety of arrangement options.QSC showcased its Q-Sys audioprocessing infrastructure andcontrol system. Designed in partnershipwith the team from PeakAudio, the Q-Sys provides digitalaudio signal routing and processingK-Array has decked out part of the set for Italian bigmoneygame show, Milionario, an adapted version of theBritish show Who Wants to be a Millionaire. Expertly hiddenspeakers were required to provide the performance of alarge PA system while remaining inconspicuous. The KobraKK50 system was used due to its compact size, impressiveoutput, and wide dispersion. The 3D-Array Element systemalso boasts vertical, horizontal, and 3D-array configuration,multiple two-inch long excursion full-range drivers, asmooth frequency response, and a 114dB output from acabinet just 50cm wide. The ‘super slim’ line-array systemalso delivers almost no phase problems thanks to itscompact stature. Backstage PA were responsible for theinstall at the set of the popular Italian TV show, which isproduced by entertainment giants Endemol (Big Brother,Charlie Brooker’s Screenwipe, Deal Or No Deal).technology, combined with complete system ing and control. Crown introduced its latest update formonitortheMacro-Tech i series of amplifiers(MA-5000i, MA-9000i, and MA-12000i).Riedel Communications introducedthe new RockNet 100, a cost-effective,high-quality three-in-one audio interfacebundled with an expansion cardfor Yamaha digital mixing consoles.Digigram unveiled AQONDA, a remotely-controllableEtherSound stageboxcapable of transforming up to sixteenanalogue audio signals into as manyEtherSound channels, and injectingthem into an EtherSound network.K-Array Systemwww.k-array.com+39 0558 487 222InfoComm Show+1 800 659 7469www.infocommshow.org_____________________________________________________________________________________________________________New Kobra System Sounds Like A Million DollarsWarwick Conferences hasre-opened its flagship 1,200-seatmusic and conference venue,Butterworth Hall, after investing£6.9 million in a major 10-monthrefurbishment project. Devisedby Architects Design PartnershipLLP, the auditorium and concerthall features a new main entrance,enhanced sightlines for seatedguests, and improved acousticscourtesy of arts specialistsand acoustic experts AcousticDimensions.www.warwickartscentre.co.ukSoundcraft ScoopsABTT AwardSoundcraft’s Si2 digital mixingconsole was awarded ‘Best NewSound Product’ at the ABTTAnnual Awards. ABTT Chairman,Mark White, commented,“The Si2 was commended for itseasy and intuitive layout, makingthe transition from analogue todigital very simple.” The Si2 offersthe same operating platform as theSi3 in a smaller footprint, ideal forspace conscious theatres.www.soundcraft.comTreat YourHeadphones WellMichael Klvana, Sound Engineerfor the Crosby, Stills & NashCity Summer tour will be usingUltrasone’sPRO 550and PRO 900headphonesfor referencing.Paul Taylor,President ofUltrasonecommented, “Michael Klvana isone the industry’s predominantsound engineers, having himchoose Ultrasone headphonesfor this project only speaks to thefact that we design some of theworld’s most sonically accurateheadphones.”www.ultrasone.comAUDIO MEDIA JULY 200957

07|09AMSRMaxïmo Park LiveIndie-Punk @The Brixton AcademyPacked British venues haverecently been heaving to thesound of Maxïmo Park’s sell-outUK tour. PAUL HOLMES checkedin with FOH Engineer HuwRichards to learn about mixingfor the band’s punk-primedperformances.Huw Richards, FOH Engineer for Maxïmo Park’s sell-outUK tour, has worked with some of the biggest namesin the music business. The list embracesMuse, Placebo, Linkin Park, My Chemical Romance, FunLovin’ Criminals, Billy Ocean, and a long spell with Oasisduring their early heydays. Maxïmo Park’s tour sees theNewcastle-based band playing in a total of eleven venuesaround the UK. I caught up with Richards and System TechNick Pain at the penultimate gig of the tour in London’sBrixton Academy.A Big Name VenueBrixton Academy is one of the most revered gigdestinations in the UK, with an inclined floor providingexcellent views and a subconscious pull towards theArt Deco-framed main stage. It’s been voted Venue ofthe Year twelve times since 1994 by NME magazine, andhas seen just about every big-name band across theglobe play to its 4,700-strong capacity. It’s also stuckright in the middle of a thriving hot-spot for party-goersand live music enthusiasts, attracting a dynamic, eager,knowledgeable crowd. Maxïmo Park and their entouragewere no exception to the rule and, with only a night inBristol to go before their European and festival tour kickedoff in earnest, the night promised to be a good one.Making things go as smoothly as possible was SystemTech Pain, responsible for the main routing andsetting up of the equipment,allowing Richardsto focus on a craft he’s been honing since he was sixteenyears old. With a family history entrenched in classicalmusic (his father was a violinist and mother an operasinger, his auntie a concert pianist, cousin a conductor,and many other relatives composers) it seemed inevitablethat Richards would follow a similar path. At the age ofsixteen, a sound engineer approached his father andmentioned he wanted someone with no knowledge,a fresh canvas if you like, to train up and become part ofhis team. His father knew just the man. Having recentlyleft school, Richards fitted the bill perfectly and he’s beenout on the road ever since. He remembers his years withOasis as some of his fondest memories from a careerspanning almost three decades, and has worked withPain for the last eight.Richards confesses that Pain, “looks after me, makes surethe system’s correct. He’s so fast at it, it would just take meages.” This allows him to focus on getting the sound of theband right and adapting it to the different spaces a tourtakes in. The tour uses a Vi6 console for monitoring duties,with Camco amps and SSE MB4 wedges on front-fill dutiesand no side-fill. For FOH, Richards chose a Midas Pro6after a successful spell using its bigger brother the XL8.The rest is simple, Pain assured me. The band only neededaround 30 channels on top of ambient mics so cablingto the respective consoles was relatively easy.An SSE line system was passivelysplit between the>58AUDIO MEDIA JUNE 2009

07|09AMSR>digital crates for the Pro6 and Vi6.A pair of Cat5 cables ran to theFOH position where Richards andPain were able to look after things.A Cat5 cable also ran from FOH tothe LA8 amps where Pain couldcontrol the levels of the L-AcousticKUDO system too (see box out).A Shure ThingRichards is using Shure drum micson the kit, apart from the toms andoverheads, which are Sennheiser604s and AKG 414s respectively.The 414s are also being used onguitar cabinets and a Sennheiser captures vocals.The gigs are being recorded using Klark Teknik’sDN 9696, giving the bands the opportunity tomulti-track their performances. The only otheroutboard equipment being utilised is a TC“Everything weever asked for wasin the XL4. And Ithink everybody’sbeen waiting forthat in the digitaldomain, and it iswith this desk.”Electronic M-5000 digital audio mainframe with480-esque reverb plate settings.Everything else is onboard thePro6, which is just how Richardsprefers it.Richards is a long time Midasuser and recently had his firstouting with the company’spremier digital console, the XL8.He was in charge of a 96-inputorchestra (the BirminghamSymphony Orchestra to beprecise) and two very famousIndian opera singers. With norehearsal time, and no music toreference with, the task of mixinga challenging three-hour showwas a daunting one. However,he sailed through and theconfidence gained from adaptingso swiftly to the XL8 endearedhim to obtaining a Pro6 for thetour. On the Indian extravaganzahe said, “we had a great resultand that was a great show, so I’vealways had a passion for the feeland sound of the desk since then.I knew the Pro6 would be exactlythe same. Everything we everasked for was in the XL4. And Ithink everybody’s been waitingfor that in the digital domain, andit is with this desk.”The size of the desk is oneof the key reasons for Richard’sand Pain’s praise, providing theperfect solution to MaxïmoPark’s and their support band’sI/O requirements. Furthermore,the fact that Richards isonly relying on one piece ofoutboard gear is testament tothe console’s onboard effectsand inherent sound quality.Richards commented. “It soundswonderful. I have tried to driveit to the point where it’ll distort.Well, I don’t think we couldget near it withthe system we’vegot.” And on thefour compressorsper channel henoted, “The sweetspot with those is,you can just feelit. It’s just there.It’s just fabulous.I’m having greatfun with those.”Other favourites include the fasttrack buttons that allow one-touchaccess to instruments, effects,compressors, EQs, almost anythingon the board in fact, negating the need to lookthrough layers to find parameters. The consoleoffers all the advantages expected from a digitalplatform but it is its resemblance to an analogueboard that Richards prizes. “I don’t treat this as aPA Profile –l -Acoustic Ku D oPerforming PA duties is l-Acoustic’sKuDo line source system, providingflexible mounting solutions toaccommodate the wide range ofenvironments encountered on tour.six ground-stacked KuDo cabinets perside were used for the smaller venues,soaring up to thirteen flown eitherside for the larger gigs like Brixton.Packing extra punch were eight sP28subwoofers, three dv-Dosc cabinets forextra sparkle, and four Arcs for infill,all powered by nine lA8 amplifiers inthree lA-rAKs. Garnering praise wasthe KuDo’s louVertechnology thatsurface,” he said. “I treat that panel as a mixingdesk, that’s how it feels tome.” This means he can behands-on with the mixing,an approach he favours overhaving pre-prepared scenesready to load up. “Musicianscan change from night tonight. You don’t know howmuch level you’re going toget sometimes, so I’d justrather have it in my fingers.”Appreciation ForThe StripAnother useful featureappreciated by bothRichards and Pain is the‘Area B’ strip, four faders thatcan bring in channels orparameters to be controlledseparately from the mainoperator. Pain explains.“If Huw’s got a problem witha channel he can clip meround the back of the headand go ‘Oi, fix that’, and I canbe listening on another pairof headphones dealing withwhatever I need to deal with.Anything I need to do iscompletely segregated fromHuw and I don’t have to beleaning over him getting inhis way, which is great.”The efficiency of theirset-up has meant thatmost venues have been adoddle to set up in, withthe only major snag comingat the Manchester leg ofthe tour. Power problemsforced the venue to hire in agenerator that didn’t arriveuntil 6.15pm, an hour anda quarter before the gigstarted. “We had three bandsto sound check and I’ve notbeen there since they’veraised the roof,” explainedRichards. “So there weresome strange standingwaves going on. It was a bitunruly. But we got it sortedfor the show and it wasn’ta problem.”There were no suchissues at the Brixton gig,which was buzzing with fansready to hear a band whoserapidly ascending profile sees them opening atGlastonbury this year. The sound, as expected,was nothing short of superb, and with a veryactive Richards presiding over the desk, Painwas left to divide his time between ‘Area B,’monitoring the DM9696 and beer patrol duties.With the festival season now in full swing, it’sobvious that as a team, the band and engineerswill be having a very successful summer. ∫provides fourdirectional optionsvia adjustment ofthe horizontalhorn (50 degrees,asymmetric 80degrees, and 110degrees). on thehang in Brixton, Pain explained, “ina venue like this, the last thing youwant is a big wide box splashing thewalls. You’re not delimited to havingjust one louver setting. You can createa hang that goes 50 out to 110 at thebottom. in this hang the top elevenboxes are all 80 and then the bottomtwo boxes are 110, which means i’vesacrificed clipping that wall slightlyfor the fact that i’m covering rightdown into the barrier.” richards added,“that’s another big plus because whenyou ground-stack a system in a lot ofthe smaller venues you’re almost upagainst a damn wall, which is wastedenergy and it reflects back in the roomcausing more problems than you need.”A real surprise for both engineers wasa power output that would make Bonoproud. Pain commented, “we haven’tbeen drawing more than probably 25amps per leg on three phase, whichis incredibly small for the amount ofnoise coming out.”AUDIO MEDIA jUNE 2009 59

07|09AMSRdigitalmixing systemAllen + HeathiLive-T SeriesAllen + Heath’s new T-Series isa well-equipped digital mixingsystem that while affordable,is anything but cheap.ALISTAIR MCGHEE adds up thetrue value of worth.THE REVIEWERALISTAIR McGHEE began audiolife in Hi-Fi before joining the BBCas an audio engineer. After tenyears in radio and TV, he movedto production. When BBC Choicestarted, he pioneered personaldigital production in television.Alistair is now Assistant Editor,BBC Radio Wales, but is allowedout occasionally.When the Apostle Paul arrived in Athens hefound a group of people who wereconsumed by the ‘new’, they spent all daydiscussing the latest fads and fashions toarrive at the centre of ancient intellectual life. I like to thinkthat the ancestors of the audio industry were representedthere in some small measure, for the truth is that we all lovethe latest thing. Partly this is because we have drunk deeplyof the mathematics of fashion where new = good,and old = bad. But more worthily because too often we haveseen great British products gradually wither, date,and eventually fossilise, dying through lack of continuedproduct development.That is why I was very pleased to get an invite fromAllen + Heath to look at the latest incarnation of its iLiveseries – iLive-T. Eighteen months ago I had been veryimpressed by A+H’s take on the live sound mixing modelbuilt on its DSP core, a really tidy surface, and Ethersoundaudio distribution. The new iLive-T makes the Allen +Heath package more affordable by remodelling thehardware and substituting the in-house ACE protocol forthe externally licensed Ethersound technology.Lions And MonkeysThe basic principle remains the same – your stage box iswhere the DSP action is, alongside the lion’s share of theI/O. There are two new iLive-T stage boxes (or mix racks)with 32 and 48 inputs respectively. To keep the pricedown, the T series racks offer a fixed I/O format against themodular flexibility of the iLive classic. The T series controlsurface retains all the functionality of its iLive sibling (wellthe screen doesn’t tilt), but is done to a lower price point.If you compare the build of the T series with competingproducts from Yamaha and Roland, you certainly won’t beleft thinking it is ‘cheap’. If you employ monkeys to hit yourmixing desks with hammers, then the road warrior iLivewill be more your cup of tea – or you could just stop thatand save yourself some money.There’s no doubt that the Ethersound technologyin the original iLive provides some great features.It’s a flexible audio network that allows interfacing to arange of kit from a variety of manufacturers. It allowssophisticated topologies and a set of scalable solutions.So why change? Well the bumblebee in the Ethersoundointment is the price of the license, and that has meantthat the technology has remained relatively thinly spreadamong higher end products. The success of Roland’s REACdigital snake demonstrates that a simpler point-to-pointtransfer system is what many people are looking for, andACE is aimed at delivering the iLive experience to thatmarket without the expense of Ethersound. ACE carriesaudio and control data from rack to desk and back, andwith the right card can offer ‘auto switching redundantlink’, sweet.A Serious BusinessBefore we come to the detail it’s worth saying somethingabout Allen + Heath’s approach to desk design and theserious business of sound. Having come from a hi-fibackground, I’m sometimes mystified by the scornheaped on the hi-fi industry by some in the pro audioworld. Yes, hi-fi has more than its fair share of snake oil,charlatans, and mumbo jumbo, but there’s plenty ofhigh quality sound engineering going on and plenty ofgenuine passion for high quality sound. I recently read anexcellent article on power supply design and its influenceon the sound of mixing desks. Very informative stuff, andwhile certainly not reflecting new concerns in the worldof pro audio, still a refreshing piece of work. But manyhi-fi amplifier designers (like Naim Audio for instance)have been differentiating their range essentially on thebasis of power supply design (and the results in terms ofbetter sound) for 30 years or more. Proper engineers inboth fields have legitimate contributions to make.What is true is that repeatable listening tests are timeconsuming and require dedication and expense to getright. In one sense there is nothing more nebulous thana manufacturer’s claim to ‘great sound’, but on the otherhand it’s actually easier to sell your kit on features thatcan be demonstrated with the push of a button or bysimple numerical methods. More inputs, or more bits,or more pieces. And of course these can be pushed in a>60AUDIO MEDIA JUNE 2009

07|09AMSRallen + heath ilive-t series>brochure or a webpage and appeal to the heartof every engineer who loves making comparisonspread sheets. And that’s all of us.I was impressed with the listening regimeat Allen + Heath. It takes very seriously thenotion that its desk is not a straight wire withgain, unless you can insert it in circuit and notdetect its presence. Feed your console witha high quality source and listen to it with somehigh quality amplification and speakers. Doesn’teverybody do that? Well, it’s interesting thatthere have been industry standard productsrenowned for their flexibility, features, and crapsound, to the point where whole product nicheshave grown up to circumvent the crap sound ofproduct X. Sounds like the world of hi-fi to me.So the answer is ‘no’, everyone doesn’t do that,or if they do, not everyone takes the resultsseriously enough.JOECOAMAD1.QXD 04/03/2009 10:15 AM Page 1If you buy an iLive-T then you can be assuredthat the R&D team has spent hours examiningthe sonic performance of the desk in an effort toensure that the audio path is as neutral as theycan make it, and that the effects and EQ are ofas of high a quality as they can manage. Which isjust to say that the sound is a vital component ofthe engineering, as of course it should be.In Big Bro’s FootstepsThe other strengths of ILive-T are visibly inheritedfrom its big brother. I love LCD labels for channelnames and configurable colours. Couple this tocomplete layout flexibility (true stereo channels– hooray) and you can layout and personalisethe mixer to suit. On the 112 surface, you get awhole channel strip worth of assignable controls.That includes preamp, gate, EQ, compressor, andthe limiter/de-esser. On this surface no moremenu muddle, as you reach for a control andrealise that adjustment is in software. The bigsurface has 24 faders controlling four layers.Mate it to the iDR 48 and you get 48 inputs onstage, and 16 line inputs on the console itself.A starter system with the 20 fader ‘80 surface’has 32 mics at the stage box, and eight localline inputs. Or leave the surface at home andcontrol the rack with your laptop, your wirelesslaptop from the best seats in the house or thattricky spot at the back of the balcony. Both mixracks offer an option slot for another ACE cardproviding digital splits of the inputs to a recorderor second mix position.The surface abounds with ‘nice to haves’ – themix button gives instant access to the destinationsof an input or the channels contributing to anoutput. Hardware copy and paste buttons makecloning details quick and painless. Once you’vegot past the simple joy of set up, store, and recall,you quickly realise that user management is a bigdeal. Mark doesn’t want me writing all over his setup and I certainly don’t want Gwynfor messingwith mine. The iLive-T Show library system iscomprehensive enough to handle everythingfrom a simple routing set up to a world tour.As the T series talks to the A+H PL series ofcontrollers, you add inexpensive control elementsto your set up and configure them how you like.So you can let the talent mix their own foldbackon a PL 10 series rotary panel. Give them oneeach or programme one panel to control all thestage mixes.A Game Well PlayedWe’re so used to the idea from the Far East ofthe flagship followed by the version for the restof us, it’s just a little surprising to see a Britishmanufacturer playing this game so well. Allen +Heath now has a range of digital solutions fromits iDR install series, through to the iLive-T thatcan be joined in subtle and sophisticated ways.ACE is surely the right move, and Ethersoundis still available on the original iLive series ifthat is what you need. The truth about digitalassignable desks is that once you’ve sorted outyour I/O the devil is in the detail, and detail iswhat the T series does so very well. I recommendyou get down to a dealer and have a go on aniLive-T – because you’re worth it. ∫...................................INFORMATION£ iLive-T80 – GB£6,199.92iDR-32 – GB£3,409.92iLive-T112– GB£7,749.92iDR-48 – GB£4,184.00A Allen + Heath Ltd.Kernick Industrial Estate, Penryn,Cornwall,TR10 9LU, UKT +44 (0) 1326 372070F +44 (0) 1326 377097W www.allen-heath.com/ukCAPTURING LIVE PERFORMANCE SOUNDBLACKBOX RECORDER24 TRACK • 24 BIT • 96kHzNOWAVAILABLEIN THE UK FROMSOUNDTECHNOLOGYT: 01462 480 000WWW.SOUNDTECH.CO.UKJoeCo Limited,Cambridge UKT +44 (0)1223 911 000E infoam@joeco.co.ukCAPTURING PERFORMANCEwww.CapturingPerformance.com

07|09AMSRA-T debuts its road-worthywireless monitoring kit,and it sounds “amazing”,says WILL JAMES.Audio-Technica has been the purveyor of many finemicrophones for three decades. A-T now presentsa foray into the in-ear monitor realm with a newwireless rig called the M3.FeaturesThe M3 comes in a well conceived package with thewireless receiver/belt-pack, the transmitter, power supply,in-ear dynamic headphones (EP3 ear buds), and severalear bud accessories like extra rubber ear cups and a shortear bud cable extension for use with portable audioplayers [The locking 3.5mm connector won’t work witha standard 3.5mm jack. – Ed.] The M3 transmitter is 1Utall and a half-rack space wide; optional rack mountears are included. The transmitter is connected to theconsole by means of separate left and right XLR/TRScombo connectors; also included is a L/R XLR throughputconnection. The M3 front panel is simple. Its headphonewedge. My first impression of the EP3 buds was ‘amazing’.They were comfortable, even with the supplied genericrubber cups; equally important, they sounded superb.The bass response was excellent, which is fairly unusualfor ear buds. The midrange frequencies were crystalclear and the highs were sizzling but never splashy. I firstinserted the outboard EQ and then bypassed it, repeatingthis process several times, ultimately deciding to leave theEQ out of the signal path, as the EP3 ear buds soundedincredibly good without the EQ.A great feature of the M3 kit is that it allows you toattach an optional lavalier microphone to the belt packreceiver and clip it wherever you want; it gives the userthe option of how to mix the ambient audience andstage volume to interlace that mix with your monitor mix.The side of the receiver has an 1/8th-inch jack, and whenoptioned to do so, it allows you to send the ambient to theright side of the pan control and the actual monitor mixto the left pan, thus giving you the ability to balance thetwo sources at your own discretion. I actually found thisfeature to be useful, because once the monitor engineerhas installed the ear buds in his ears perfectly, it neverfails that someone suddenly has two hundred questionsfor him. I have always used a separate mic at the consolewith PFL on for that mic’s channel; if others wish to talk toyou, they can do so through the mic; the M3’s A-T lavaliermic attachment eliminates that need. However, it’s worthconsidering the downside of doing this: the lavalier micpicks up a fair amount of other ambient sounds duringsoundcheck, such as stage volume and backfire from theAUDIO-TECHNICA M3Wireless In-Ear Monitoring SystemTHE REVIEWERWIL JAMES, Owner and ChiefEngineer of Atlantis Audio andLighting, is a longstandingcontributor to Pro Audio Review.www.atlantisaudio.comoutput jack is flanked by a headphone volumerotary control. The channel/frequency controls areaccessed through a series of menu button pushes,and the accompanying Up and Down-arrowcontrols. The frequency display LCD screen is thecentermost component of the transmitter.The M3’s receiver is a conventionally sizedbelt-pack, about the size of a pack of cigarettes.The receiver case is plastic and contains space for 2x1.5V AA batteries, centered display, and frequencycontrols. You can attach an external lavalier stylemicrophone, allowing for personal control ofambient sounds – more on that later in the review.The top surface contains L/R pan control, which isconcentric to the volume control.In UseThe M3 kit arrived just in time for me to employ it at aDaryl Worley concert, where our company was providingaudio, lighting, and stage production. The show’s monitorcomplement was a mixture of in-ear monitors for a fewplayers and conventional wedges for the other players.I sent signal to the A-T in-ears by means of wiring thetransmitter to an unused output of our Midas Siennamonitor console. I did insert an equaliser on the insertpoint of the master output of the chosen mix, much thesame as you would for any wedge monitor or speaker forany monitor mix. Even ear buds sometimes require a littleEQ to give them a nice edge. I built my own mix to sendto the transmitter, and I did so by using the supplied EP3ear buds as the reference speaker, as opposed to a cuemains. [A-T notes that the receiver does have an externalmute for its ambient mic.] The belt-pack receiver can alsoscan the available frequencies, permitting you to easilylink to a spare M3 transmitter in that frequency group.The well-written M3 manual gives the complete frequencychart for Audio-Technica IEM systems, allowing for a littleadvance info in rental applications.Audio-Technica also supplied a model M2 in-ear rig,which has the same buds, the same receiver, but doesn’thave the backlit displays or the scanning capability ofthe M3 receiver. It’s also a quality product and slightlyless in price.SummaryAudio-Technica has a winner with the M3. I found it tobe a high-quality product that is very roadworthy withexcellent features. I used the product on four of our ownshows, and each time I was treated to a very pleasantlistening experience. I recommend this product whetheryou are a musician or a monitor engineer. ∫...................................INFORMATION£ GB£769.00 (inc.VAT)A Audio-Technica Limited (UK), Technica House,Royal London Industrial Estate, Old Lane, LeedsT +44 (0) 113 277 1441F +44 (0) 113 270 4836W www.audio-technica.comE sales@audio-technica.co.uk62AUDIO MEDIA JULY 2009

AUDIO MEDIA JULY 2009Trading 10 Years. The Initiators of “Service Only” Contracts to Pro Audio ManufacturersUSE THE APPOINTED SERVICE COMPANY, WE HAVE THE TRAINING, THE PARTS,THE NECESSARY JIGS, THE MANUFACTURERS AGREEMENT, THE KNOWLEDGE.TTL House, Sheeptick End, Near Lidlington, Bedfordshire, MK43 0SFTelephone 01525 841999 Facsimile 01525 841009THE MANUFACTURERS APPOINTEDPROFESSIONAL AUDIO SERVICE CENTRESONY Professional DAT, PCM, M/Disc · OTARI MTR to DTR · AKAI DIGITALTASCAM DAT, DA88 · FAIRLIGHT · REVOX · MRL Test Tapes · ATHANProduct Dedicated SpecialistsCollection and DeliveryMeticulous EstimatingOn Site or In House ServiceRapid Response TurnaroundComprehensive Warranties64Solid State LogicS O U N D | | V I S I O NAIR CONDITIONING &VENTILATION TOSOUND STUDIOS ISOUR SPECIALITYWE PROVIDE DESIGN ONLY OR DESIGN ANDINSTALLATION FOR MANY WELL KNOWNCLIENTS.WHETHER IT BE FOR DISPLACEMENT, FREECOOLING, V.A.V., V.R.V., SPLIT, UNITARY ORCENTRALISED CALL MIKE HARDY OFAMBTHAIR SERVICES LTD ON01403 250306 OR FAX 01403 211269WEB: www.ambthair.comEmail: cool@ambthair.comAIR CONDITIONINGemail: aesaudio@intonet.co.ukwww.aesproaudio.comTEL: 01932 872672 FAX: 01932 874364 TEL INT. 44 1932 872672 FAX INT. 44 1932 874364THE‘VINTAGE’NEVESPECIALIST!WE PURCHASE WORLDWIDEWANTED!WANTED!OLD NEVE CONSOLES(IN ANY CONDITION)& SSL CONSOLESAES PRO AUDIO IS A UNITED KINGDOM COMPANYAngela Brown on +44 (0)1480 461555E-mail: a.brown@audiomedia.comAUDIOAUDIO MEDIAMEDIA CLASSIFIEDCLASSIFIEDSTUDIO ACOUSTICSS E R V I C E SWhen it comes to professional audio recorders for the audio, movie, and broadcastindustries, no-one can match Fostex’s pedigree, product line up, and its uniqueunderstanding of the tasks at hand.PD606 DVD/HD Location Recorder:Audio Aquisition That’s As Versatile AsYou Are.Designed from the ground up to excelin ‘real-world’ applications, whereveryou happen to be in the world.The PD606 8-track location recordero fers spectacular audio quality, flexiblerecording to 12cm DVD-RAM, hard disk,or a combination of both, rock solidtimecode implementation, extendedba tery life, loads of ‘instant access’knobs, bu tons, and switches, plus awhole ba tery of interface options.But impressive features areonly part of the script. Fostex’sunriva led pedigree in designing andmanufacturing world class locationrecorders for over 16 years, and ourunique understanding of the broadcast,film, TV, and audio acquisitionenvironments means tha the PD606recorder isn’t jus the best PD recorderever, it’s simply the best professionallocation recorder available today.Digital Mixing And 8-Track RecordingFo lowing Fostex’s philosophy of‘real knobs and bu tons are be ter’,recording, mixing, and routing is anintuitive experience. No multiple bu tonpushes and complex menus to change alevel, jus turn a knob. Yet don’t confuseease of use with a lack o features, asthe PD606 o fers a multitude of mixingoptions and recording sophistication:flexible 8-track simultaneous recordingvia AES/EBU (six channels when usingthe analogue XLR inputs), fu l 8-channelanalogue outputs, and the ability todigita ly store monitor mix se tings.FR2-LE CF-Based Field RecorderHere is a compact audio recorderdesigned from the ground-up to meetand exceed the needs of professionalsin the field. It records to CompactFlashin BWF at 24-bit 96kHz quality, isequipped with two professionalphantom powered XLR microphones,and is packed with useful features likea one take = one file recording systemwhich eliminates overwrites, and a twosecond ‘pre-record’ bu fer, meaningthere should never be a missed take orlost soundbite.10 FOSTEX+++FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FPD606 On Location With James BondChris Munro recently used the PD606 on the new James Bond film. Quantum of Solaceis Chris’s fifth Bond movie, having worked on Casino Royale (for which he was awarded aBAFTA), Tomo row Never Dies, The World Is Not Enough and Die Another Day.Fostex researched the entire production process, and gathered extensive usercomments when designing the PD606. The machine now takes fu l size DVD discs forgreater recording time, and has been redesigned for simpler operation. Chris explained,“Despite wha the name suggests, the PD606 iseffectively an 8-track machine. Whilst it has sixinputs, there are also two mix tracks available.In the same way tha the PD6 was design-based onthe DV40, the PD606 is design-based on the DV824,an 8-track machine. What’s more, varying numbersof tracks can be recorded throughout a single disc,and track configuration can be changed at wi l. Ifonly two or four tracks are required, it doesn’t fi l the others with blank space, which isa real space and time bonus for editors.”I was confident in the PD606, and know the Fostex design quality won’t let me down. It’sso importan to have a machine I can rely on when recording on location away from home.”Professional Audio Recording For Film,Music, And Broadcast+++techno-physical+ + + + techno-physical+ + + + techno-physical+ + + + techno-physical+ + + + techno-physical+ + + + techno-physi-Getting Techno-PhysicalThe 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 knowledgeof physics. Within certain restrictions, thechoice of microphone wi l produce a soundthat is predictable and can be tailored withsome precision to what is required.Despite 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 bestsuited for vocals simply because it has,by chance, sounded pleasant on a previousoccasion or looks similar in shape to onethat was used in that way.Given tha themajority 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 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 warmsound’ because they become physicallywarm in use – or that large microphonesyield a bigger ‘sound image’ (whatever thatmeans) than sma ler designs. This la ternotion undoubtedly stems from folklorethat has been fostered by those withvested interests in the promotion of largediaphragmmicrophones. In purely physicalterms there is, of course, no requirementfor the diaphragm to be large in order to beable to respond to low frequencies.Every innovation needs to be tested andproven – which leads us to the awkwardproblem that some of the stepsforward are very small ones. To hearthem requires controlled listeningunder good conditions and, aboveall, with a prope reference; buta l too frequently a new productor design is assayed in splendidisolation. Expectation or ferventbelief that it must be be terstrains judgement, and withina shor time highly colouredopinions are circulating anda myth is built which is asbaseless as it is hard toeradicate.There rea ly is noalternative to properlycontro led listeningtests if audio devicesare to be compared inan impartial way. ABtests are limited todistinguishing the better of two options, butthey alone can reveal what di ferences thereare and if, indeed, they actua ly exist. And‘properly controlled’ should not be skimmedover lightly – for instance, adjusting levelsneeds to be carried out with great precisionsince, with signals of equa ly high quality,even an almost imperceptibly higher levelon one wi l skew judgements in favour of it.Such experimental pernicketiness has tobe refined even to the extent of intentiona lyadding a small imbalance of levels but ona reciprocal basis where, say, microphoneshave di ferent frequency responses thataffect perceived loudness.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.Should a microphone be chosen purely onthe grounds of wha the sound source is?We don’t, after a l, have more than one setof ears to hear everything, and commonsense dictates that if the microphone isan ideal one i transforms a sound into aperfectly corresponding electrical signal.That suggests tha the closer a microphoneis to the ideal, the more neutral it sounds,and the more universa ly it can be used.There is certainly a wide variety of verydi feren top-quality microphones, but itwould be wiser to see these as physica lysuited to a particular application ratherthan a particular sound source.As far as the ‘perfect’ microphone goes,omni-directional capacitor (condenser)designs approach the ideal very closely.Where you wan to favour sound from asingle direction and exclude neighbouringinstruments or unwanted sound, then ofcourse you need a directional microphonewhich wi l be a li tle further from perfection.For a start, any directional microphone (suchas a cardioid) wi l demonstrate the so-ca ledproximity e fect when used close to a soundsource. Low frequencies wi l be accentuated.For a microphone that wi l commonly be usedin this situation a compensating frequencyJörg Wuttke o fers his take on attitudes to microphone selection, testing, and placement.Should we trus the heart, or the mind?6 getting techno-physical16 FOSTEX+++FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + +PM Series Mk IThe PM-Series Mk I offer exceptional audioperformance matched to jaw-dropping goodlooks at an affordable price. Fostex strives todesign and build studio monitoring systemsthat 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 supremeknowledge of acoustics and speakerengineering, and now offering a brighter,tighter sound, these studio monitors aredesigned inside ou to provide the bestmonitoring experience, with minimalresonance, sparkling highs and rich, deeplows. And, with new ‘high-gloss’ frontbaffles, they look as stunning as they sound.PM-2 MkIICreated for large rooms, the PM-2 hasthe power (240 wa ts of bi-amped poweractua ly) and sophistication and, mostimportantly, the versatility to handle themost demanding recording applications.Equipped with a 200mm low frequency unitand remaining natural and transparent rightacross the audio spectrum, even at highsound pressure levels, the PM-2 is great fortoday’s bass heavy music.PM-1 Mk IPerfectly proportioned and o fering the typeof clear-transparent sound that singlesout a great speaker, the PM-1 is capableof producing extremely highSPLs accurately across thefu l audio spectrum. With 120wa ts of bi-amped power anda bass response that’s fu l anddynamic, and a crisp highendthat sparkles with vitality,the PM-1 delivers the type ofsonic quality that’s usually thedomain of monitorscosting thousands.PM0.5 Mk IThe ideal choice for sma lerstudios requiring nearfieldmonitoring, the perfectlyformed PM0.5 Mk I o fers70wa ts of bi-amped powerand produces great fu l rangeperformance with exceptionalneutrality even at high soundpressure levels.The compact dimensions alsoenable accurate placementin confined or awkward spaces, withthe dispersion from the two way portedenclosure design tailored such that it wi ldeliver a superb sound almost regardlessof room acoustics.PM0.4The ultra-compact PM0.4 now completesthe lineup of the reputed PM-series rangingfrom 4” to 8” woofer size. PM0.4 is naturallyrecommended for desktop use but its superbaudio performance in compact physicalsize expands its applications to professionalconsole top studio monitoring, audioinsta lation, as well as portableaudio monitoring.PM0.5-Sub Mk IDesigned idea ly for use with the PM0.5MkII, the 110wa t, 200mm driver PM0.5-Sub produces precise, low frequencyreproduction and an exce lent deep bassoutput. Easy to set-up (just a single gaincontrol and phase reverse switch), thecombination of a pair of PM0.5s andPM0.5-Sub provides superb sonic qualityat an a fordable price. Recommended foruse with PM0.4.NX SeriesWant to take you recording experience toa whole new level? The NX-Series PoweredNearfield Monitors for ProfessionalRecording Environments are like nothingyou’ve heard before. But don’ take our wordfor it. When choosing nearfield monitorsfor your studio you rea ly ough to evaluateas many di ferent speakers as you canChoosing 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.From the highly innovative R-09HR to the compact and lightweight powerhouse that is theR-44, EDIROL o fers a field recorder for every occasion, whether it be capturing classicalperformances, recording interviews, soundtracks to video, or even rock concerts onEverest…EDIROL is a world-leading companythat manufactures exceptionalcomputer-based audio and videopresentation products, as we l as amarket-leading range of fieldrecorders that have won awards forinnovation and design exce lence.Here we detail the professional fourchannel models plus the ultracompact and ultra-cool R-09HR…EDIROL R-4The R-4 is the first of EDIROL’sprofessional four-channel fieldrecorders. The ability to record up tofour channels simultaneously givesyou flexibility in any recording situation.Selecting four channels rather than twogives users the ability to capture moreambient sounds at a concert as we l asthe main performance, or it a lowsthem to place mics on multipleparticipants during, say, a recordingfor a video soundtrack.The R-4 has a wide range of otherfeatures including on board waveformediting, superior sound quality, and40GB of storage for up to 58 hours of CDquality. Looking beyond CD quality, theunit o fers even greater sonic resolutionbecause you can choose 16-bit or 24-bit quantisation and a sampling rate of44.1kHz, 48kHz, or 96kHz. Even a themaximum 24-bit/96kHz, you sti l get anincredible 17 hours of recording time.Other features on the R-4 includean on-board limiter to ensure clip freerecordings and a Pre Record functionso help avoid missing vital, timesensitiverecordings – if you think youhave missed that sound bite, fear not,because the R-4 wi l have it captured!There are comprehensive EQ sections,a noise gate, de-esser and compressor,plus connections for a wide variety ofmedia including XLR/phone combojacks. Fina ly USB 2.0 support means onboard audio can be backed up to Flashkeys, memory cards, or onto the driveof a connected PC or Mac.The R-4’s compact size, lightweight, rugged design and price ofjust GB£878.88 have won it homes inmany prestigious companies includingthe BBC, and it is being used in a widevariety of industries and locationsaround the world.The EDIROL R-4 ProThe R-4 Pro is the next level ofprofessional field recording.Again it o fers up to four channels ofsimultaneous recording, but adds anexpanded feature-set and more storagecapacity compared to the R-4. The R-4Pro accepts SMPTE time code so it caneasily be sync’d to video equipment asthe slave device. It’s a great function forvideo production as up to four channelsof high quality audio (again, up to24-bit/96kHz) can be fu ly synchronisedwith video. In addition, the R-4 Pro canalso act as the master, sending outtime code to slave devices.The R-4 Pro comes with an 80GBdrive insta led which is enough for morethan 100 hours of audio at 16-bit/48kHz,and we l over 30 hours a the unit’smaximum resolution. The R-4 Pro isequipped with a 4-pin XLR DC inputto enable use of Anton-Bauer styleexternal ba tery power and also has XLRstyle AES/EBU digital input and output.Like the EDIROL R-4, the Pro featureswave editing, recording resolutionselection, pre-bu fe recording, e fectsand a limiter, and is also USB 2.0compatible so you can transfer andback up files to a computer.For video production, the originalR-4 is sti l easily the most a fordableand e fective choice for the existing SDcamera base and the growing numberof HDV cameras that are not equippedwith time code. It is sti l the only fourchannelsolution equipped with LANC+++EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIThe EDIROL R-4 o fers fourchannelflexibility and high qualityfield recording at a great price.The R-4 Pro is a fu ly featured field recordersuited for the video industry and recordinganywhere in the world, even on Everest!The Award-Winning RangeOf EDIROL Field Recorders8 EDIROL+++HORCH AUDIO + + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIOThe Sound Of Emotion: HorchHow 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 UnitedJazz + Rock Ensemble, etc. He also freelanced for TVand broadcast productions.During this time, Platen became familiar with awide variety of microphones, but his a l time favouritefor vocal recordings was the Neumann M49 tubemicrophone. However, Platen fel that of theseold microphones had lost some of their expectedexcellence by this time. Here, Horch Audio’sstory begins.The MicrophonesIn the early nineties, Gibbs Platen and two friendsfounded Horch Audio with the ambition to build amicrophone in the same vein as the M49, but improved.That’s where the Horch RM2 came to life. In thebeginning, the RM2 was built using original partsfrom Neumann. As a finishing touch, Platen placeda 0.5-carat bri liant diamond into the front of theRM2, which was illuminated from the inside. Lateron, Horch modified the RM2 into the RM2J, with theintention to move the sound more in direction of theU47. The triode was replaced by a pentode, and anew developed capsule and transformer were built in.The RM3 was released, harking back to the sound ofthe old ELA M251 and especially designed for femalevocals and instruments. The RM4, reca ling the U47sound, launched in 2007/2008. It displayed a whole newconcept – adjustable compression, and saturation ofthe microphone.Horch’s VisionThe idea behind Horch’s vision is to build microphoneswith outstanding quality for a new listening experience.That is why everything in a Horch microphone ishandmade in Germany. A lot of effort is spent onresearch and listening, mechanical fine-tuning, andkeeping in contact with customers and artists.The company is situated in the German hightechregion of Stu tgart (Mercedes, Porsche),which promotes high standards for mechanicaland electrical quality.Each Horch is a precious sound tool, that looksgreat and sounds unique.Horch 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.16 HORCH AUDIO12 DYNAUDIO ACOUSTICS AUDIO+++DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO AThe Truth, The Whole Truth,And Nothing But...Superior Tools For Critical MonitoringIn film, post, gaming, broadcast, and musicproductions, consistency, predictability, andreliability are key. Add to this networkabilityand central control, and you’ l know whystudios throughou the world rely onDynaudio Acoustics technology.Choosing Dynaudio Acoustics, you notonly get 20 years of innovative speakerand driver technology thinking. You alsoget integrated TC Electronic digital signalprocessing. This combination offers youthe best of both worlds, making DynaudioAcoustics speakers second to none.Two Main Ranges – One High StandardClarity and consistency come as standard– the question is, how versatile do you wantyour setup? Dynaudio Acoustics marketstwo extensive ranges of DSP powered andanalogue near-field and mid-field monitors.AIRIt makes great sense to compare the AIRsound with any other speaker you own orconsider acquiring. We both encourage andsuppor this. Contact your dealer or ourrepresentative in your country to arrangea demo.Bear in mind though, that an AIR Systemis not rea ly comparable to conventionalmonitors. On top of ultimate precisionand sound, an AIR system offers flexibilityand convenience previously unknown inmonitors. Achieving similar functionalityand features from conventional monitorsrequires the addition of a number of externalboxes such as Monitor Matrix Contro ler,Bass Management Crossover, externalEQs and Delays. This obviously adds to thesystem price, and moreover often degradesthe signal path. With an AIR Systemeverything is integrated and matched – it’srigh there for you to use from the menuon the front of a Master-Module speakervia a 32-segment LCD display, or throughan optional dedicated hardware remote, oran optional dedicated software application(Mac and PC). The user interface allowsfor storing and recall o factory and userpresets taking into account THX and Dolbyrecommendations, reference levels, LFEsensitivity, and so on.AIR SoftThis MAC and PCcompatible remoteapplication a lows centralreal-time control of AIRsystem parameters such asvolume control, referencelevel, presets, and setup. AIR Soft is includedwith a l AIR monitors.AIR RemoteAIR Remote provides instant access to theAIR system volume, independentof your DAW or computer.Additiona ly, AIR Remotefeatures one-touchoperation of systemreference levels, presetreca l, and solo/mutestatus for each monitor.The calibrated volume knob of AIR Remoteallows accurate level setting, perfecttracking, 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 delay, presetcontrol and more. PC-IP access to advancedbass management features independent HP/LP crossover frequencies as we l as phaseand polarity control of any AIR subwoofer.Additiona ly, PC-IP allows the installerto control system access via individualparameter securing, preset protection,and UI locking.THX CertifiedAIR monitor systems areTHX certified for use inPM3 rooms.Dynaudio Acoustics monitors are designed to speak the truth. You get exactly what you needfor your mixing – an exact reproduction of your mix – no more, no less.Powerful Two-Way Nearfield Speaker – 8”Woofer And 1.1” Soft Dome TweeterThe latest addition to the AIR family. AIR12suits all sizes of controlroom and OB vans, andits high precision amp/driver system (+/- 0.2dB a curacy) ensurescomplete consistency withthe entire AIR family in a variety of stereoand 5.1 setups – remote contro lable viathe AIR Remote or the included Air Softapplication. DSP room adaption allows forperfect customisation for anyroom construction and its intermonitorlevel calibration featureensures consistent levels in allse sions.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 dropsor computer crashes.It also offers digital inputs, iCheck (tocheck audio compression), and calibratedlistening for headphones and activespeakers.BMC-2: your pro DAC and monitor control!gives users the ability to caambient sounds at a concthe main performance, othem to place mics onparticipants during, say, afor a video soundtrack.The R-4 has a wide rangefeatures including on boediting, superior sound quThe EDIROL R-4 o fers fourchannelflexibility and high qualityding situation.Selecting four channels rather than twogives users the ability to capture moreambient sounds at a concert as we l asthe main performance, or it a lowsthem to place mics on multipleparticipants during, say, a recordingfor a video soundtrack.The R-4 has a wide range of otherfeatures including on board waveformediting, superior sound quality, andve it captured!There are comprehensive EQ sections,a noise gate, de-esser and compressor,plus connections for a wide variety ofmedia including XLR/phone combojacks. Fina ly USB 2.0 support means onboard audio can be backed up to Flashkeys, memory cards, or onto the driveof a connected PC or Mac.The R-4’s compact size, lightweight, rugged design and price ofjust GB£878.88 have won it homes inmany prestigious companies includingthe BBC, and it is being used in a widevariety of industries and locationsaround the world.The EDIROL R-4 ProThe R-4 Pro is the next level ofprofessional field recording.Again it o fers up to four channels ofsimultaneous recording, but adds anexpanded feature-set and more storagecapacity compared to the R-4. The R-4Pro accepts SMPTE timeselection, pre-bu fe recoand a limiter, and is alsocompatible so you can trback up files to a compuR-4 is sti l easily the moThe EDIROL R-4 o fers fourchannelflexibility and high qualityve it captured!ve EQ sections,compressor,support means ondrive insta led which is ethan 100 hours of audioand we l over 30 hours a tmaximum resolution. Theequipped with a 4-pin XLto enable use of Antonexternalba tery powerstyle AES/EBU digital inpuwave editing, recording reselection, pre-bu fe recoand a limiter, and is alsoThe R-4 Pro is a fu ly featured field recorder+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO AThe Truth, The Whole Truth,And Nothing But...Superior Tools For Critical MonitoringIn film, post, gaming, broadcast, and musicproductions, consistency, predictability, andreliability are key. Add to this networkabilityand central control, and you’ l know whystudios throughou the world rely onDynaudio Acoustics technology.Choosing Dynaudio Acoustics, you notonly get 20 years of innovative speakerand driver technology thinking. You alsoget integrated TC Electronic digital signalprocessing. This combination offers youthe best of both worlds, making DynaudioAcoustics speakers second to none.Two Main Ranges – One High StandardClarity and consistency come as standard– the question is, how versatile do you wantyour setup? Dynaudio Acoustics marketstwo extensive ranges of DSP powered andanalogue near-field and mid-field monitors.AIRIt makes great sense to compare the AIRsound with any other speaker you own orconsider acquiring. We both encourage andsupport this. Contact your dealer or ourrepresentative in your country to a rangea demo.Bear in mind though, that an AIR Systemis not rea ly comparable to conventionalmonitors. On top of ultimate precisionand sound, an AIR system o fers flexibilityand convenience previously unknown inmonitors. Achieving similar functionalityand features from conventional monitorsrequires the addition of a number of externalboxes such as Monitor Matrix Contro ler,Bass Management Crossover, externalEQs and Delays. This obviously adds to thesystem price, and moreover often degradesthe signal path. With an AIR Systemeverything is integrated and matched – it’srigh there for you to use from the menuon the front of a Master-Module speakervia a 32-segment LCD display, or throughan optional dedicated hardware remote, oran optional dedicated software application(Mac and PC). The user interface a lowsfor storing and reca l o factory and userpresets taking into account THX and Dolbyrecommendations, reference levels, LFEsensitivity, and so on.AIR SoftThis MAC and PCcompatible remoteapplication allows centralreal-time control of AIRsystem parameters such asvolume control, referencelevel, presets, and setup. AIR Soft is includedwith a l AIR monitors.AIR RemoteAIR Remote provides instant access to theAIR system volume, independentof your DAW or computer.of your DAW or computer.of your DAW or computerAdditionally, AIR Remotefeatures one-touchoperation of systemThe calibrated volume knob of AIR Remoteallows accurate level setting, perfecttracking, as we l as calibrated loudness forany AIR setup. The AIR remote is poweredthrough TC-Link of any AIR monitor.AIR PC-IPThe optionalPC compatibleadvancedInstaller’sPackageprovidesaccess tovirtua ly anyAIR systemparameter. This includes 4-band parametricEQ in each monitor, placement delay, presetcontrol and more. PC-IP access to advancedbass management features independent HP/LP crossover frequencies as we l as phaseand polarity control of any AIR subwoofer.Additionally, PC-IP a lows the insta lerto control system access via individualparameter securing, preset protection,and UI locking.Dynaudio Acoustics monitors are designed to speak the truth. You get exactly what you needfor your mixing – an exact reproduction of your mix – no more, no less.Powerful Two-Way Nearfield Speaker – 8”Woofer And 1.1” Soft Dome TweeterThe latest addition to the AIR family. AIR12suits a l sizes of controlroom and OB vans, andits high precision amp/driver system (+/- 0.2dB accuracy) ensurescomplete consistency withthe entire AIR family in a variety of stereoand 5.1 setups – remote contro lable viathe AIR Remote or the included Air Softapplication. DSP room adaption allows forperfect customisation for anyroom construction and its intermonitorlevel calibration featureensures consistent levels in allse sions.BMC-2 is TC Electronic’s latest digitalaudio conversion and monitor contro ler.With it you can enjoy the luxury ofcontrolling your audiolevels at a l times andduring unexpected dropsor computer crashes.It also o fers digital inputs, iCheck (tocheck audio compression), and calibratedlistening for headphones and activespeakers.BMC-2: your pro DAC and monitor control!Thinking of buying aRecorder, Microphoneor Monitor in 2009?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 MAGAZINERECORDERS2009AUDIO MEDIAPRODUCED BYIn association with:DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO A+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO AThe Truth, The Whole Truth,RECORDERSTHE 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 MAGAZINEPRODUCED BYIn association with:MICROPHONES2009AUDIO MEDIAPRODUCED BYIn association with:+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + F+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + F+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FProfessional Audio Recording For Film,When it comes to professional audio rindustries, no-one can match Fosteunderstanding of the tasks at haProfessional Audio Recording For Film,Music, And BroadcastEDIROL R-4The R-4 is the first of EDIprofessional four-channrecorders. The ability tfour channels simultaneoyou flexibility in any recorSelecting four channels++++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + F+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + F+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FProfessional Audio Recording For Film,+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + F+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + F+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FProfessional Audio Recording For Film,choice of microphone wi l produce a soundthat is predictable and can be tailored withsome precision to what is required.Despite 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 besthaphazard fashion is no help either.That leads to quaint notions, such as thattube (valve) microphones give ‘a warmsound’ because they become physicallywarm in use – or that large microphonesyield a bigger ‘sound image’ (whatever thatmeans) than sma ler designs. This latternotion undoubtedly stems from folklorethat has been fostered by those withvested interests in the promotion of large-Professional Audio Recording For Film,Music, And BroadcastOften a microphone wi l be listed as bestsuited for vocals simply because it has,by chance, sounded pleasant on a previousoccasion or looks similar in shape to oneFrom the highly innovative R-09HR to the compact and lightweight powerhouse that is theR-44, EDIROL o fers a field recorder for every occasion, whether it be capturing classicalperformances, recording interviews, soundtracks to video, or even rock concerts onEverest…EDIROL is a world-leading companythat manufactures exceptionalcomputer-based audio and videopresentation products, as we l as amarket-leading range of fieldrecorders that have won awards forinnovation and design exce lence.Here we detail the professional fourchannel models plus the ultracompact and ultra-cool R-09HR…EDIROL R-4The R-4 is the first of EDIROL’sprofessional four-channel fieldrecorders. The ability to record up tofour channels simultaneously givesyou flexibility in any recording situation.Selecting four channels40GB of storage for up to 58 hours of CDquality. Looking beyond CD quality, theunit o fers even greater sonic resolutionbecause you can choose 16-bit or 24-bit quantisation and a sampling rate of44.1kHz, 48kHz, or 96kHz. Even a themaximum 24-bit/96kHz, you sti l get anincredible 17 hours of recording time.Other features on the R-4 includean on-board limiter to ensure clip freerecordings and a Pre Record functionso help avoid missing vital, timesensitiverecordings – if you think youhave missed that sound bite, fear not,because the R-4 wi l have it captured!There are comprehensi+++EDIROLEDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDI+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIThe Award-Winning RangeOf EDIROL Field Recordersvested interests in the promotion of largeonthe 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 previousoccasion or looks similar in shape to onepact and lightweight powerhouse that is thecasion, whether it be capturing classicaldtracks to video, or even rock concerts on8 hours of CDD quality, thesonic resolutione 16-bit or 24-pling rate ofEven a theyou sti l get anecording time.4 includesure clip freecord functionthink youte, fear not,ve it captured!of high quality audio (aga24-bit/96kHz) can be fuwith video. In addition, thealso act as the master, stime code to slave device+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDI+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIThe Award-Winning RangeOf EDIROL Field Recorders+++HORCH AUDIO+++HORCH AUDIOThe Sound Of Emotion: HorchHow 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.Horch was established in the 1990s by a smaudio experts, whose vision was to create a micrconvey emotion through sound. A l Horchstube microphones.The Sound Of Emotion: HorchHow 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.Horch was established in the 1990s by a smaudio experts, whose vision was to create a micrconvey emotion through sound. A l Horchstube microphones.And Nothing But...Superior Tools For Critical MonitoringIn film, post, gaming, brproductions, consistenreliability are key. Add toand central control, andstudios throughou theDynaudio Acoustics techChoosing Dynaudio Aonly get 20 years of innand driver technology thinget integrated TC Electrprocessing. This combinthe best of both worlAcoustics speakers secoTwo Main Ranges – One High StandardClarity and consistency– the question is, howyour setup? Dynaudio Actwo extensive ranges ofanalogue near-field anAIRDynaudio Acoustics monitors are designed to speak the truth. You get exactly what you needfor your mixing – an exact reproduction of your mix – no more, no less.to 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 knowledgeof physics. Within certain restrictions, thechoice of microphone wi l produhave 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.AUDIO MEDIAPRODUCED BYIn association with:haphazard fashion is no help either.That leads to quaint notions, such as thattube (valve) microphones give ‘a warmsound’ because they become physicallywarm in use – or that large microphonesyield a bigger ‘sound image’ (whatever thatmeans) than sma ler designs. This latternotion undoubtedly stems from folklorethat has been fostered by those withvested interests in the promotion of largevestedinterests in the promotion of large-+++HORCH AUDIO+++HORCH AUDIO + + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIOThe Sound Of Emotion: Horch+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIOThe Sound Of Emotion: Horch+++DYNAUDIO ACOUSTICSArt 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.MICROPHONESTHE 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 MAGAZINEMONITORS2009AUDIO MEDIAPRODUCED BYIn association with:Then check out theBrand New 2009 Buyers Guidesat www.audiomedia.com

AUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGTHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINETransformers:Revenge OfThe FallenBig Robots,Big Sound9 7 7 0 9 6 0 7 4 7 0 2 40 5WORLDWID EDITIONISSUE 223 •JUNE 2009 • UK £3.80AUDIO MEDIA CLASSIFIEDAngela Brown on +44 (0)1480 461555 E-mail: a.brown@audiomedia.comPepper SoundBring In The NewTo qualify To qualify for your for free your subscription free subscription you must you complete must complete all the questions all the questions below:below:1 JOB FUNCTION (please circle)A Managing Director/owner/corporate ManagementB Studio/facility ManagerC Producer/directorSummerHitsMid-YearGear PicksAlso: Ableton Live 8 • Tascam DR07 & DR100 • Audio Ease Speakerphone 2 • DPA 4099 • Midas Pro 6 Update • Apple Mac Pro • Rycte InVision • Genelec 6010A • Funkhaus BerlinStudio • Britney Spears’ Circus Tour • Product Sampler: DAW I/O • Unsung Hero Competition • Broadcast Report: ONDAS Sate lite Radio • GeoFocus: Italy • What’s Up UK: Upmixingat the BBC • Special Report: Huddersfield Uni SPIRAL • Cut Scene: Paul Moore at the Develop Conference • Video Guide: Editing • Recording News • Post News • Broadcast News • AMSR News • …And More!D Chief EngineerE Independent/freelance EngineerF Engineer/technicianG Sound Design/editor/mixerRenew Your Audio MediaSubscription for 2009!Complete this form and Fax to +44(0)1480 461550Free Audio Media Subscription forSBES attendees!H Operations/production ManagerI ConsultantJ Sales/marketing/adminK Artist/musicianL Studio DesignerM Trainee Audio/Video ProfessionalN Other2TYPE OF BUSINESS (please circle)A Commercial Recording Studio G Radio StationM Rental/hireR Dealer/distributor/retailerB 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 WebCreationP Record Production CompanyS ManufacturerT Education/training FacilityU Media/industry AssociationF Tv StationLMastering/replication/duplicationQ Corporate/government/telecommV Other3 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/none5PURCHASE INTENTIONS, 2008–9(circle all that apply)A MicrophonesE Monitors/AmpsBFProcessors/Plug-insSound ReinforcementCGDAW TechnologyPro Video TechnologyDHRecordersConsolesName . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Job Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Town / City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .County / State. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Post Code / Zip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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*Best Tea in the BusinessMary Roche has served tea to thestars for over 61 years, and has beenawarded a CBE in recognition ofher “services to the film industry.”Her highlights include meetingCharlie Chaplin, Harry Secombe,and Cliff Richard, plus a privateperformance from the LondonSymphony Orchestra who playedHappy Birthday for her. At 81 years old, she’s decided to hang up herapron saying, “Now I’ve hadenough, I think. But I shallmiss the company.” Workingat Anvil Studio’s variousincarnations since 1947, Maryrepresents an unprecedenteddedication to the industry,keeping everyone whowalked through its doorshappy, cared for, and relishingtheir return.’America’s Finest News Source’And it most definitely is. Bringing you everything you really needto know about our massive neighbours from the West - fromnews that Sasha Obama keeps seeing the creepy Bush twins whileriding her tricycle around the Whitehouse, to a former kitten actorstruggling with catnip addiction. Get ready for some very left-fieldjournalism.www.theonion.comADVERTISERS INDEXAdam 68RME 10-11AES 49SADiE 19Develop 26Schoeps 18DiGiCo 63SCV London 15, 25Dolby 37Sonic Distribution 2-3, 48, 51, 55FAR 42Sonifex 43Focusrite 36Sonnox 31Fostex 46Genelec 33Sound Technology 21JoeCo 61Steinberg 41McDSP 7TLA 8Plasa 47UK Screen 45Primacoustic 67Ultrasone 17Prism 39Unity 23Richmond 42Zoom 9Next Issue:The 2009/10 Pro Audio Equipment Guide!Booking Deadline July 24thThinking of buying aRecorder, Microphone or Monitor in 2009?Then check out the Brand New 2009 Buyers Guidesat www.audiomedia.com or request a free printed copy from subs@audiomedia.com66AUDIO MEDIA JULY 2009

AUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGAUDIOMEDIATHE INTERNATIONALBUYER’S GUIDETHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPMICROPHONES2009PRODUCED BYAUDIO MEDIAIn association with:

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AUDIO-FOR-VIDEO BROADCAST INTERNET AUDIO LIVE SOUND MULTIMEDIA POST PRODUCTION RECORDING051020db180ºAUDIO-FOR-VIDEO BROADCAST INTERNET AUDIO LIVE SOUND MULTIMEDIA POST PRODUCTION RECORDINGcontents4 From Fossil To Future . . . . . . . . . . . . . . . . . . . . . . . . .6 Getting Techno-Physical . . . . . . . . . . . . . . . . . . . . . .8 Audio-Technica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Audix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Blue Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 DPA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Horch Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 MicW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Shure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 SoundField . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90º60º120º30º150º30º150º60º120º90ºWelcome to Microphones 2009, an InternationalBuyer’s Guide. We’ve scoured the ever-wideningmarket of professional microphone products foryour convenience, and thrown in a few informativeand hopefully thought provoking articles fromexperts in the field.Now updated and refreshed, this guide is a collectionof promotional articles looking at 11 of the world’s leadingmicrophone manufacturers and their product ranges.Inside you’ll find the stories behind the gear – the ethos’and design ethics that go into producing one of the corecomponents in professional audio – and details of the productsthemselves. In addition, we’ve collated a massive directory ofmic manufacturers, and commissioned three articles aroundthe subject of microphone technology and technique for theaudio pro.Whatever your field of work, the quality of your productdepends heavily on the quality and method of acquisition. This iswhy microphones are so important, and why this genre of audiogear probably generates more passion than any other. While therange of basic principals in microphone technology is relativelysmall, the variations on these themes are incredibly numerous– we’ve listed over 80 manufacturers in our directory, from allover the world, most offering choice across several transducer orelectronic approaches.You might be a film or drama location recordist, a music studioengineer, a Foley editor, a radio journalist, a member of an ENGcrew, a live sound engineer – any, in fact, of the hundreds of veryspecialised roles that require not only a theoretical groundingin microphone technology, but also intimate knowledge ofthe ‘art’ of microphone practise, placement, and choice.You might even just be starting to build your microphone stockand need a place to start. Are you aware of recent advances in allareas of microphone technology? Are you familiar with a handfulof high-profile manufacturers, but would like a greater breadthof awareness when it comes to the ‘alternatives’? Whatever yourneeds, Microphones 2009 should be able to help. It should be aplace to begin your search.Microphones 2009 is a collaborative project betweenseveral NewBay Media titles: Audio Media Worldwidewww.audiomedia.com, Radio World Internationalwww.rwonline.com, Pro Audio Review www.proaudioreview.com, TV Technology www.tvtechnology.com, and Pro SoundNews US www.prosoundnews.com. All of these publicationsconcern themselves with the business of production andproduction technology for professional creatives, operators,technicians, and engineers everywhere. Visit their respectivewebsites to find out more.The NewBay Team.26 Studio Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .AUDIOMEDIATHE INTERNATIONALBUYER’S GUIDETHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP28 Violet Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICROPHONES2009AUDIOMEDIATHE INTERNATIONAL30 Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .AUDIO MEDIA34 Mic Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BUYER’S GUIDETHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPMicMICROPHONES200909AUDIO MEDIAAUDIO MEDIA www.audiomedia.com(UK) Tel: +44 (0)1480 461555 - Fax: +44 (0)1480 461550Publisher/SalesNick Humbertn.humbert@audiomedia.comEditor In ChiefPaul Macp.mac@audiomedia.comEditorial Manager (Europe)Lanna Marshalll.marshall@audiomedia.comDesign & Production ManagerJohn-Paul Shirreffsjp.shirreffs@audiomedia.comRadio World International www.rwonline.com(Milan) Tel: + 39 02 7030 0310 - Fax: + 39 02 7030 0211Publisher/SalesEditorRaffaella CalabreseCarter Rossrcalabrese@broadcast.itcross@nbmedia.comThe contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whethermechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensureaccuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents orany omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishersaccept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.© 2009 NewBay Media. All rights reserved.

++EVOLUTION + + + + EVOLUTION+ + + + EVOLUTION+ + + + EVOLUTIOFrom Fossil To Future:An Evolution In MicrophonesAlistair McGhee considers what old-time and brand-shiny-new microphones would gain prideof place in his microphone cabinet. And it’s a well stocked cabinet at that.Evolution is a funny business. Not funny‘haha’ you understand, but funnypeculiar. I remember well the suddenchill in a conversation with an expert Americanpalaeontologist when I asked him why inthe vigorous debates with his Creationistopponents he didn’t turn up with a ‘bucketof fossils of intermediary forms’. The fact isthat in many (though by no means all) casesit’s harder to map the steady march of theaccumulated results of variation and naturalselection than you might think. Consider theworld of pro-audio. In some areas the rate oftechnological change is staggering, thoughto be fair probably hard to appreciate if youwere only dealing with the fossil remainsof our high tech toys. The power of digitalaudio workstations advances almost daily,and whole new species of audio technologyarise overnight. Take solid state hand heldrecorders. Ten years ago virtually nothing, nowa vibrant and ever expanding ecosystem.Not Extinct YetWhich brings me to the thorny subject ofmicrophones. Here evolutionary rates areas baffling as anything buried in ancientshale. New body plans (try the Black Holefrom Latvian mic makers JZ, or the linearray KEM 970 from Gefell) are appearingwhile ancient species such asthe Shure SM 58 and AKG 414still thrive. When the ‘extinct’Coelecanth was discoveredin 1938, the headlines boldlysplashed ‘living fossil’ acrossa thousand miles of newsprint.The mic equivalent is probablythe Coles commentators lip mic,it still makes perfect evolutionarysense if you want to hearsomeone over the racket of afootball crowd. That’s not to sayit hasn’t changed, and if you have10 minutes I’ll tell you my L2 storysome time.Why is there this wildly mixed economy?How can designs well established forty yearsago and more maintain a slice of the marketwhen all around them new products anddesigns rise and fall? As we’veinvented the DSP emulator, whyhasn’t the range of microphonesavailable collapsed into oneor two dominant models thatout-compete all others?Well, the reasons are manifold– partly it’s a physics andphysicality thing. Some micsneed to be small – the Sony ECM50 niche has seen progressivelysmaller personal mics, and you now have achoice between virtually all your favouritetraditional manufacturers: Sony, DPA, AKG,Beyer, Sennheiser. Is it me, or has this beenan area not put under pressure from cheapcopies to date? The point isthe best gun mic in the worldis no good if you want to pinit to someone’s tie. And ofcourse the most neutral micin the world is useless if itcan’t take a beating on theroad and your living happensto be on the road. But even inthe studio where everything isunder control, there seems tobe that strange mix of the vintageGerman classic, say NeumannU47 alongside the graduallyevolved AKG C414, or the new boy fresh offthe SE Electronic designer’s CAD screen.The Cost Of ReputationThen there’s the price point element.Snapping at the heels of the establishedEuropean brands, Audio Technica has a micfor every occasion, Røde is building a tidyreputation, and SE is a powerful presence.And then you have products competing atthe high end – in effect declaring we do thesame old thing but we do it better. Here youfind Brauner, JZ, Charteroak, ADK,and many more.But when you’ve considered the differentutilitarian pressures – the engineeringsolutions, the pricing, and performance,you’re still left with huge personal factors.Traditional loyalty – “we’ve been usingthese mics for 20 years, and we know andtrust the designs and the reliability” –same again please. Or peer pressure –all of a sudden everyone has an Earthworksomni or Sanken gun mic: “I must have one inmy kit”. And actually fashion in and of itselfis no reason to reject something. If 70% oflive engineers have an SM 58, then theremight just be a reason for that. But beyondeven these motivations, the mic buying hearthas reasons the head-wallet axis knowsnothing of.A Glossy FrontWho can resist the lure of a nicely finished,high performance electro acousticinstrument that just might turn me intorecording genius. Maybe simply by putting aPeluso or a Neumann digital in front ofthe talent I will be turned from jobbingengineer to Master of the Sound Universe.That’s partly why a company like Violet willalways attract my attention – make a micthat cries out “look at me, I know what I’mdoing”, and I’ll be lingering long over theglossy brochure. Which leads me to theconceit of this rather rambling editorial.In The CabinetWhen I first joined the BBC, one of thegenuine joys was opening a well-stocked miccupboard, the contrast between the brushedmetallic finish of the mics against thegreen baize of the individual compartmentsbrought a smile to my face. And if I ruled theworld or even just won the lottery, I thinkI’d find an old BBC mic cupboard, polish upthe mahogany veneer, and fill it with enoughmics to last me a lifetime.On the top shelf out of the reach of merechildren we have the big boys: side addresslarge diaphragm condensers. The first three4 FROM FOSSIL TO FUTURE

microphones 2009n+ + + + evolution+ + + + evolution+ + + + evolution+ + + + evolare easy: Neumann U87, AKG 414, andBeyerdynamic MC840. Simple black classic.This selection is open to the obviouscriticism that all these manufacturers haveother newer, sexier, smaller, etc, products.And that of course is true. But I’ve neverheard anyone say “Oh xxxx, all I’ve got towork with is a U87.” No sir.But this area of the market has beenattacked at both ends, resulting in somevery nice-to-have alternatives. Sony offersthe C-38B, and even the valve-basedC800GPAC. I can’t say I’ve ever seen oneof these ten thousand dollar mics, but Iwant one, obviously. Back to Germany fortwo very desirable brands, Brauner andGefell. Brauner is a newish kid on theblock, aiming almost entirely at this niche.Gefell on the other hand… well check outits website for a full history – it’s beencontinuously making mics for eighty oddyears, and is muchunderrated. And whatabout that last littleslot, what shall weput in there? A classicU47 would be mychoice, but despitethe fact it’s the bestvocal mic I’ve everheard, vintage micsare a tricky business.And probably samplevariation over this timeand the unguessedindignities of 40 yearsmake buying one areal risk. Don’t let me stop you – I’m goingto slip in a Wunder CM7-GT, or for a bit lesscash a Gefell UM 92.1 S. M7 capsule andvalve electronics – yeah baby.At the more cost conscious end a similarbattle rages. Audio Technica has a rangeof solutions starting with the ever-popularAT4033. Violet/Bluerepresents Europehere, and for a moreeasterly (or shouldthat be southerly)approach, the RodeNT series and SEelectronics commanda lot of respect.We have some SEmics in our newHoddinott Hall,home of the NationalOrchestra of Wales, and I regularly useRode’s stereo mic. One of the interestingthings about Rode and SE is the breadth oftheir ambition, check out their whole range.A Box Of PencilsDown a shelf to the ‘pencil’mics. Our serious musicengineers have sworn bySchoeps and DPA for yearsnow; if you looked in HuwThomas’s (Senior OrchestralMusic Balancer) kit, that’swhat is bringing home thebacon. Sennheiser’s MKHseries are a popular choicefor film and TV soundrecordists, and they’re notout of place in the concerthall either. I’m very fond ofthe Neumann KM184(and brethren) series –and there’s digital there ifyou want it, and every doodahunder the sun.For inexpensive flexibilitythe AKG Blueline series ishard to beat; a great rangeof capsules (includingpersonals) and a greatbayonet mounting system.The Audio Technica4041 is very popular anddeserves a mention, whilea bit more aspirationalare the products fromEarthworks. Its omnishave a great reputationand come in matchedpairs in a cherry woodcase. Sweet – out of thecase into the cupboard.A quick whip roundgun mics: Sennheiser416, DPA 4017, andsomething from Sanken.Sadly lots of interestingSanken mics are “notavailable in the EU”.But I want them. Ohyes, and a SchoepsCMIT 5U in that lovelyblue finish. Strappedfor cash – head for AT.I haven’t got the spaceto eulogise the 416 and4017. Honestly.Going LiveLive vocal mics. SM58, SM58, SM58.Every week Cowon orCreative come up withan iPod killer. Pass meApple’s financial resultsfor last year. iPod aliveand well. Same with the58. Competitors come andgo but it rocks. Flesh thecollection out with the AudixOM series, and Beyer M88TG.Electrovoice is a long timeplayer in this field, and AT,Beyer, and Sennheiser offerextended choice.As an aspirational mic –the Gefell MD 100.Live vocal micscondenser. In brief, theNeumann KMS 105 – loveit. Aspiration: Schoeps CMH6 – seems to be designedby Gerry Anderson for usein Thunderbirds. But it’s aSchoeps, so it’s bound to begood. And a Shure KMS 9. Why?Because it’s there.I’ve only just realised I’m never goingto fit it all in, the world of microphones isjust too big. So how about ribbon mics tofinish? We begin with a trio of British mics;Coles 4038 – please stand in the presenceof greatness (and make sure you’reready for the 300Ω business). Coles 4104commentators mic – keep standing.Coles 4040 – never seen one, but I thinkit’s a 4038 with new magnet technology– what’s not to like? You may be seated.Beyer M130 and M160, great ribbons at areasonable price. Aspirational – Royer, AEA,and now SE electronics.Bottom ShelfOh hang on, there’s just a little room lefton the bottom shelf. Everything made byPearl in Sweden, Shure lazy mic, an AKG451, and a Calrec for old times’ sake, appleand biscuit, a Soundfield, AT 892 headworn,Electrovoice RE50 and RE20, NeumannBCM 104, Beyer CK900 and… now it’sgetting hard to close the door. Better leaveit there.dedicated to the memory of roger derry.his expertise, not least in the realm ofmicrophones, so lightly worn and freely sharedis sorely missed.the international microphone buyer’s guide 5

++techno-physical+ + + + techno-physical+ + + + techno-phyGetting Techno-PhysicalJörg Wuttke offers his take on attitudes to microphone selection, testing, and placement.Should we trust the heart, or the mind?The artistic viewpoint sees the microphonealmost as a musical instrument – anextra member of the orchestra or anaccompanist to a singer. With such a view itcan be very difficult to judge the microphoneobjectively. Elements of fashion, nostalgia,and a degree of sympathetic magic can leadto a very subjective choice that owes little torationality. The techno-physical approach isthe reverse of this – a wholly reasoned andobjective view that requires a basic knowledgeof physics. Within certain restrictions, thechoice of microphone will produce a soundthat 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 bestsuited for vocals simply because it has,by chance, sounded pleasant on a previousoccasion or looks similar in shape to onethat was used in that way.Given that themajority 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 warmsound’ because they become physicallywarm in use – or that large microphonesyield a bigger ‘sound image’ (whatever thatmeans) than smaller designs. This latternotion undoubtedly stems from folklorethat has been fostered by those withvested interests in the promotion of largediaphragmmicrophones. In purely physicalterms there is, of course, no requirementfor the diaphragm to be large in order to beable to respond to low frequencies.Making ComparisonsEvery innovation needs to be tested andproven – which leads us to the awkwardproblem that some of the stepsforward are very small ones. To hearthem requires controlled listeningunder good conditions and, aboveall, with a proper reference; butall too frequently a new productor design is assayed in splendidisolation. Expectation or ferventbelief that it must be betterstrains judgement, and withina short time highly colouredopinions are circulating anda myth is built which is asbaseless as it is hard toeradicate.There really is noalternative to properlycontrolled listeningtests if audio devicesare to be compared inan impartial way. ABtests are limited todistinguishing the better of two options, butthey alone can reveal what differences thereare and if, indeed, they actually exist. And‘properly controlled’ should not be skimmedover lightly – for instance, adjusting levelsneeds to be carried out with great precisionsince, with signals of equally high quality,even an almost imperceptibly higher levelon one will skew judgements in favour of it.Such experimental pernicketiness has tobe refined even to the extent of intentionallyadding a small imbalance of levels but ona reciprocal basis where, say, microphoneshave different frequency responses thataffect 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.Should a microphone be chosen purely onthe grounds of what the sound source is?We don’t, after all, have more than one setof ears to hear everything, and commonsense dictates that if the microphone isan ideal one it transforms a sound into aperfectly corresponding electrical signal.That suggests that the closer a microphoneis to the ideal, the more neutral it sounds,and the more universally it can be used.There is certainly a wide variety of verydifferent top-quality microphones, but itwould be wiser to see these as physicallysuited to a particular application ratherthan a particular sound source.As far as the ‘perfect’ microphone goes,omni-directional capacitor (condenser)designs approach the ideal very closely.Where you want to favour sound from asingle direction and exclude neighbouringinstruments or unwanted sound, then ofcourse you need a directional microphonewhich will be a little further from perfection.For a start, any directional microphone (suchas a cardioid) will demonstrate the so-calledproximity effect when used close to a soundsource. Low frequencies will be accentuated.For a microphone that will commonly be usedin this situation a compensating frequency6 getting techno-physical

microphones 2009sical+ + + + techno-physical+ + + + techno-physical+ + + + tresponse can be designed into the capsule.Such a microphone can therefore bedescribed correctly as suitable for close use– its designed task – but not specifically forany one instrument.Of course it would be possible tochoose a far from ideal microphone thatwould produce a particular characteristicvariation to the sound – more accuratelytermed a ‘distortion’ of it – but this seemsa perverse approach if you are listening to aStradivarius. Of course, if the microphone isless than perfect because it cannot handlehigh frequencies, it might still be adequatefor use with a bass drum (though this is notthe same thing as saying that it is intendedfor that purpose).Certain distortions produced by nonidealmicrophones may not, in themselves,be unattractive, but it is better to achievethese effects by starting with a near-perfectmicrophone and using equalisers andsimilar devices since this approach allowssonic changes to be measured and adjustedprecisely. The good cook always prefers tostart with a dish that is unseasoned, andthen to add salt and spices for subtlety andbrilliance, rather than to tame one whichcomes to themwith rank and unidentifiable flavours.Placing the MicrophoneIf the choice of a microphone requires someunderstanding, then placing it needs at leasttwice the thought. Not only isits position relative to the instrument orsound source critical, but also its positionwithin the room or acoustic environment.When it comes to stereophonic recordings(we will stick to the simple, classic typewith just two microphones) then twoadditional factors have to be considered –the precision of localisation and the senseof spaciousness. If equations with fourunknowns are frightening, then the technophysicalapproach does provide a steadyinghand. Michael Williams has determined aset of laws that determine the angle anddistance between microphones as a functionof the directivity pattern and the width of thesound source in order togive accurate localisation.The Use of ExtremesAnother helping hand in coping with complexconditions is to examine extreme positionsand then work ‘inwards’ towards a moreuseful middle position.For microphones, there are three pairs ofopposites that are useful to analyse:1. The soundfield.The direct sound component of a soundfieldexists close to the sound source. It arrivesbefore any other sound and from onesingle direction. Conversely, diffuse orreverberant sound is the result of all themany reflections that existin a room or sound space. Ithas no preferred direction ofpropagation – unlike simplereflections or echoes – and nodefined phase. Direct soundgives clarity and intelligibility,diffuse sound gives a sense ofspace and context.2. The working principle.For the principles of operationof a microphone, the extremesare that of the pressureoperatedtransducer andthe pressure-gradient type(the pressure-gradient isproportional to the velocity).The pressure-operated transducer sensessound pressure at a single point and isthus inherently omni-directional. Pressuregradientcapsules sense the differencein sound pressure at two points and areinherently bi-directional (figure-of-eight). Allother directivity patterns, such as cardioids,can be analysed in theory (and sometimeseven in practice) as combinations of theomni and figure-of-eight patterns –except for the special cases involvingparabolic reflectors or interferencetubes (shotgun microphones).3. Fundamental stereo principles usingdifferences of level or time.The last pair of extremes involves therelationship of stereophonic microphonepairs – which we will conveniently defineas a ‘main microphone’, in that the pairprovides the essential spatial informationfor a stereo ‘stage’ irrespective of anyadditional spot microphones. One extremeplaces both capsules very close together,perhaps even in the same housing. Usuallyone capsule is vertically above the other andthe separation is effectively zero in terms ofthe wavelength of sound. The capsules areThe AuthorJörg Wuttke studied electronicsand telecommunicationsat Karlsruhe University,specialising in acoustics. Hejoined Schoeps GmbH as aResearch Engineer in 1970,became its Chief Engineer in1972, and is now its TechnicalDirector. He has been a memberof the AES DIN StandardsCommittee on Microphonesand Headphones since 1972.He maintains an avid interest inlistening to music and recordinglive concerts.physically ‘coincident’, and since the soundarrives at both simultaneously, they are alsocoincident in the time domain.The contrasting extreme is A/B wherethe capsules are spread far apart. ‘SmallA/B’ indicates distances of 40-80cm, ‘LargeA/B’ is even more extreme with distancesof some metres. In terms of both positionand time, they are far from coincident.Coincident stereo techniques carry thebenefit of excellent localization, but at thecost of a centre imagethat is over-emphasisedsince much of the sound isrecorded in mono. This willalso explain the feeling of alack of spaciousness. Thepercentage is dependenton the directivity of thecapsules, but is 50% forcardioids – you remember,a cardioid can be resolvedinto a combination of afigure-of-eight and anomni, and two onmis inthe same spot capture thesame signal.Conversely the spacedA/B technique carries anenormous, if somewhat artificial, senseof spaciousness (Stanley Lipshitz calls it‘phasiness’) that coincident techniquescannot match (except Blumlein). The reasonis that differences in arrival time at thewidely spaced microphones translate todifferences in phase in the stereo output,and thus 50% of the direct sound istransmitted out-of phase.Soundfields and the operating principlesof microphones rarely raise many passions,but the spacing of stereo microphonesgenerates intense debate.Positions become extremist rather thansimply extreme, and the techniques becomeviewed as radically different philosophiesrather than points on a continuum. We cananalyse the techniques scientifically, but thechoice does come down to personal taste –even perhaps, emotion – in the end.audio media wishes to thank Jörg Wuttkeof schoeps, rycote, and chris Woolf(the microphone data book) for theirpermissions to use this article.w www.schoeps.dew www.rycote.comw www.microphone-data.comthe international microphone buyer’s guide 7

++AUDIO-TECHNICA + + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICAudio-Technica –The Drive for Innovation,Quality, and ConsistencyThe youngest of the world’s ‘big four’ microphone brands, Audio-Technica has employeddesign innovation and advanced manufacturing to consistently break the price/performancebarrier with leading products for studio, broadcast, and live production applications.As a world leader in the design andmanufacture of high performancemicrophones and wireless microphonesystems, Audio-Technica has developedmarket leading product ranges in the threeprincipal professional audio applications– music recording, broadcast production,and live production. In each of these areasAudio-Technica has developed productranges that have raised the performancebar and established a reputation withindustry professionals for design,engineering, and build manufacturingexcellence that is second to none.It’s an engineering and businessphilosophy that originates with thecompany’s inception in 1962 when founderMr. Hideo Matsushita introduced a movingmagnet-typestereo phonograph cartridge.The company went on to design and producephono cartridges and tone arms, both underits own brand and for others, including thelegendary NHK broadcast organisation.The same high precision design andengineering techniques that made thecompany’s various cartridge designsso successful were also applied to themanufacture of microphone and headphoneproducts throughout the 1970s and 1980s,earning the brand prestigious status amongaudio professionals.In The StudioIt was with the introduction of the AT4033in 1992 that the company established aleading position in the studio recordingmarket. The AT4033 was the first everhigh performance large studio condensermicrophone priced at under $1,000;anticipating what today is a highlycompetitive market sector for affordablehigh performance studiorecording microphones.Exploiting the very latestdesign, engineering, andproduction techniques, theAT4033 provided performancefrom a back electret designthat rivalled famous studiocondenser models severaltimes more expensive.Among the many designinnovations to enable suchperformance was a speciallycontoured, vapour-depositeddiaphragm, just two micronsthick (compared with 10 microns for mostlarge diaphragm condensers). This ensuredvery high-resolution signal reproduction.Coupled with low noise, symmetrical,transformerless circuitry, this producedan exceptional transient response andlow distortion output. Special acceleratedMetallica FOH engineer ‘Big’Mick Hughes employs an arrayof Audio-Technica microphoneson stage with the world’s biggestmetal band.diaphragm aging methods ensuredperformance remained consistent over time,which with the specially designed dampingand suspension provided for a more linearresponse over a wide frequency range, evenat high SPLs.Modern production methods enableda level of consistency that ensured theidentical performance of every microphone;with no necessity toproduce the microphones in‘matched pairs’ for stereorecording.Selling in thousands,the success of the AT4033established the company’sreputation as a highendstudio microphonemanufacturer andspawned the 40 Serieslarge diaphragm condenserrange. All models in the40 series adhere to thesame paradigm of highperformance and value for money, and astestimony to their quality, since the startof 2008 also come with the company’sLifetime Warranty.Two new models in the 40 Series –the AT4021 and AT4022 – are introducedfor 2009. Upholding the exacting standardsof design and construction for whichAudio-Technica is known, the new condensermodels offer high SPL handling and widedynamic range. The cardioid AT4021 andomni-directional AT4022 deliver an extendedfrequency response and low-self noise,ideal for today’s demanding digitalrecording situations.The Pigeon Detectives – on tour with a fullcomplement of Audio-Technica microphones forvocals and backline.8 AUDIO TECHNICA

microphones 2009A+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TEInnovative acoustic design also ensures thatthe new models offer levels of directivitycomparable to mics up to 50% longer, andas such deliver unequalled performance ina compact package.Audio-Technica microphones are relied onfor the broadcast of the biggest internationalsporting events.Modern day classics of the recordingworld, the 40 Series microphones arelauded by internationally renownedengineers and producers like Phil Ramone,Joe Chiccarelli, Frank Filipetti, NathanielKunkel, and David Reitzas. These areamong the world’s most successful andbest selling studio microphones today.For BroadcastIn the broadcast industry,Audio-Technica is a brand that has becomesynonymous with high performancelocation recording microphones that haveenabled programme makers toachieve an ever-greatersense of reality in thetransmission of majoroutside broadcastevents. In particularthe company hasbeen associatedwith the broadcast ofinternational sportingcompetitions. The officialbroadcast productions of theSummer Games in AtlantaCity, Sydney, and Athens, theWinter Games in Salt LakeCity, and the more recent 2008Beijing Games, have featured literallythousands of Audio-Technica microphones.In particular, the company’s innovativeshotgun designs have enabled greatercapture of close up audio in games andcompetitions. The AT815ST stereo shotgunwas designed specifically for the SydneyGames in 2000, and has been a fixture ofbroadcast coverage of such events since.New for 2009, the BP4071 and BP4073microphones are tailored to the needs ofcritical broadcast applications with excellentsignal-to-noise ratios and RFI-immunity.New 40 Series AT4022studio condenser mic.On StageIn recent years Audio-Technica haswon devotees among artists and soundengineers alike, for Artist Elite Seriesperformance stage microphones, in bothwired and wireless form. With users andendorsees as musically diverse asThe Pigeon Detectives, Alesha Dixon,Russell Watson, Rush, Linkin Park, andMetallica, AE Series handheld models –both condenser and dynamic – are famedfor their sound quality. When partneredwith Audio-Technica’s 5000 and 4000 Serieswireless technology, transmission qualityis such that engineers as seasoned asDick Rabel have gone on record as sayingthat there is “remarkably little difference”between wired and wireless models withthe same capsule.The high signal to noise and lowsignal compressionperformance ofAudio-Technica’s5000 and4000 wirelesstechnology lendsthese systems foruse on the most criticalmusical productions,such as the massive worldtouring opera production,AidaMonumental Opera On Fire.The world’s largest touringopera production, Aida carriesa 46-channel 5000 Serieswireless system.On backline too, Audio-Technica is a de facto standardfor many world-class sound engineers,often exclusively. Engineers like ‘Big’ MickHughes (Metallica, Def Leppard, Slipknot),Jim Warren (Crowded House), Dave Bracey(Robbie Williams), Dick Rabel (RussellWatson, Katherine Jenkins), Mark Jones(Embrace), and Andy Hawkins (PigeonDetectives). For these and many others,models like the AE2500 dual elementdesign, the AE3000, AT4050, AT4041, andthe ATM350 are essential tools of the trade.These live production series are now joinedby the re-engineered Artist Series, offeringAudio-Technica’s hard-working Artist and ArtistElite wired microphones are now covered by thecompany’s Lifetime Warranty.Audio-Technica has extended its unique‘lifetime warranty’ – offered on top ofthe 40 Series studio condenser range –to include Artist Elite and Artist Seriesmicrophones in 2009. The extendedwarranty is offered free of charge andis applicable on all wired Artist Eliteand Artist Series microphones sold byauthorised resellers in EMEA fromMay 1, 2009.The warranty reflects the reliabilityand engineering quality across thethree ranges. Users of Audio-Technicamicrophones in live productionenvironments can now enjoy the samepeace of mind as their studio counterparts.unrivalled performance at competitiveprice points: they are already making animpression in the market, with singersincluding Jodie Jones using the ATM710condenser exclusively on stage, and othermodels earning a place on backline rosters.AUDIO TECHNICAJustin FrostArea Sales Manager, Southern Englandt +44 (0) 113 277 1441e jfrost@audio-technica.co.ukHarvey RobertsSenior UK Marketing Managert +44 (0) 113 277 1441e hroberts@audio-technica.co.ukInternationalw www.audio-technica.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 9

++AUDIX + + + + AUDIX+ + + + AUDIX+ + + + AUDIX+ + + + AUDIX+ + + + AAudixMicrophones:ConsistentInnovationCliff Castle, Co-Founder of Audix Microphones, salutes theBeach Boys 25th Year Anniversary Special Tour in 1986AlanisMorissette onher Audix OM5The following is a snapshot interview withCliff Castle – co-founder of Audix.How did Audix get its start?Audix had its humble beginnings back in1984 in Redwood City, California in a suiteof offices totaling about 300 square feet!Initially, we were set up as the distributionarm for Audix Japan, a microphone companythat was manufacturing strictly for itsdomestic market. The microphones weregood, but not good enough to competewith the industry standards of the day.One thing led to another and we startedredesigning the microphones and improvingthe performance characteristics. The firsttwo years were pretty painful but, by 1986,we introduced ourfirst high-levelvocal performancemic, the OM 1,which received verypositive magazinereviews and madeits way into highprofile usersincluding the BeachBoys, one of myall time favoritegroups.The OM seriesvocal mics aremore populartoday than ever.How has Audixmaintained thissuccess?We developedour own capsuledesign that featured ‘VLM’ technology,which stands for ‘Very Low Mass’. Theselightweight diaphragms are able to reactmore quickly to incoming sound waves,which result in a more natural, accuratesound with better transient response.This diaphragm design, along withthe hypercardioid design ofthe polar pattern, providedunprecedented gain beforefeedback, still unparalleledto this day. Artist andengineer support has alsohelped. We happened tobe paying attention to the‘grunge’ groups emergingout of the Northwest in theearly 1990s. I demoed theOM7 to Dave Rat (Rat Sound)who was providing sound fortwo unknown groups at the time– Pearl Jam and Red Hot ChilliPeppers. He flipped out whenhe heard the gain before feedbackof the OM7 in the monitors. Hethought there was some type ofvoodoo going on. Before we knewit, the OM7 became the microphoneof choice for just about all of thegroups in the grunge scene – andfortunately for us, the groups hitthe mainstream. By 1995, anotherof our mics, the OM5, made its wayinto the hands of The Tonight Show,The Late Show and MTV Unplugged,as well as many artists such asAlanis Morissette, Bonnie Raitt,Bruce Springsteen, and Crosby,Stills, and Nash – all of whom continue touse their Audix mics to this day.Audix VX5Condenser MicAudix is now established as a leadingmanufacturer in drum and percussion mics –how did that come about?Being a musician helps. I realised thatdrummers and percussionists, the guyswho provide the heartbeat for any musicalcontent, were being neglected as far asmics specifically designed for theirapplications. The Sennheiser 421,which we recognised as a greatmic, had become the standardpercussion mic for pros. Thedownside to that mic is thatit’s fairly big, cumbersome,and expensive. So wecame up with the D series –application-specific mics fordrums. Machined at Audix outof high-grade aluminum bars,these mics are compact, accurate,able to handle high SPLs, and costeffective. After a few years, theygained widespread recognition,and with the most recent additionof the D6 and the i5, these mics havebecome really good, dependabletools for a wide variety ofinstrument needs.Audix also continues to developinteresting condenser mics. Any tricksup your sleeve that we should be on thelookout for?You already know about the SCX25A,an improved version of our formidablelarge-diaphragm condenser mic thatis ideal for acoustic instruments,overheads, and vocals. The Microsare the world’s smallest standalonecondenser microphones with an integrated10 AUDIX

microphones 2009UDIX+ + + + AUDIX+ + + + AUDIX+ + + + AUDIX+ + + + AUDIX+ + + + AUDIAudix Leads the Pack in Percussion MicsWith the introduction of the D-seriesdynamics in 1993, Audix created a newcategory of microphones specific todrums and percussion. Shortly after,Audix further expanded this concept toinclude prepackaged sets of microphonesin various configurations. In 2000, Audixcreated the drum mic kit. It was an instantsuccess, and many other brands followedsuit soon after.With the introduction of the D6 and thei5, Audix configured the DP5A, the DP7,and the DP-Elite8 drum mic packages.All of the kits feature the best of thebest, and provide high performance andexcellent value. The DP7 was bestowedthe prestigious MIPA international awardof ‘Best Drum Microphones’ of 2007,an award voted on by 107 magazinesrepresenting 25 countries.The heart of the DP5A mic package(MSRP of US$1,149) is the popular D6dynamic microphone for kick drum,characterised with full, robust sound, withclarity and attack. For snare drum, it’s thei5, a perfect complement to the D6. The i5not only provides clear and natural soundreproduction, it is extremely durable andcapable of withstanding the occasional andunavoidable ‘stick hit’ during the courseof a gig. For rack toms, there are two D2dynamic microphones. The D2, describedas the ‘king of toms’, will capture all thesubtleties and overtones of 8–12” toms.For floor tom, there is the D4, unrivalledin its ability to recreate the extendedresponse of a low frequency drum withextreme accuracy and detail. Additionally,there are four D-Vice spring-tensioned rimmounting clips which eliminate the needfor mic stands for snare and toms.The DP7 (MSRP of US$1,747) includesthe same mics as in the DP5A, withthe addition of two ADX51 ‘pencil-style’cardioid condenser microphones foroverheads. The ADX51, with switchesfor pad and roll-off, captures thecymbals and ambient sound ofthe full kit, without picking uptoo much bleed from the otherinstruments on stage.For those artistsand engineers lookingfor the ultimate mikingsolution, there isthe DP-Elite8. Thispackage is configuredwith the same basic fivemicrophones found in the DP5A, with theaddition of two SCX1-C cardioid condensermicrophones for overheads and an SCX1-HC hypercardioid for high hat. The DP-Elite8 is priced at an MSRP of US$2,569.All mic packages include a sturdyaluminum carrying case.DP7 is our top selling drum pack and willoutfit any five piece drum kit.mic preamp. The 50-inch carbon fibreMicroBoom incorporates the Micros ina way that makes it the ideal solution forchoir miking without having to hang micsfrom the ceiling. Also, keep an eye out forthe VX5 handheld condenser vocal mic withpad and rolloff; it is bound for stardom!for symphony, orchestra, and other livesound applications where placement andsound are critical.The Micros – Smaller is BetterAudix has enhanced the award winningMicros Series, the world’s smallestcondenser microphones with integratedpreamp and detachable cable. The M1244B,M1250B, and M1255B measure slightlyover two inches long with a weight of only.6 ounces. They feature a variety of polarpattern options, very low noise circuitry, andcomplete immunity to RF. In addition, allelectronics are built-in to the microphone,so no external phantom power adaptersare required. The Micros are a greatlow profile solution for portable overheadmiking of choirs and plays, corporatepresentations, discreet instrument mikingM1255B shown here with hanger foroverhead applications. The MicrosTM Seriesmicrophones are only 54 mm long and fit inthe palm of your hand.AUDIX CORPORATIONPO Box 4010, Wilsonville, OR 97070, USAt +1 503 682 6933f +1 503 682 7114w www.audixusa.come info@audixusa.comUKSCV Londont +44 (0) 208 418 1470e sales@scvlondon.co.ukTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 11

++BLUE ++++BLUE++++BLUE++++BLUE++++BLUE++++BLUEBlue.The Microphone Company of Today.Blue Microphones is commonly referenced as ‘the microphone company of today’ because ofits unique philosophy: to meld the heritage of the past with current cutting-edge technology,leading to continuous innovation in the field of audio recording.The Flagship Bottle SeriesDesigned for the most discerning recordists, the Bottle Series (consisting of the Bottle,the Bottle Rocket Stage One, and Bottle Rocket Stage Two) feature microphones capableof providing a wide palette of tonal characteristics and pickup patterns to satisfy even themost discriminating tastes. The Bottle Series integrates the best of Blue’s discrete class-Acircuitry with a unique and revolutionary system of interchangeable capsules, like Blue’sBottle Caps, that provide the engineer with a wide range of potential tonal characteristics.The BottleBlue’s flagship recordingtool, the Bottle, is our highestachievement in quality andinnovation. Meticulouslyhand assembled, the Class-Adiscrete Bottle utilises a singleEF86 pentode vacuum tubein triode mode. The Bottlecombines low noise andsuperb transient response,and when combined withBlue’s nine interchangeableBottle Caps capsules, providesthe recordist with an entiremic cabinet all in one mic!Bottle RocketStage OneThe Stage One is Blue’smost accessible micwith a foundationof interchangeablecapsules. The ClassA discrete solid stateStage One has a very lowself-noise specification(

microphones 2009++++BLUE++++BLUE++++BLUE++++BLUE++++BLUE++++BApplication Specific SeriesEvery Blue microphone in the Application Specific Series contains its own proprietarycapsule that is hand-tested to capture a specific sonic signature. Blue’s philosophy is tocreate microphones that are unparalleled for their intended application. For example, theMouse is a low-frequency focused microphone that specialises in capturing the biggerthan-lifelows of kick drums, bass amps, and deep vocals,whereas the Dragonfly is designed specifically to capture andthicken thin sounds from soprano vocals and instruments likedrum overheads.Cactus: Nine-pattern tube condenser – vintage vocalsKiwi: Solid state multi-pattern – Blue’s signaturecontemporary vocalsMouse: Bottom end boom – bass, drums & broadcastingWoodpecker: Only ribbon mic with truetop end – classic warm sound and an ultra-smooth top endDragonfly: Thickens thin sound sources– high vocals, acoustic guitar, drum overheadsBlueberry: Commanding, intimatepresence – vocals moved to the front of the mixBaby Bottle: Midrange focused – rock vocals, guitarsCapture Every NoteBlue’s philosophy is that all great soundbegins with the capsule. Hand assembledand tuned, our proprietary capsule designscapture specific sonic signatures in specificways, creating completely different tonalcharacteristics for each mic in the Bluelineup. In addition, Blue employs stateof-the-arttechnology that ensures theInnovative Consumer ElectronicsL–R: Cactus, Kiwi,Woodpecker, MouseL–R: Blueberry, Dragonfly,Baby Bottlepurest possible signal path and Class-Afully discrete circuitry with no ICs, pads, orfilters; each microphone is designed to filla specific role in a recordist’s repertoire.The result is a portfolio of professionalmicrophones that create a palette ofsounds, enabling artists to truly realisethe sonic landscape of their vision.SnowballThe Snowball is a direct plug n’ play USB mic for either Mac or PC– no drivers are required. With its dual-capsule design and uniquethree-pattern switch (cardioid, cardioid with -10dB pad, and omni), theSnowball can handle everything from soft vocals to the loudest garageband, and it’s ideal for podcasting.Sound for Everyone, EverywhereWith the advent of increasingly powerfulpersonal computer recording software suchas Apple’s GarageBand, Blue realisedthat project studio recording presented thenext revolution of the recording industry.Believing that the lack of a high-qualityUSB microphone to protect the signalsource would be an impediment, Bluedeveloped the Snowball, now the numberone-selling wired condenser microphonein the world. Throughout its developmentprocess the Snowball was designed withmusicians in mind, however people quicklybegan to adopt the product for consumerapplications such as podcasting, chatting,and narration. These new and constantlyexpanding applications have allowed Blue totap into its Pro Audio DNA to launch a line ofproducts catering to life outside the studio.These include high-quality USB productsfor both Mac and PC, iPod accessories,and an XLR-to-USB converter that allowseveryone to take advantage of the qualityand performance inherent in every Bluemicrophone, right on their own computer.At Blue, we’re 100% committed to gettingthe very best microphones in the world intothe hands of those who have a passion forhigh quality audio, believing that everyone,everywhere, should have access to greatsound. This is our heritage and will alwaysbe the core focus of everything we designand produce. Blue is the microphonecompany of today, with products built forthe next generation of sound.MikeyMikey is Blue’s new award-winning recorder for the iPod that can recordlectures, voice notes, live music, and interviews in stunning high fidelity.Blue’s superior quality stereo condenser capsules, three-position userselectable gain settings, and a unique user-positionable head allow foramazing high quality recordings from a whisper at 30 paces to a blastingrock concert. Compatible with a wide range of iPods, it’s never beeneasier to get award-winning Blue quality sound on the go.BLUE MICROPHONES (NORTH AMERICA)t + 1 818 879 5200f + 1 818 879 7258e support@bluemic.comw www.bluemic.comL–R: Icicle, Snowball, Snowflake, Eyeball, MikeyTC ELECTRONIC (EUROPE)Sindalsvej 348240 RiskkovDenmarke info@tcelectronic.comw tcelectronic.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 13

+ + DPA + + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DDPA MicrophonesProfessional Microphone Solutions for Any NeedDPA Microphones is a leading manufacturerof high quality condenser microphonesfor professional applications in studio,broadcast, theatre, video/film, andsound reinforcement environments.All DPA microphones are designed andmanufactured in Denmark, combiningstate-of-the-art technology withunique design.DPA 4099 Clip MicrophonesThe 4099 mics and mounting systems aremeticulously designed and optimised foreach of these four instrument families.4099 GuitarPerfect for acoustic guitar, mandolin, banjo,and dobro, the 4099 Guitar offers practicallyunlimited placement possibilities as well asa natural sound.4099 Key4099 ViolinViolin and viola playerswill appreciate howgently the 4099 Violinadheres to a prizedinstrument while itsunobtrusive designkeeps it from getting inthe way.Features• Superiorgain-beforefeedback• Wirelesscompatible• One-handmounting• Holdergentle to theinstrument4099 TrumpetAn ideal tool fortrumpet and other brassinstruments, with or without mute, the4099 Trumpet effortlessly handles eventhe highest sound pressures.4099 SaxSoprano, alto, tenor, or baritone, the 4099Sax fits them all, providing exceptional gainbefore-feedbackand a broad spectrum ofuncompromised tonal possibilities.DPA 5100 Mobile Surround MicrophoneThe DPA 5100 is a mobile surroundmicrophone whose compact size and easeof use come at no sacrifice to its stunningsound quality. Ideal for bringing trulyengaging surround ambience to HDTVproduction, the versatile5100 can be mounted ona camera or microphonestand, suspended, orsimply handheld via ahandgrip.A completely selfcontainedplug-andplaysolution for 5.1audio capture, the 5100employs five miniaturepressure transducersthat exhibit extremelylow sensitivity to windand mechanical noise,low distortion, highlyconsistent low frequencyresponse, and enormousdynamic range.5100 KeyFeatures• Plug-and-playsolution• Lightweightand portable• Rich, smooth,and fullyenvelopingsoundcharacter• Discrete 5.1analogueoutput – noprocessingneededThe end result of DPA’s innovativedesign approach is a surround atmospherethat is rich, smooth, and fully enveloping,exemplary in its coherence, channelseparation, and localisation accuracy.Other Surround SolutionsThe DPA Decca Tree (D3) and SurroundMount (S5) are highly versatile and stylishmicrophone mounts for two, three, or fivemicrophones. The unique building blockdesign provides extreme flexibility, allowingthe possibility of numerous configurations,both fixed installationsand mobile setups.Optimised for usewith DPA microphones,the array accommodatesall microphone holders.In the Decca Treeconfiguration, all threemicrophones can bespaced 60-210 cm (2-7ft) apart, either ‘online’,in a vintage Deccaschool T-shape, or inan equilateral triangleconfiguration for optimalD3/S5 KeyFeatures• Flexible andlightweight• Elegant withintegrated cableoption• Matchedsurroundmicrophone kits• Reproducesany arraybalance with a centered fixation point.Designing surround arrays is wherethe modularity of the S5 really shines.Commonly accepted arrays like spacedomnis and Decca Tree with omnis in frontand backwards faced cardioids as rear micsare obvious.Also, arrays like OCT2, Hamasaki Square,Fukada Tree, and the DPA specialty WCSA(Wide Cardioid Surround Array) are possiblewith the S5.Articles on Surround SolutionsThe DPA Microphone University offers a numberof articles on successful and commonly usedsurround techniques. Visit Mic Uni online www.dpamicrophones.com/micuni.DPA Miniature Microphones for Speech andClose-Miking Instrument ApplicationsOriginally designed for use with wirelesssystems in theatre, television, and closemikinginstrument applications, the capsuleof Miniature Microphones is smaller than a14 DPA

microphones 2009PA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+pencil eraser. They have a neutral characterwith great detail and resolution, and arounded present sound with a highlynatural response.Manufactured to exacting standards,the rugged and reliable miniature rangeis tailored to handle heat, humidity, andsweat, as well as wind and popping.DPA miniature mics are undetectableon stage, and a Miniature MicrophoneHeadband is easily adjusted to fit anyhead and stay there.With its elegant design and excellentperformance, the Boundary LayerMicrophone is ideal for use in boardrooms,conference facilities, courtrooms,teleconferencing, and other applicationswhere excellent vocal pickup is required.A broad range of connection adaptersis offered as optional accessories for mostprofessional wireless systems.DPA Standards for the Highest ResolutionDPA’s audio philosophy is based on thenotion of zero sound colouration, and thecomplete and honest accuracy of thesemicrophones is unequalled.DPA Standard Microphones are highquality studio microphones comprisedof omnis, cardioids, and wide cardioids.There is no comparison to the completeand honest accuracy of these microphones.They deliver a faithful reproduction of theoriginal sound with components carefullyselected to provide optimal neutrality,accuracy, and low distortion.Also included in the DPA StandardFamily are Large Diaphragm Microphones;top-of-the-range one-inch capsule omnimicrophones. With their transparency andneutral character, DPA’s large diaphragmmicrophones are ideal for use with vocals,strings, or other acoustic instruments witha high dynamic range.DPA Compacts – The Choice of Musiciansfor Maximum ClarityDPA Compact Microphones are the smallercousins of the standard microphones andare also available as omni, cardioid, andwide cardioid models. Specifically designedto satisfy the demands of professionals,the Compacts offer ingenious mountingsolutions as well as sonic excellence.They are especially valuable for lowprofile use together with DPA’s elegantlydesigned stands, for the close-miking ofinstruments, as table and podium mics,and as reinforcement mics in liveperformance venues.Use a carefully matched CompactStereo Kit for ORTF and XY stereo setups,or place individual mics in DPA’s elegantFlamingo series of floor and table stands.Our Compact Cardioids use the samecapsule as the extremely popular 4011,but are pre-amplified using a built-inminiaturised thick-film mounted FETamplifier. The result combines thetrademark DPA sound with aestheticand functional design solutions.Surround Matched Microphone Kits – thePerfect Match to D3/S5Good surround sound requires exceptionalmicrophones with a neutral character andauthentic reproduction without colouration.They should furthermore have a large dynamicand frequency range to be able to offer fullbenefit from high resolution digital formats.The homogeneity and precise matchingaccuracy of more than two microphones are ofutmost importance when recording acousticsurround; it is the defining factor between anaverage production and a true masterpiece.These Surround Matched Mic Kits will not letyou down:5006, 4006-TL Surround KitIntended for use in spaced omni configurations5006-11, 4006-TL/4011-TL Surround KitIntended for use in Decca Tree front/backwards faced cardioids rear configuration5015, 4015-TL Surround KitIntended for use in WCSA, Wide CardioidSurround ArrayAbout DPA MicrophonesDrawing on more than five decades of worldclassmicrophone design experience, DPAMicrophones has manufactured microphonesin its own name since 1998. The companyemploys well over 100 people and isrepresented by professional audio distributorsand dealers in more than 40 countriesaround the world. All DPA microphonesand components are manufactured at thecompany’s purpose-built factory in the northof Denmark.DPA MICROPHONESHeadquartersDPA Microphones A/S, Gydevang 42-44,DK-3450 Alleroed, Denmarkt +45 4814 2828f +45 4814 2700e info@dpamicrophones.comw www.dpamicrophones.comUnited StatesDPA Microphones, Inc., 2432 N. Main St.,Suite 200, Longmont, CO 80501, USAt +1 303 485 1025f +1 303 485 6470e Info-usa@dpamicrophones.comw www.dpamicrophones.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE15

++HORCH AUDIO + + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HOThe Sound Of Emotion: HorchHorch was established in the 1990s by a small team of dedicatedaudio experts, whose vision was to create a microphone able toconvey emotion through sound. All Horchs are large-diaphragmtube microphones.How 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 UnitedJazz + Rock Ensemble, etc. He also freelanced for TVand broadcast productions.During this time, Platen became familiar with awide variety of microphones, but his all time favouritefor vocal recordings was the Neumann M49 tubemicrophone. However, Platen felt that of theseold microphones had lost some of their expectedexcellence by this time. Here, Horch Audio’sstory begins.The MicrophonesIn the early nineties, Gibbs Platen and two friendsfounded Horch Audio with the ambition to build amicrophone in the same vein as the M49, but improved.That’s where the Horch RM2 came to life. In thebeginning, the RM2 was built using original partsfrom Neumann. As a finishing touch, Platen placeda 0.5-carat brilliant diamond into the front of theRM2, which was illuminated from the inside. Lateron, Horch modified the RM2 into the RM2J, with theintention to move the sound more in direction of theU47. The triode was replaced by a pentode, and anew developed capsule and transformer were built in.The RM3 was released, harking back to the sound ofthe old ELA M251 and especially designed for femalevocals and instruments. The RM4, recalling the U47sound, launched in 2007/2008. It displayed a whole newconcept – adjustable compression, and saturation ofthe microphone.Horch’s VisionThe idea behind Horch’s vision is to build microphoneswith outstanding quality for a new listening experience.That is why everything in a Horch microphone ishandmade in Germany. A lot of effort is spent onresearch and listening, mechanical fine-tuning, andkeeping in contact with customers and artists.The company is situated in the German hightechregion of Stuttgart (Mercedes, Porsche),which promotes high standards for mechanicaland electrical quality.Each Horch is a precious sound tool, that looksgreat and sounds unique.Gibbs Platen, founder of Horch Audio.16 HORCH AUDIO

microphones 2009RCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TRM2JThe Horch RM2Jwas inspired by theNeumann M49/U47.Every electrical andoptical detail is fine-tuned to provide optimalperformance. The RM2Jworks in two differentoperating modes.In the first mode, itworks as a microphonewith an adjustable polarpattern – the capsuleilluminates blue.In the second mode, theRM2J is a broad cardioidmicrophone, with aspecial vocal boost.This mode delivers aunique fat and rich vocalsound, and the capsuleilluminates red.RM2JRM4The RM4 has aunique feature,that gives youa lot of controlover the sound ofthe microphone:the saturationof the tube isadjustable froma very clear to ahigh saturatedand compressedsound. The RM4is well suitedfor punchy andfat lead vocals.It combines thesound of the U47era with the uniqueHorch quality.RM4RM3The Horch RM3is inspired bythe ELA M251.It comes withan integratedshock mountand pop filter.The RM3delivers avery crisp andtransparentsoundindependentfrom the soundlevel. It iswell suited forfemale leadvocals andinstruments.RM3HORCH AUDIOInternational distribution by:Analog Audio GmbHLiegnitzer Str. 13D-82143 GroebenzellGermanyt +49 (0) 8142 53980e sales@analogonline.dew www.analogonline.deTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE17

++MICW ++++MICW++++MICW++++MICW++++MICW++++MICMicW – Precision SolutionsMicW Audio is a precision microphone manufacturerof metal-type professional microphones for recording,broadcasting, and live music. Its N-series high qualitycondenser microphones are based on nickel diaphragmtechnology. From the subtlest sound of a piano, to the highintensity of a full brass section, the MicW microphonespresent spectacularly pure and uncoloured sound.Company ProfileMicW was founded in Beijing in 1989 byfive well-educated acousticians with theambition to create world-class microphones.The company’s early business wasfocused on manufacturing measurementmicrophones for OEM market. Richexperiences in measurement microphonesenabled the company to enter theprofessional microphone market withits own brand technology andmanufacturing facilities.Production and QualityThe 2,000m 2 MicW production facilityis located in Beijing, China. The facilitycomprises manufacturing areas, testlaboratories, environmental chambers,a full anechoic chamber, and a clean room.All microphones are handcrafted andindividually tested. The MicW is committedto total quality management, ensuring thatevery product meets strict standards inperformance. The MicW production facilityhas been awarded an ISO9001 Certificateby TÜV.Research and DevelopmentAs a technology-leading company, MicWinvests heavily in product research anddevelopment. Engineers were recruited witha specific knowledge domain and skill-set,80% of them with M.S. and Ph.D. degreesin Audio Engineering, Acoustics, andrelated sciences. This results in not only anincredibly knowledgeable team of developersand technicians, but also a team that isdynamic, innovative, highly motivated, andcapable to develop and manufacture highquality products.ProductsN-Series – Precision Recording MicrophonesThe N-series precision recordingmicrophones are based on the nickeldiaphragm technology in all metalstructures. The microphones transportspectacularly pure and uncoloured soundfrom the subtlest nuances of a solo violin,to the thunderous intensity of a full brasssection or drum kit.The N-series has five models rangingfrom large diaphragm cardioid to 1/4” omniE-Seriesmicrophones, which cover the applicationfrom vocals, grand pianos, instruments,and drum kits. The modern-styled N-seriesmicrophones are carefully designed to lookas beautiful as they sound.The N-series microphones leverageMicW’s research and development intonickel diaphragm technology. The nickeldiaphragm is precisely stretched to givethe full frequency range of response; somemodels can be up to 70kHz. A thin layer ofpolymer is then coated on the diaphragm togive a subtle touch of the performance.E-Series – Performance vs. CostThe MicW E-series microphones aredeveloped for general recording purposes,with a high ratio of performance:cost.The E-series microphones have similarmechanical structures to the N-seriesmicrophones, but use a different material.The diaphragms of the E-Series are madefrom polymer and coated with gold ornickel. Innovative designs give E-seriesmicrophones similar accuracy andperformance to the N-series microphones,but at lower costs. E-series microphones18 MICW

microphones 2009W++++MICW++++MICW++++MICW++++MICW++++MICW+++G-Seriesare a good choice for customers lookingfor high value microphones with highperformance.There are three models of E-seriesmicrophones, ranging from shotgun, to1/2’’ and 1/4’’ microphones, and with polarpatterns from super-cardioid to omnidirectional.G-Series – Golden Diaphragm MicrophoneThe MicW G-Series Golden DiaphragmMicrophone is an omni-directionalmicrophone that uses a 26mm diameterlarge diaphragm capsule. It uses a goldplatedpolymer diaphragm, the tensionof which is carefully adjusted duringthe manufacturing process to ensure afrequency response from 10Hz to 20kHz,with a 4-6dB soft boost around 8kHz.The G-Series offers a totally transparentaudio path with an exceptionally low noisefloor of maximum 12 dB(A).Microphone PairMicW also provides microphone pairs,which are state-of-the-art stereo kitsfeaturing two matched microphones.Each pair is guaranteed to a sensitivitymatch within 0.5dB, and phase matchwithin 5 degrees up to 5000Hz.Highlights of MicW Audio• Precision microphonemanufacturer based in Beijing withten years of experience• Condenser capsules with nickeldiaphrams• High quality products with a 5 yearwarrantyMicrophone PairMICW AUDIOUnit 1003, North Ring CenterNo.18 Yumin Road, Xicheng DistrictBeijing 100029, Chinat +86 10 51285118f +86 10 82251626e sales@mic-w.comw www.mic-w.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 19

++SENNHEISER + + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNSennheiser – The Audio SpecialistsFor more than sixty years, the name Sennheiser has been synonymous with stateof-the-artmicrophone solutions. Bands, artists, live sound engineers, recordingengineers and amateurs, broadcast professionals and film crews worldwide relyon Sennheiser microphones.HistoryLaboratorium WennebostelSennheiser was founded in the summerof 1945 as ‘Laboratorium Wennebostel’ or‘Labor W’ (Lab W) for short, named afterthe tiny village of Wennebostel. FounderProf. Dr. Fritz Sennheiser was the deputyhead of the Institute for Radio FrequencyEngineering and Electroacoustics at HanoverTechnical University. Together with seveninstitute members, he turned the relocateduniversity lab into a small company andstarted manufacturing measuring devices.Just two years later, the engineers unveiledtheir very first microphone design, the MD 2– and were soon to become experts in manyfields of audio recording and reproduction.Early product highlights included amplifiers,microphone transformers, magneticminiature headphone capsules, andmicrophones such as the MD 3 ‘invisible’mic (1949), the MD 82 shotgun microphone(1956), and Sennheiser’s first wirelessmicrophone (1957), which opened up a fieldin which the company was toexcel in the future. In 1958, Lab W wasrenamed ‘Sennheiser electronic’, as thecompany had long since ceased being justa small laboratory.Sennheiser electronicInnovations continued under the Sennheiserbrand name. The company developedcondenser microphones that operatedaccording to the RF principle, and thefirst professional condenser clip-onmicrophone, the MK 12. The world’s firstopen headphones were developed atSennheiser (1968), pre-polarised condensermicrophones were added to the portfolio,and the company led the innovation forinfrared sound transmission in the seventies.The launch of the RF wireless classic SKM4031-TV in 1982 laid the foundation for thesuccess of Sennheiser wireless systems inthe following years, and was soon followedby the development of the first directionalclip-on microphone and the smallest studiocondenser clip-on mic at the time. 1993 sawthe launch of another wireless classic, theSKM 5000. In 1987, Sennheiser was awardedthe Scientific and Engineering Award forthe MKH 816 shotgun microphone, followedin 1996 by an Emmy Award for pioneeringdevelopments in RF wireless technology. In1998, the evolution microphone series waslaunched. evolution wireless, Sennheiser’smost successful RF wireless series to date,has taken over the stages of the world since1999. In 2000, Sennheiser introduced theMKH 800, the first studio microphone tofully utilise the wider frequency range ofthe new digital audio formats. 2002 sawthe glamorous combination of two industrystandards, the SKM 5000 N with a Neumanncapsule. In 2007, Sennheiser launchedits new MKH 8000 Series. 2009 saw thelaunch of the 2000 Series and of the thirdgeneration of evolution wireless systems.From 1988, the company had begunfounding its own sales subsidiaries tofurther increase proximity to its customers.Today, the Sennheiser sales networkis comprised of subsidiaries in France,Great Britain, Belgium, the Netherlands,Germany, Denmark (Nordic), Russia,Hong Kong, India, Singapore, Japan,China, Canada, Mexico and theUSA, as well as long-term tradingpartners in many other countries.The Sennheiser Group employsabout 2,000 people around theglobe, and has manufacturingplants in Germany, Ireland,and the USA.Company founder Prof.Dr. Fritz Sennheiser and hisson Prof. Dr. Jörg Sennheiser,Chairman of the SupervisoryBoard.(PHOTO: PETRA SCHRAMBÖHMER)20 SENNHEISER

microphones 2009HEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISERThe Microphone Portfolioevolution MicrophonesThe evolution series of microphones wascreated to provide a complete microphone setupfor vocals and the entire backline. Designedaccording to the needs of singers and musicians,the evolution line comprises evolution 600Series instrument microphones, evolution 800Series vocal microphones, and the top-of-therange900 Series with such acclaimed models asthe e 935 dynamic vocal mic and the e 965 largediaphragm,true condenser microphone.The MD Range of Dynamic MicrophonesSennheiser’s rugged dynamic microphonesinclude such all-time classics as the MD 21 (inthe portfolio since 1953), MD 421 (since 1960),and MD 441 (since 1971), but also reporters’microphones like the MD 42 and MD 46. All ofthese models are extremely rugged and easyto use.The MKE/ME Range of Permanently PolarisedCondenser Microphones……contains everything from professional subminiatureclip-on microphones for use withSennheiser’s world-renowned RF wirelesstechnology to headset microphones and smallcamcorder microphones. Examples include thelegendary MKE 2, the award-winning HSP 2 andHSP 4 headset microphones, and the MKE 400camcorder microphone. With the K6 Series, theuser can tailor the microphone to the recordingsituation by adding ME microphone heads ofvarying directivity (from omni to shotgun) tothe basic power module.microphones is that, although the capsule isgrounded, they possess a genuine fully floating,balanced output without the need to use atransformer. The latest models in this line arethe MKH 8020 (omni), MKH 8040 (cardioid),and MKH 8050 (super-cardioid).Wireless Microphone SystemsSennheiser enjoys an excellent reputation inthe field of large multi-channel RF wirelesssystems. Thanks to the exacting specificationsand outstanding RF properties of Sennheiser’swireless technology, users were able to createsystems with more than 140 microphonechannels operating simultaneously. The top-of-the-range 3000 and 5000 Series include suchindustry standards as the SKM 5200 handheldtransmitter, SK 5212 bodypack transmitter, andthe EM 3732 twin receiver. A new entry seriesfor Sennheiser’s professional segment, the 2000Series, offers Sennheiser’s renowned audio andRF quality at a very attractive price point.For more than one million users worldwide,the evolution wireless Series is their no.1choice for stage and live use. Whether wirelessinstrument mics or acclaimed vocal models– this series contains wireless solutionsfor almost every application. In April 2009,Sennheiser launched the third generation ofits most successful wireless series, with awhole range of exciting extras to offer upand-comingbands, established performers,presenters, musicians, reporting teams,and PA companies outstanding quality atattractive evolution prices.From the past – the MD 2……to the present – the SKM 5200with MD 5235 microphone head.MKH MicrophonesThe choice for recording, broadcast, and filmingspecialists, Sennheiser’s MKH microphones area sophisticated class of condenser microphones.They operate according to the RF principle anduse a unique symmetrical push-pull transducer.The result of this balanced design is anunchanging acoustic impedance, extremely lowdistortion figures, a higher capsule output withmuch lower noise, and thus a very clear signal.Moreover, these microphones are uniquelyinsensitive to unfavourable climatic conditions,have a wide dynamic range and an excellent lowfrequency response even with small capsules.A further benefit of RF condenserDigital Microphones……are the youngest members in the Sennheisermicrophone family. A digital module, theMZD 8000 (available from summer 2009),turns the renowned MKH 8000 series intodigital microphones. Perfectly matched to theMKH microphone heads, the module directly‘translates’ the clear, warm, and responsivesound of the microphones into the digital world,avoiding the losses or signal disruptions towhich cables are prone. The microphones canbe remotely controlled, allowing parametersettings such as the low-cut filter andattenuation to be adjusted via an AES 42interface and a PC.SENNHEISERSennheiser electronic GmbH & Co. KGAm Labor 130900 WedemarkGermanyt +49 (0) 5130 6000f +49 (0) 5130 600 300e info@sennheiser.comw www.sennheiser.comA complete list of Sennheiser subsidiaries andpartners around the globe can be found atwww.sennheiser.com.THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 21

++SHURE + + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ +Legendary PerformanceSuperior sound and solid reliability have made our microphones the industry standardfor decades. Shure microphones deliver consistent vocal and instrument reproduction inany performance or recording setting, which is why they are legendary.Shure microphones for performance andrecording are designed for artists andengineers at all levels. Whether you’re atthe top of the charts or on your way there,choosing from any of these Shure productlines puts you in good company.KSMShure KSM microphones balanceexceptional performance and flexibility witha level of reliability andconsistency not typicallyfound in ultra-premiummicrophones. Finely tunedcondenser cartridges givevoice to each of theseseven elegant models,with high sensitivity toaccurately capturethe widest variety ofsound sources.Their very low self-noisemakes them ideal for usewith digital mixingand recordingequipment.On some models,switchable polarpatterns allowthe configurationto be instantlychanged to suit thecharacteristics ofa particular voice,instrument, ormiking technique.The KSM9unites the best ofstudio and stage.The KSM9 bringsWith its dualstudio sound qualitydiaphragm designto live performancesand switchablepolar patterns, the KSM9 revealsnuance and subtlety normally heardonly in a studio microphone. Yet itssolid build quality delivers traditionalShure dependability that allows it tobe used in the most demanding liveenvironments. A wireless version is alsoavailable for performances where completemobility is required.New introductions to the KSM rangefor 2009 include the KSM313 and KSM353ribbon microphones (formerly known asCrowley and Tripp’s Naked Eye and ElDiablo respectively).BetaShure Beta microphones are designedspecifically for use in live performanceapplications. They feature carefullytailored supercardioid polar patternswith a remarkable absence of off-axiscolouration, for use when high sound levelsonstage require maximum isolation withoutsacrificing sound quality. Handheld vocal,miniature instrument-mount, and lowprofilehead worn models are available,as well as dynamicand condenser kickdrum models.The popular Beta87vocal microphone isalso available in acardioid version, whichprovides additionalambience for users ofin-ear monitors.SM57 and SM58 –standard equipmenton stages worldwideSMLegendary SMmicrophones havecome to definethe sound of liveperformance.Recognisable byname and reputation,SM microphones arevirtually indestructibleprofessional gear, built totake the punishment ofnight-after-night touring.Durable and reliable,SM microphones deliverconsistent vocal andinstrument reproductionin any performance setting.The SM58 and SM57 – the #1 and #2bestselling microphones worldwide fordecades – possess a consistency andfamiliarity that takes some of the guessworkout of setting up an unfamiliar sound systemin an unfamiliar venue.SM microphones make every performersound good.Performance GearPerformance Gear microphones aredesigned for the entry-level performer.They include a complete set of vocal,instrument and drum microphones.Ideal for everyday use and practice, theyshare many of the performance andconstruction details of other legendaryShure microphones. Performance Gearmicrophones come complete with cablesand accessories, so they easily fit into thebeginner’s budget. New models in thisrange include the PG27 multi-purposemicrophone, and the PG42 vocal microphone(both available in USB and XLR versions).Shure wireless microphone systemsdeliver the freedom and convenience ofwireless, while matching the legendarysound quality of our wired microphones.All Shure wireless systems are available inboth handheld and bodypack styles, witha wide choice of handheld, lavalier, andheadworn microphones. Receivers rangefrom simple to elaborate, and a full selectionof accessories and other tools are availableto complete any installation.X2UThe X2U is Shure’s new XLR to USB signaladaptor allowing users to convert theirfavourite wired microphones into USB.UHF-RShure UHF-R Wireless Microphone Systemsdeliver uncompromising Shure sound,and are the premium choice for the mostdemanding music, theatre, and broadcastapplications. Up to 108 systems can be used22 SHURE

microphones 2009+ + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + +in one location (country-dependent), andthe entire system can be networked togethervia USB or Ethernet connections. InternalFlash memory stores six 60-channel customeditable frequency groups, which can instantly berecalled and loaded across all receivers on thenetwork. The all-metal handheld and bodypacktransmitters have switchable RF output power anda backlit LCD display. Shure’s breakthrough AudioReference Companding delivers crystal-clearsound that matches a hard-wired microphone.Shure Wireless Workbench software makes it easyto configure, monitor, and control every unit usingyour PC, from transmitter and receiver settingsto battery status.ULXShure ULX wireless systems deliver outstandingperformance for working musicians andprofessional sound system installers. Up to 40systems can be used in one location (countrydependent),making ULX an excellent choice forlarger performing groups, meeting facilities, andhouses of worship. Shure Predictive Diversityconstantly monitors RF signal strength andsilently switches antennas when it appears likelythat a dropout will occur. Automatic FrequencySelection makes it easy to find an open frequency,lockable frequency and volume adjustmentsprevent tampering once the system has been set;½-wave antennas that can be remote-mountedare standard equipment; and the receiver providesin-line power for antenna amplifiers.Shure HistoryFounded in 1925, Shure has consistently producedinnovative products that have become industrybenchmarks. Here are just a few of the manyShure milestones:The first directional microphone: The model 55Unidyne, introduced in 1939, was the first directionalmicrophone, meaning that it was able to rejectsounds from the sides and rear. The Unidynegreatly improved the sound quality of public addresssystems. The unique styling of the 55 series – alsoknown as “the Elvis mic” – has been featured incountless videos, movies, and ads.The first wireless microphone: The Vagabond88, introduced in 1953, was the first wirelessModel 55SH Series II hasmicrophone system for performers. The radio been featured in movies andsignal from the microphone was picked up by an advertisements for decadesantenna wire along the perimeter of the stage,which connected to a receiver.The first stereo phonograph cartridge: Introduced in 1958, the M3D broughthigh-fidelity into the home, at a time when millions of people were discoveringstereophonic sound.The first portable P.A. system: The Vocal Master, introduced in 1958, was thefirst product to combine a mixer, equaliser, and amplifier, in one portable unit,greatly simplifying P.A. system setup and operation.Shure Incorporated corporate headquarters is located in Niles, Illinois, inthe United States. The Company has additional manufacturing facilities andregional sales offices in China, Germany, Hong Kong, Japan, Mexico, The UnitedKingdom, and The United States.SLXShure SLX wireless systems are designed forworking bands and sound system installers.Useful features like Automatic FrequencySelection and Infrared Auto Transmitter Setupmake setup quick and easy, and Shure’s patentedAudio Reference Companding delivers sound thatmatches a wired microphone. Up to 20 systemscan be used in one location (country-dependent).PGXShure PGX wireless systems are designed forperformers who are in charge of their own sound.Automatic Frequency Selection and Infrared AutoTransmitter Setup ensure quick and easy setup,while microprocessor-controlled diversity andAudio Reference Companding deliver great soundand reliable performance. PGX systems areavailable with the most popular Shure handheld,lavalier, headworn, and instrument microphones,providing a stage-ready option for almost anyapplication. Up to 12 systems can be used in onelocation (country-dependent).SHUREUnited KingdomShure Distribution UKUnit 2,The I.O CentreLea Road, Waltham AbbeyEN9 1AS, UKt 01992 703058f 01992 703057e info@shuredistribution.co.ukUSA, Canada, Latin America, CaribbeanShure Incorporated5800 West Touhy AvenueNiles, IL 60714-4608 USAt +1(847) 600-2000t (U.S. only) +1(800) 25-SHUREf +1(847) 600-1212e (US): info@shure.come (Canada/Latin America/Caribbean):international@shure.comEurope, Middle East, and AfricaShure Europe GmbHWannenacker Str. 28 74078Heilbronn Germanyt 49-7131-72140f 49-7131-721414e info@shure.deAsiaShure Asia Limited301, Citicorp Centre18, Whitfield Road,Causeway Bay, Hong Kongt (+852) 2893-4290f (+852) 2893-4055e info@shure.com.hkTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 23

++SOUNDFIELD + + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNSurround RecordingFrom A Single MicrophoneWhat other microphone systems can producesimultaneous mono, stereo, 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...All over the world, TV companies aregearing up for the move from StandardDefinition (SD) to High Definition (HD)broadcasting, for which 5.1 surround is themain required audio standard. As a result,the number of broadcasters that require aquick and easy method of capturing audioin 5.1 whilst maintaining compatibility forstereo SD transmissions is increasing fast.Using SoundField technology there’s noneed for costly multi-microphone arrays,spaced-capsule ‘dummy heads’ or complexrecording techniques – and unlike that fromspaced arrays, the multi-channel audiothat SoundField generates is completelyphase-coherent.SoundField DigitalSince 2006, when its DSF-2 digitalmicrophone systems were first releasedThe SoundField DSF-2 in use capturing theambience on Centre Court for a BBC HDbroadcast during the 2008 Wimbledon TennisChampionships.to the broadcast market, UK manufacturerSoundField has steadily become acceptedamongst big-name European broadcastersas offering the tried-and-tested method ofdelivering broadcast-quality 5.1 surroundsound – high-profile users now includeEuropean satellite broadcaster Sky andUEFA’s exclusive media partner TEAMAG. This was exactly what the DSF-2 wasdesigned for: its all-digital design offers ahigh-quality, accurate signal path, and themicrophone can be used to generate stereoand surround audio for simultaneous SD andHD transmissions at up to 300 metres fromits associated processor. The processor,in turn, can be situated up to a kilometrefrom the associated OB vehicle, providinga reliable operating distance of up to 1.3kilometres from the microphone head.This offers a further unique advantage inoutside broadcast situations where theremote vehicle is situated a long way fromthe action being filmed.The 1U-rack DSF-2 controller unit offerslive decoding to stereo, M/S, and SoundFieldB-Format (which can be further decodedinto any existing or future multi-channelaudio format if required). The stereo signalmay be output directly from the DSF-2 inthe analogue or digital domain via rearpanelXLRs or AES/75Ω BNC connectorsrespectively, while the M/S and B-Formatsignals are output digitally. From here, thedigital B-Format signals may be decoded to5.1 surround by SoundField’s DSF-3 DigitalSurround Processor, or by the company’sSurround Zone decoding software plug-in,available for use with Pro Tools, SADiE, andall DAWs that support the VST multi-channelstandard, such as Nuendo, Cubase, Sequoia,and Pyramix, on both PC and Mac platforms.Digital output is possible at 48, 96, and192kHz for the best possible audio quality.In its first year, the DSF-2 was usedto originate simultaneous stereo and 5.1ambience from the soccer World Cupin Germany, satellite broadcaster Skysubsequently began using DSF-2 systemson the majority of their live HD sportsbroadcasts, including international golf,rugby, cricket, and darts, and in 2008 a DSF-2 was used during the BBC’s HD coverageof Wimbledon for the first time. Now it hasbegun to see use outside the realms ofsport; 2009 has seen a DSF-2 being usedon ITV’s The X-Factor, and to capture thereactions of the live audience in 5.1 duringHarry Hill’s BAFTA-winning TV Burp.SoundField PortableThe company’s most affordable products arealso their most portable. Like all SoundFieldsystems, the ST350 generates SoundFieldB-Format and consists of a multi-capsulemicrophone and an associated processorunit. However, in this system, the mic isabout half the size and weight of otherSoundField mics, and the decoder/processorcan be powered from the mains or batteries.This makes the ST350 ideal for use inthe field: Sound Designer Wayne Pashley(pictured above right) recently made it hismic of choice whilst travelling around the farreaches of the outback capturing Australian‘ambiences’ in 5.1 for Baz Luhrmann’s filmAustralia, starring Nicole Kidman and Hugh24 SOUNDFIELD

microphones 2009DFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELDSound Designer Wayne Pashley at work in the Australianoutback with the ST350.Jackman. Other film users include JohnCasali, Second Unit Sound Mixer on HarryPotter And The Half-Blood Prince, who usedthe ST350 to capture the magic of the GreatHall of Hogwarts in 5.1 surround.The small, lightweight SPS200 is thefirst SoundField microphone that doesn’trequire a hardware decoder, and can beused with any four-channel mic pre with48V. Stereo and surround decoding forthe SPS200 is performed by using theincluded SPS200 Surround Zone software.To complement the SPS200, SoundFieldhas recently introduced the SMP200 gainmatchedmic preamp. The SMP200 differsfrom other multi-channel preamps byoffering a ganged master gain control,48V phantom power, and a low-pass filterthat can be applied simultaneously acrossall four channels, thus ensuringthe outputs from theSPS200’s capsules remainperfectly matched.More InformationSoundField systems are useddaily by many internationalbroadcasters, including Sky,France 3, the BBC (UK), RAI(Italy), NBC (USA), SR (Sweden),YLE (Finland), WIGE (Germany),and Topvision (Germany).If you need to provide surroundsoundaudio for broadcastand would like to discuss yourrequirements, you can contact SoundFieldvia the details below.The entry-level SoundField mic, the lightweightSPS200 is used in conjunction with its includedSPS200 Surround Zone software. The mic canbe used with any preamp, but SoundField’sfour-channel SMP200 gain-matched mic precomplements it perfectly.ProductsDigital:• DSF-1 – A fully digital SoundField systemutilising similar technology to the DSF-2, but adapted for high-end music andconcert hall recording applications.• DSF-2 – A digital microphone systemdesigned specifically for broadcast.• DSF-3 – A 19-inch 1U B-Format-to-5.1digital decoder, designed for use with theDSF-1 and DSF-2.• UPM-1 – A 19-inch 1U stereo to 5.1converter (see box for more details).Software:• Surround Zone – Stereo/surround post-productionsoftware.Analogue:• MKV – SoundField’s top-of-the-rangeanalogue system.• SPS422B – Professional microphonesystem with 1U control processor.• SP451 – A 19-inch 1U B-Format-to-5.1analogue decoder.Portable:• ST350 – Battery-powered SoundFieldmicrophone system.• SPS200 – Portable, lightweight standalonemicrophone with included SPS200Surround Zone software.• SMP200 – A four-channel ‘gain-matched’mic preamp designed for use with theSPS200.SoundField’s UPM-1 Stereo to 5.1 ConverterThe UPM-1 offers a simple upmix solution for creating natural-sounding 5.1 surround froma stereo signal. Although HD broadcasts are increasingly produced in 5.1 surround, stereoremains a widely used production format, presenting a challenge to broadcasters wishingto transmit consistent 5.1 audio.Software and hardware upmixing tools have existed for some time, but most of thesedevices employ effects such as reverb and phase-shifts to create the extra channels requiredfor 5.1. Instead, the UPM-1 uses a unique algorithm to perform detailed real-time analysis ofthe stereo source material, identifying and separating the ambience from the direct sound.Mono sources (dialogue, commentary, etc) are extracted from the stereo signal and fedto the centre channel and a good frontal stereo image is maintained by keeping the directsound sources at the front. The UPM-1 then feeds the extracted natural ambience to the rearsurround channels.Released only recently, the UPM-1 has received favourable feedback from internationalbroadcaster Sky and also further afield in Germany, Scandinavia, Canada, and the USAthrough the SoundField international distributor network.SOUNDFIELD LTD.Charlotte Street Business CentreWakefield, West Yorkshire, WF1 1UHUnited Kingdomt +44 (0) 1924 201089e info@soundfield.comw www.soundfield.comUSA — TransAudio Groupw www.transaudiogroup.comGermany — SEA Vertriebw www.sea-vertrieb.deFrance — SAVw www.sav.tvTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 25

++STUDIO PROJECTS ++++STUDIO PROJECTS++++STUDIO PROJECTStudio ProjectsSouthern California Microphone CompanyAims High But Keeps Their Costs LowIn 1997, PMI Audio Group founder AlanHyatt was beginning to see some successfrom producing Joemeek’s JM47 condensermicrophone. However, Hyatt ultimatelywanted to produce a full line of microphones.When Joemeek chose a different direction byfurthering their signal processing line, Hyattdecided to strike on his own once again toform Studio Projects, a company that quicklyearned a reputation for producing sturdy,robust-sounding microphones, preamps,and accessories at a price that even theaverage ‘Joe’ can afford.To cut costs without sacrificing quality,Hyatt partnered with Beijing 797 Audio Co.Ltd, one of the largest and most respectedStudio Projects C1The Studio ProjectsC1 is a largediaphragm, fixedcardioidcondensermicrophone• Pressure-GradientTransducer: 1.06”(27mm) 6um mylardiaphragm• High Pass Filter,6dB/octave@ 75Hzor 150Hz• -10db or -20dB Pad• Comes with HaloShockmount,Foam wind screen,and casemanufacturers in Asia. 797 Audio has oneof the largest anechoic chambers on theplanet, as well as B&K electro-acoustictesting equipment and digital DASS testingsystems. In other words, they have highstandards. In addition, PMI Audio Group doesits own design, service and modificationsin-house utilising the latest equipment.“It was 797’s history that gave us theconfidence to build with them,” saysJustin Hyatt, who oversees PMI Audio’sU.S. operations in Gardena, Calif. “Thecompany was founded in 1952 by a groupof highly experienced German microphoneengineers. They have been the premiereaudio electronics manufacturer in Chinaever since.”The C1, C3 and T3With their partnership firmly intact andopenly discussed, Studio Projects targetedthe home and project studio marketwith the C1, C3, and T3 microphones.Even skeptics soon embraced thecompany’s large diaphragm condensermics, and word quickly spread via Internetforums and media sources about thecompany’s excellent products andamazingly good deals.By launching Studio Projects with anaffordable line of microphone, the companycould tap into the burgeoning home andproject studio market; which, in the midtolate 1990s, flourished as more studioprofessionals adopted computer and DAWbasedrecording. “This was the arena wherewe could most effectively compete, and ithelped us build our brand awareness ratherquickly, too,” says Justin Hyatt.Studio Projects continued to build namerecognition with their C and B Series mics,and drew attention with the budget LSD2,a stereo large-diaphragm condenser micthat essentially consists of two C3 miccapsules contained within a single housing.While Studio Projects’ reputation grew in themid-level studio market, they kept one eyefixed on their long-term goal: to corner thehigh-end market. In 2007, they broke groundin this arena with the recently launched CSSeries, which consists of the all-purposeCS1 cardioid mic and the CS5 transducermicrophone. The CS Series features an allnewdesign from Studio Projects Directorof Engineering Brent Casey that’s handdesigned “from the capsule all the waydown to the XLR,” says Justin Hyatt.“We’re already building a strong momentumwith many commercial recording studios inthe L.A. area. The line is still new and largelyunheard of, but we expect great thingsfrom CS.”With three lines of microphones to theircredit, moving into preamp design seemedlike a logical next step. They took that routewith the VTB-1 and SP828 microphonepreamps, both designed by Studio Projectsand both boasting affordable, yet highqualitytechnology. The VTB1 is a solid-statepreamp using a totally discrete circuit, butalso offers a ‘Tube Drive’, feature, which isa variable drive to a 12AX7 that allowsthe user to blend as little, or as much of,the Tube Drive they want. “The VTB1 hasreally gained a lot of ground because it’sa very affordable pre, but also very goodquality,” says Justin Hyatt. “It doesn’t useany chips. It’s a Class-A/B design, and26 STUDIO PROJECTS

microphones 2009S++++STUDIO PROJECTS++++STUDIO PROJECTS++++STUDIO PROJEvery transparent sound.”The VTB1 continues to beextremely popular, especially at its$150 price category.”Low Cost Without Cutting The QualityStudio Projects can keep their overheadlow mainly because they build in China.But their alignment with the highly reputed797 Audio keeps the quality above board.“We are straightforward about wherewe build, and we have been since weintroduced Studio Projects,” says JustinHyatt. “We have such a great relationshipwith 797 that we wanted to promote themin the beginning and make them proud toproduce our microphones. We did this byputting the 797 Audio logo directly on thefront of the microphone models. This wasonly recently removed when we releasedour CS Series, which has a sleeker lookwith no writing. All of this translates to 797giving us microphones produced to ourstandards and at a price that allows usto be very competitive.”Another element that gives theman edge is the work of designer Casey,Studio Projects CS5The Studio Projects CS5 is an externallypolarised five pattern pressure gradienttransducer microphone with FETimpedance converter.• Pressure-Gradient Transducer: 1.06”(27mm) 6um mylardiaphragm• FET impedanceconverter• Five Polar Patterns:Cardioid, WideCardioid, HyperCardioid, Omni, Fig. 8• -5dB, -10dB, -15dB,and -20dB Pads• 50hZ, 75hZ, 150Hz,and 300hZ High PassFilters @ 6dB/octave• 15kHz, 7kHz, 5kHz, and3kHz, Low Pass Filters@ 6dB/octave• Comes with HaloShockmount, Foamwind screen, and casethe creative mastermindHalo Shockmountbehind Studio Projects.The Halo is a“He’s been with us sincethe beginning,” says Justinnewly designedHyatt. “Brent has put many shock mount fromyears into our designs.” Studio ProjectsThe C Series capsules are Microphones.based on a 1950s Neumann Machined fromdesign, reverse engineered aircraft aluminumand otherwise improved with a plated nickelupon using advancedfinish, the Halo ismanufacturing techniques.configurable for a“Brent’s newest designsvariety of mikingtake further advantage of histasks – includingdesign expertise, which canbe seen in the new CS Seriesstereo and multichannelsetups,with his newly designedcapsule,” he continues. when incorporatedwith the StudioGlobal Reach andProjects Stereo bar.Global Price ParityStudio Projects’ commitmentto keeping quality highand costs low mirrorsthat of others under theworking for the company, his oldest son,PMI Audio umbrella, including Joemeek, Justin Hyatt started as a part-time employeeToft Audio Designs, and the upcoming in high school, and now heads up the entireValley Audio re-introduction. Owning all American operation.of these companies, and distributing“We do have humble beginnings that gotheir products, allows PMI Audio toback to 1979, when we worked out of ourdirect product development and offer garage as a rep firm called AMH Sales,what Hyatt calls “global price parity.” Inc.,” says Justin Hyatt. Years of experiencePMI Audio currently distributes to more and a large pool of contacts allowedthan 70 countries worldwide, and the the company to grow into distributingprices are the same in each country, and manufacturing. “Today we have ourexchange rate notwithstanding. “Having a headquarters in L.A. and a sister office indistribution network in addition to being the Torquay, UK,” he emphasises.manufacturer has distinct advantages,” said Where does Studio Projects grow fromAlan Hyatt in a 2005 Audio Media interview. here? “We intend to further expand our line“We have our own facility in Torquay, in both microphones and signal processors,”England, with R&D, warehousing, shipping says Justin Hyatt, “and continue to raise theand repair. The U.S. office takes care of quality of our brand and its products.”North America and the PacificAsian countries. In countries that wecan’t service directly, we’re set upthrough local distributors.”The Personal TouchDespite its global reach, Studio Projectsstill retains much of the benefits of aboutique company. Working out of PMIAudio’s U.S. office, Casey will overseerepairs for any mic, no matter how old,and spends ample time customizingmicrophones for their customers.PMI Audio also remains a familybusiness. Both Alan Hyatt’s sons arePMI AUDIO GROUPt +1 877 563 6335 (USA)f +44 (0)1803 215 111 (UK)e sales@pmiaudio.comw www.pmiaudio.comw www.studioprojectsusa.comw www.joemeek.comw www.toftaudiodesigns.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 27

++VIOLET + + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ +Violet Microphones –Ears For Your SoundFor a while only price mattered, but now, it is time to:Get back to quality, get back to reliability,get back to design…Get back to what matters – get into Violet Microphones.Violet Design – Microphones Made in LatviaIt is almost impossible to picture today’spro audio and recording industry withouttechnological innovations and expressivedesigns introduced by Violetmicrophones. Microphones aremade in Latvia, in the samefactory that has within the lastdecade achieved great popularityworldwide with the quality anddesign of its microphones.Violet Design was foundedin 2003 by Stanislav Rubintsik.The company is a worldwidedistribution centre and salesrepresentative of Violet andFlamingo brand microphones.The factory started tomanufacture microphone capsulesin late 1994. Its first capsules wereplaced in legendary vintage microphones:U47, M49, M50, C12, and the 414. In 1997, anew generation of capsule was born. Todayyou can get the same perfect, original soundand an expressive design with the Violetline of microphones.PhilosophyViolet’s main philosophy is to offerhandcrafted microphones with a uniquestyle and excellent sound quality, usinginnovative solutions in microphonemanufacturing without losing the bestdetails of vintage sound.We believe that in the process ofmusic recording, the most importantthings are passion and inspiration, andnothing should get in the way of these.So in our ideology of microphones, wetrust in three simple points:• It must sound good• It must look nice• It must be as simple as possibleA nice look gives you the possibility tograb inspiration at the time of recording.Simplicity grants the microphone a long lifeand durability. After having recorded, youThe benefits of VioletDesign microphones are:• High SPL level• Very low self-noise• Low distortions• Wide dynamic range• High output level• Solid state or tube ClassA discrete preamplifier• An attractive design• All mics are handcrafted and have 5-yearwarranty.will never be surprisedby incorrect settings, asthere will be a chance tochange them.And most importantly,a microphone mustdo its job as well aspossible. To improve itsmicrophones sonically,Violet has beeninvesting a lot in itsresearch laboratories.CapsuleThe heart of themicrophoneis its capsule – Violet’shand crafted highest qualityelectrostatic transducers providehigh output of the best qualityaudio signal, and can handleextremely high SPL at the sametime. Internal Class-Atransformer-less discreteelectronics quality isadequate, providing hardto measure noise anddistortion parameters.However, Violet’smicrophone housing designs areprimarily based on acoustic ideas.After a large number of experimentaljobs in its laboratory, in September2005 Violet announced its latest capsulediaphragm technology. We introduced thenew mixed gold-aluminum compositecoating material, layered diaphragmsputtering, and variable coating thickness,adding transparency, better soundcommunication with the membrane, andreduction of parasitic internal resonancesand reflections. New technology, named‘Golden Drops’, is used in all our largecapsule microphones from 2008.PRODUCTSIn 2008-2009, Violet introduced several newmicrophones and accessories.The WedgeThe Wedge is designed as Violet’s nextgeneration of universal-wideapplication studio microphone,providing perfect audio recordingquality for an affordable price.The microphone has a cardioidpolar pattern, high output, verylow self-noise, distortion, and afull audio spectrum of sound.The newly designed VD21 trueelectrostatic single diaphragmcapsule uses Violet’slatest technologies,and is damped fromvibrations and resonances.Acoustically open longdouble mesh headprovides the highestsound transparence andnaturalness.The Wedge comes witha stand holder, but canThe Wedge be mounted on differentoptional (VSM-WD, PSM,or GSM) studio shockmountsfor additional protection from externalsubsonic interference.The GarnetThe Garnet is a tube microphone with a largedual diaphragm capsule. The VD47 capsulein combination with tube and custom-made28 VIOLET

microphones 2009+ + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ +transformer provides asweet, dense tone,recognised from themost famous vintagevocal microphonesThe internalpreamplifier is basedon a class-Adiscrete vacuumtube circuitdesigned underthe highestaudiophilestandards.The microphonehas nine selectableThe Garnetpolar patterns fromomni to cardioid,to figure of eight with nine mini switcheson the front panel of the power supply unit.A soft-start PSU comes with the Garnet.An included JSM elastic shockmountprotects the microphone from standrumble, subsonic vibrations, andexternal shocks.The Garnet can be used for a varietyof high-end professional recordingsituations. It excels when capturing vocals,speech and choir, but also performs wellcapturing musical instruments, orchestra,and most other sound sources. The Garnetalso performs well for broadcast andtelevision studios, as well as for filmand video industries.The Garnet PSUThe Pearl VocalThe Pearl Vocal is designed for usewith today’s modern improved qualityP.A. systems as high-end vocal stagemicrophones. The microphone has acardioid polar pattern, low handheldnoise, and high output.With a new VD21 true electrostaticsingle diaphragm capsule, the Pearl Vocalbrings studio quality sound onto the stage.A dual mesh head plus an internal dualmesh cone-shape pop filter effectivelyprotects the diaphragm from plosivesounds of vocals and speech.The microphone is ready for handheldor stand use, but can be mounted onoptional external studio (PSM or GSM)shockmounts for additional protectionfrom external subsonic interference.An optional Reflection Ring addswarmth, reduces feedback, and protectsagainst wrong handheld use of themicrophone.The Pearl VocalThe Pop FilterOne of the last additions to Violet Design’saccessories range is the Metal Mesh DualCone Pop Filter. It is composed of duallayers of fine mesh screens, standing in aholder ring with lock.The main difference from other filters isthe shape of the surfaces – they are conical.Thanks to unparallel surfaces, air-wavesare ‘killed’ very effectively, and poppingsounds are blocked. The energy of plosivesis reduced, but without changing the sound:audio becomes uncoloured.Thanks to its effectiveness the PopFilter can be located close to microphones,making for a compact set-up.The Pop Filter comes in two sizes –42mm and 60mm diameter. This meansthe filter can work with the Black Knight,The Pop filterUSERS:Our microphones are successfully usedby dozens of famous producers, recordingengineers, and musicians, starting fromBruce Sugar (Elton John, Ringo Starr, PaulMcCartney, Ozzy Osbourne), David Kahne(Paul McCartney, Kelly Clarkson, Sublime,Fishbone), Joe Barresi (Tool, Queens of theStone Age, Melvins), John Paterno (RobbieWilliams, Joan Osborne, Los Lobos,‘Boston Legal’ TV show) to B2, a famousRussian Band.Dolly, Wedge, Globe, and all microphoneswith the same body diameter (U47).The Pop Filter comes in Black, Brownand Silver colours.OtherAll other microphones, from the flagshipFlamingo ME to the Finger, are stillavailable. You can see them on the Violetwebsite at www.violet-design.comVIOLET DESIGN LTD.P.O.Box 3393, Tallinn,10506, Estoniat (+372) 6455007f (+372) 6466054e info@violet-design.comw www.violet-design.comViolet USA8001 Terrace Ave.,Middleton, WI 53562USAShawn McLoughlint +1 608 227 2040, ext 5tf +1 608 831 1890e shawn@fdw-w.comw www.violetusa.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 29

Microphone Manufacturers DirectoryADK MICROPHONESADK Microphones wasestablished in 1997 byrecording engineer andvintage microphonecollector, Larry Villella,to replicate the sonicattributes of vintageEuropean microphonesthrough spectrum analysisand computer modelling ofthe response curves of hisfavourite microphones.A wide range of FET,transformerless and tubemicrophones make up theADK range, which has justadded the Vienna MKII andHamburg MKII.www.adkmicrophones.comAEA MICROPHONESAudio EngineeringAssociates’ (AEA) Wes Dooleydrew upon his 40 years ofexperience and passion forribbon microphones whenhe reintroduced the AEA R44(based on the RCA 44) backin 1998. Since then AEA hasintroduced mic preampsspecifically for ribbon usealongside other ribbonmicrophones, including thewell-regarded R84.www.wesdooley.comAEVOX AUDIOHandmade in Belgium, AevoxAudio produces a range ofmicro/lavalier microphonesand accessories for use withportable recorders, videocameras, wireless packsand computers. The rangeincludes the IE (In Ear)stereo MKII microphonesfor discreet or binauralrecording, power adapter,wind shield, and the OmniClassic M MKII whichboasts extended frequencyresponse and reducedhandling noise.www.aevox.beAKG2007 marked the60 th anniversaryfor AKG. Foundedin Vienna in 1947AKG has grown agreat deal fromfive workers hand buildingmicrophones, to become oneof the principal microphonemanufacturers with aproduct range that spans allareas of professional audio,many becoming establishedclassics. AKG microphonesinclude the Blue Line rangeof modular mics; lavalier;instrument; live, recording…the list is endless.www.akg.comAMBIENT RECORDINGAmbient Recording wasfounded in 1989, and wasoriginally a company dealingwith sound equipmentrentals and transfers.It now manufactures anumber of products forlocation recording based onthe founders’ considerableexperience.Ambient has a couple ofmicrophones, the Tinymike,a mini camera mountedshotgun microphone andthe Emesser bi-directionalmini microphone.www.ambientaudio.comAMG ELECTRONICSSitting on the Surrey/Hampshire borders, AMGElectronics producesa number of differentconfigurations of its C-ducer(Capacitive-Trans-Ducer)microphone.Available in variouslengths, 1mm thick, flexibleand light weight, the C-ducercan be formed to all shapesof instrument surface.www.c-ducer.comAMTApplied MicrophoneTechnology has beenmanufacturing microphonesfor seventeen years, andtakes the approach ofproducing microphones forspecific instruments withoutcompromise.www.appliedmic.comAUDIO LTDBased in High Wycombe,Audio Ltd producesa number of wirelesssolutions for theatricaland broadcast applications.The Envoy range is designedfor ENG news crews whoare looking for high qualityand reliability. The RMS2040range of wireless productsreceived a recent editionwith the miniTX wirelesstransmitter.www.audioltd.comAUDIO TECHNICAAudio Technicabegan back in1962 in Tokyo’sShinjuku-Ko districtmanufacturingstate of the art stereo phonocartridges. Now a globalgroup, Audio Technica isinvolved in the manufactureof audio equipment acrossthe whole spectrum ofthe industry.Its range of microphonesillustrates this diversitywith cost effectivesolutions for semi-prouse through to high endmodels for applicationsin live, broadcast, studio,commercial and industrial.www.audio-technica.comAUDIXStarting life backin 1984 in RedwoodCalifornia, Audixmoved to Oregonin 1991 whereit established astate of the artmanufacturingfacility, where the quality ofits microphones could becontrolled from startto finish.Audix focuses on simple,elegant designs withmicrophones coveringapplications in corporate,live, broadcast, and studio.Amongst them is therespected D-series of drummicrophones.www.audixusa.comAVLEXIn Kansas City, USA, Avlex isabout rugged cost effectivesolutions principally forpresentation and theatreapplications. Other audioapplications are coveredwith microphone rangeswith different brand names.Mipro microphones are aline of wireless systemsfor location and broadcastuse, and Superluxmicrophones are for morestudio specific uses.www.avlex.comAZDEN CORPORATIONEast coast USA AzdenCorporation has some 40years of experience utilisingCAD and SMT technology tocreate a number of standardand wireless transductionsolutions. Originally an OEMmanufacturer for manyof the world’s best knownbrands, the last 15 years hasseen Azden raise its ownbrand identity, providing lowcost microphone systemsfor event and weddingvideography use.www.azdencorp.comBEHRINGERUli Behringer foundedthe company that takeshis name back in 1989in Germany. Since thenBehringer has grown tohave offices in 10 countriesdistributing a wide range ofaudio products. Behringerhas a range of generalpurpose dynamic andcondenser microphonesincluding the B-2 Pro andstereo pair C-2.www.behringer.comBEIJING 797 AUDIOFounded in 1952, Beijing 797Audio is now a very largeconcern with development,manufacturing and testingfacilities. It has the largestanechoic chamber in Asiaand its microphone rangeencompasses condensers,dynamics and a wide varietyof wireless and electretmicrophones for broadcastand presentation use.www.797audio.comBERLINER AUDIOUSA-based BerlinerAudio introduced its firstmicrophone, the CM33 handmatchedstereo pair in 2007and has since followed thiswith four further models.The range fit a variety ofrecording applications.www.berlineraudio.comBEYERDYNAMICbeyerdynamic has evolvedinto one of the better knownmanufacturers since itsbeginnings back in 1924.Developments in a numberof audio areas continue, andbeyerdynamic condenser,ribbon and general dynamicmicrophones, still form thebackbone of many studios’mic collections.www.beyerdynamic.comBLUE MICROPHONESHeadquartered inWestlake Villagein California, andwith engineeringand manufacturingfacilities in Latvia,Blue Microphoneshas come a longway since 1995 whenfounders Skipper Wise andMartin Saulespurens puttogether a few hand builtmicrophones for fellowmusician friends.Blue has some of the mostdistinctive looking mics forrecording purposes, andthrough their Vintage MicStore has further examplesas well as vintage micrestoration services.www.bluemic.comBOCK AUDIO DESIGNSFrom 1996 to 2006, formerstudio tech (Hit Factory,Oceanway) David Bock ranSoundelux Microphones.Concerned with producinghigh-end microphones forrecording applications,David continues to develophis designs throughsouthern California-basedBock Audio.www.bockaudiodesigns.com30 MICROPHONE MANUFACTURERS DIRECTORY

microphones 2009BRAUNER MICROPHONESDirk Brauner was developingideas with tube microphonecircuits back in 1993 lookingto create the world’s besttube microphone. Initiallycreating a limited numberof handcrafted microphonesbased on his VM1 design,demand led to the start ofBrauner Microphones in1995 which now boasts animpressive collection ofmicrophones still headed upby the VM1.www.brauner-microphones.comCAD MICROPHONESCAD Microphonesmanufactures a variety ofvisually distinct condenser,tube, ribbon, and instrumentspecificmicrophones.www.cadmics.comCASCADE MICROPHONESUS-based Cascademicrophones produces awide variety of types, but isprobably best know for it’srange of ribbon microphonesand the retro styling of manyof its designs, including theFat Head II.www.cascademicrophones.comCHAMELEON LABSChameleon is a relativelynew company with the strapline “Value Conscious Audio.”It makes a selection of audioproducts, including theTS-1 Tube Pencil condensermicrophone, and the TS-2large diaphragm tubecondenser microphone.www.chameleonlabs.comCHARTEROAK ACOUSTICSFounded by producer/engineer Michael Demingin Connecticut in 2002,CharterOak is all aboutcreating the classicmicrophones of tomorrow.All tube and solid statemicrophones are assembledand inspected by hand,with each being studio testedbefore shipping tothe customer.www.charteroakacoustics.comCOLES ELECTROACOUSTICSColes in Hertfordshirecontinues to manufacturethe BBC-designed ribbonmicrophones that include theever-popular 4038.www.coleselectroacoustics.comCOUNTRYMAN ASSOCIATESWith more than 30 years ofexperience, CountrymanAssociates manufacturesmicrophones for a variety oflive applications includingtheatre, presentation andlive music. The rangeconsists of a number of miniand micro microphones forthese situations.www.countryman.comCROWNFrom humble beginningsback in 1947 throughradio enthusiast ClarenceC. Moore, Crown hasgrown into a companymanufacturing productsacross the whole pro audiospectrum. Its microphonerange includes modelsthat encompass the proaudio world. These includeBoundary, PZM, Lectern,mini, as well as conventionalstudio microphones.www.crownaudio.comDPA MICROPHONESIn 1992, Danishcompany Brueland Kjaier tookthe decision tospin off its proaudio division and outsourcesales and service of its4000 series microphones tothe former employees thatdesigned them. It formedDanish Pro Audio and since1994 has introduced newproducts into its line. Theseinclude mini, compact, largediaphragm and referencetest microphones, and alsothe only phantom poweredunderwater microphone, theP48 Hydrophone.www.dpamicrophones.comEARTHWORKS AUDIOFormed in New Hampshireby David Blackmer, theinventor and founder of dbx,Earthworks Audio looks todevelop the next generationof audio products, includingmicrophones with its HighDefinition Microphonerange. Both general useand instrument specificmicrophones are designedto pick up sound withmuch higher fidelity thanconventional designs.www.earthworksaudio.comELATIONMany decades of researchand development have ledRussian company Elationto manufacture its ownmicrophones. Limited toa single large and singlesmall diaphragm condensermicrophone, and bassdrum mic.www.elation-mics.comELECTROVOICEElectrovoice has beendeveloping pro audioproducts principally in thearea of sound reinforcementfor over 80 years. Itsmicrophone range illustratesthis orientation in bothits standard and wirelessmicrophone products.www.electrovoice.comFOSTEXFounded by the FosterElectronic Company inTokyo back in 1973, initiallyto deliver high qualityspeaker components tocustomers for Foster, whichwas well established in thedevelopment of transducertechnologies. Fostex hascome to establish itselfin location recordingand broadcast audioapplications, with a numberof mics for these areas.www.fostex.comGROOVE TUBESFormed in California in thelate 1970s by Aspen Pittman,who gathered together sometechnicians to explore whyit was that tubes performedand sounded so different.From a garage workshop toa global company, GrooveTubes now produces a rangeof tube, FET and ribbonmicrophones that stillincludes the MD1.www.groovetubes.comHHB COMMUNICATIONSHHB entered the micmarket with an innovativerange of recording micsaimed at audio journalistsand field recordists.In collaboration withSennheiser, HHB now hasa range of devices withvarious options, includingthe increasingly popularFlashMic.www.hhb.co.ukHEBDEN SOUNDSince 2003, Sheffield-basedHebden Sound Ltd hassupplied the HS3000 seriesof interchangeable capsulemicrophones, which are stillonly available directly fromHebden Sound.www.hebdensound.comHEIL SOUNDThe origins of Heil Sounddate back to the 1950s whenorganist Bob Heil, began tomentally dissect the soundsaround him. Heil began toexperiment with designand manufacture of organs.He then transferred hisexperience to other musicalforms with great success.The 90s saw Heil move intothe microphone marketwith the HC series, and nowHeil has a range that leanstowards live applications.www.heilsound.comHOLOPHONEMusician and sounddesigner Michael Godfreyfounded Holophone inToronto, Canada, in 1994looking to deliver the mostrealistic listening experiencefrom recorded audio.Holophone has a numberof microphone products thatcan accommodate surroundapplications.www.holophone.comHORCH AUDIOGerman companyHorch Audiomanufacturesthree retro styledtube microphones,the RM3, RM4 andRM2J for high-endrecording work.www.horchaudio.deJJLABSStarted in Stockolm byJohan and Jerker Antoniin 2000, JJLabs has acomprehensive rangeof tube, ribbon, andconventional condenserand dynamic microphones.It also has the uniqueEhrlund triangle membranecondenser microphonedesigned to deliver thedesirable traits fromboth small and largediaphragm condensers.www.jjlabs.seJOEMEEKReferencing many of theexperiments made by JoeMeek in the early to mid1960s, Joemeek continuesto provide cost effectivesolutions for project andpro audio, with a range ofgeneral purpose small andlarge diaphragm condenserand dynamic microphones.www.joemeek.comJOSEPHSON ENGINEERINGSince 1998 JosephsonEngineering, as well asproducing and supplyingcapsules to othermicrophone manufacturers,has produced its own rangeof microphones for studio,location, live and instrumentspecific applications.www.josephson.comJZ MICROPHONESOver the past decade,Latvian manufacturingcompany Scruples venturedinto the pro audio marketwith products includingmics under the Violet brand.Scruples created a spin offcompany, JZ Microphones,that has now beenestablished to concentrateon microphone development.www.jzmic.comKATAMOUNT ENTERPRISESKatamount Enterpriseswas established in Canadain 1999 as a distributioncompany for post andbroadcast, but nowmanufactures its ownproducts including itsKAT66 Lavalier mics.www.katamount.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 31

LAUTEN AUDIOFounded by Brian ALoudenslager, Lauten Audiois committed to producinghigh-end microphoneswith an ‘original sound’.Loudenslager workedwith some of the biggestmicrophone brands in theworld before forming thecompany whose ethic now isto design mics that presentan accurate rendition ofthe source while adding anartistic character of its own.Its line-up comprises theOceanus, Clarion, Torch,and Horizon.www.lautenaudio.comLAWSON MICROPHONESFounded by Gene Lawsonin 1979, and now handcrafted in Nashville, LawsonMicrophones’ range of awardwinning high end tube andFET microphones, with theirdistinctive look, are desiredthe world over.www.lawsonmicrophones.comMANLEY LABORATORIESSince 1989, and now out inChino California, ManleyLaboratories has focusedon the development of anumber of productsbased on tube designs.Amongst these are therange of Manley tubemicrophones, which includethe Manley stereo tubereference microphone.www.manleylabs.comM-AUDIOFormed in 1988, andnow part of the AvidTechnologies, M-Audiois focused on computerbased products and thoseaimed to provide solutionsto mobile musicians. TheM-Audio microphoneselection includes a numberof general-purpose unitsincluding the lollipop largediaphragm condenser, Luna.www.m-audio.comMBHOEstablished in Obrighelmin 1962 by Herbert Haun,MBHO has been producinghigh quality microphonesever since. Ninety fivepercent of the MBHO rangeis still handmade andincludes both modular andfixed capsule condenser anddynamic microphones.www.mbho.deMERCENARY AUDIOThe straight-talking teamat Mercenary Audio areall engineers who sell animpressive array of high-endaudio equipment. They alsomanufacture the KM-69,born out of a need for aKM-84i for hi-hats. Thesound of the mic wascreated over time solelyby listening and using,and was designed to aparticular aesthetic endrather than a set ofnumeric specifications.www.mercenary.comMICROTECH GEFELLThe origins of MicrotechGefell can be traced backto 1928 when one GeorgNeumann and colleagueErich Rickmann formedGeorg Neumann and Co.In 1943, production movedto Gefell, where manyyears of developing andproducing some classicproducts took place. Therange of Microtech Gefellmicrophones is extensiveand draws from this history.www.microtechgefell.deMICWDesigned,developed, andmanufacturedby BSWA Technology,the MicW brand deliversprofessional microphonesfor recording, broadcasting,and live music applications.MicW was established in1998 and claims to be thefirst company to introducethe electro-static transitresponse technique formicrophone evaluation, aswell as instigators in theuse of polymer diaphragmsfor measuring microphonestructures.www.mic-w.comMILAB MICROPHONESThe Milab story begins in1941 with Rune Rosanderproducing crystals, andthen subsequently carbonand dynamic mics. In thelate 1960s, the rectangularcapsule and double-sidedrectangular capsule weredeveloped and are stillproduced today. The nameMilab came into beingin 1970 and now Milabmanufactures a full rangeof microphones includingthe brand new BDM-01 bassdrum microphone.www.milabmic.comMOJAVE AUDIODavid Royer establishedMojave Audio in his garagein Fullerton California in1985. Known for his ribbonmicrophone designs withRoyer Labs, Mojave Audio isthe outlet for David Royer’stube microphone designs.www.mojaveaudio.comMXL MICROPHONESMXL Microphones aredesigned and manufacturedby US-based manufacturersMarshall Electronics. Thebrand has a variety ofstandard microphone typesaimed at the expanding‘cost-effective’ market forgood quality products.www.mxlmics.comNADY SYSTEMS INCFounded by John Nady in1976, Nady Systems Incwas, and remains, at theforefront of wireless micdesign. Nady was amongstthe first to address theissues of noise reductionin wireless systems and,by 1985, eighty percent ofthe world’s top artists wereusing Nady systems.Nadyhas branched out and nowincludes a comprehensiverange of studio condenser,ribbon, instrument specific,and USB mics.www.nady.comNEUMANNWith roots going back toBerlin in 1928, Neumannhas been involved in thedesign and manufactureof a wide range of audioproducts, but it is withmicrophones that thename is most associated.Neumann became part ofthe Sennheiser group in1991, and this branch ofNeumann is focused oncontinuing its long traditionof high quality industrywide microphones.www.neumann.comOKTAVAFor many years, being thelargest manufacturer ofelectro-acoustic transducersin Russia has given Octavaa great background forproducing their ownmicrophone range. This isnow a large collection oftube, ribbon, electret, andconventional microphonesfor all manner of studioapplications.www.oktava-online.comPEARL MICROPHONESPearl shares the sameorigins as Milab and owesmuch to the designs of RuneRosander. Based in Sweden,Pearl produces a number ofconventional and tube mics.www.pearl.sePEAVEYAfter graduating college in1965, Hartley Peavey startedhis company using thelogo he came up with whiledoodling in his notebook.Peavey’s products are knownthe world over and havemic units for use in thestudio, speciality, and soundreinforcement market.www.peavey.comPELUSO MICROPHONE LABAll Peluso mics are customdesigned, handcrafted,and individually tested inVirginia. The range featurestube, ribbon, and solid stateversions that benefit fromthe company’s 26 yearsof experience in repairingand restoring all brandsof vintage and modernmicrophones. Furthermore,all mics are protected bya three year warranty forpeace of mind.www.pelusomicrophonelab.comRED MICROPHONESAs a spin off from theLatvian manufacturedCalifornian based BlueMicrophone Company, RedMicrophones’ pedigree isa good one. The companyoffers the Type A tube andType B solid-state lollipopstyle microphones withinterchangeable capsules.www.redmic.comRICSONIXBased in Australia, Ricsonixmanufactures severalpin/button microphonesdesigned to be hiddenbehind a button or badge.The MITS-2 features a builtin windshield.www.ricsonix.comRODE MICROPHONESRode came into existenceafter Henry and AstridFreeman emigrated fromSweden to Australia in 1967.Their background in audioproduct development withintheir own Freeman Groupof companies led to thedevelopment and release ofthe first Rode Microphonein 1990.The Rode range hasgrown in number andreputation since then, withquality, affordable tube andconventional microphonesfor broadcast and studio use.www.rodemic.comROYER LABSFormed in 1998 to bringDavid Royer’s ribbondesigns to the world,Royer produces a wide andrespective range of ribbonsthat include unique tube andphantom powered ribbonmicrophones.www.royerlabs.comSAGE ELECTRONICSSage Electronics wasfounded in 2002, and isoperated by long-time recordproducer Phillip VictorBova, his wife Janet Kirbyand their son Philip ShawBova. It produces a numberof pro audio products thatincludes the SE-BB1 BovaBall Spherically mountedcondenser microphone.www.sageelectronics.com32 MICROPHONE MANUFACTURERS DIRECTORY

microphones 2009SAMSONSamson began 26 years agodesigning and producingwireless mic systems. Sincethen Samson has diversifiedinto a number of areas ofaudio equipment productionthat includes a large numberof conventional, ribbon, andUSB microphones.www.samsontech.comSANKEN MICROPHONESSanken Microphones isbased in Tokyo and hasfocused on producingsimple original condenserand dynamic microphonedesigns for studio,broadcast, and live usesince 1926.www.sanken-mic.comSCHERTLERSchertler started lifein the early 1980s inSwitzerland with a missionto produce mics for faithfulcapturing of acoustic stringinstruments. Schertler nowhas a well-established andcomprehensive range ofcontact microphones for across section of acousticstring instruments.www.schertler.comSCHOEPSFounded in 1948 by DrSchoeps, the companyhas specialised in thedesign and manufactureof high quality condensermicrophones for over half acentury. The Schoeps rangeis now an extensive one withcondenser solutions forall manner of studio,broadcast, live, and locationscenarios, as well assurround applications.www.schoeps.deSD SYSTEMSA group of sax playersbanded together to createa mic able to capture theirinstrument while facilitatingstage freedom. In 1981 SDSystems was born with thebell-mounted solution thatthey developed, the LCM85.The SD Systems microphonerange now encompassesmini and contact mics for awide range of instruments.www.sdsystems.comSE ELECTRONICSThe origins of sE Electronicsare with Mr Siwei Zou, aclassical musician fromShanghai who developedproducts in Shanghai beforeentering the Europeanmarket in 2003. The micproduct line includestube, ribbon, modular andconventional microphones.The company's newestaddition, the RNR1 activeribbon microphone, is thefruit of a joint collaborationwith Rupert Neve.www.seelectronics.comSENNHEISERSennheiser hasbeen deliveringtop of the line proaudio for more than50 years, providingthe backbone ofmany studios’microphone cabinets,whether it be music,broadcast, post, live, orlocation. Sennheiser hasa microphone range thatis truly diverse coveringevery nook and cranny ofthe industry.www.sennheiser.co.ukSHUREFounded in Chicagoin 1925 sellingradio parts, Shureproduced its firstmicrophone in 1932and has not lookedback. It now has acollection of wiredand wireless mics includingthe ubiquitous SM58.More recently Shure Inc.has acquired Crowley andTripp Ribbon Microphonesfrom Soundwave ResearchLaboratories.www.shure.comSONTRONICSDesigned and developedin the UK and hand craftedin Shanghai, Sontronicsproduces uncompromisinghigh performancemicrophones at affordableprices. The range includesthe distinctive condenser,tube, and ribbon designs.www.sontronics.comSONYSony has a long history whenit comes to microphonesand has produced a fewclassics in its time both oldand new. The current rangereflects Sony’s continuedinvolvement in all proaudio arenas.www.sonybiz.netSOUNDFIELDBased inthe UK andformed in 1993,SoundfieldLimited manufacturesand continues to developits unique multi capsuletetrahedral design for bothenhanced stereo and multichannelapplications.www.soundfield.comSOUNDKINGThe Soundking Group Ltdof China specialises in theresearch and developmentof a variety of products inpro audio. In the microphonecategory, it has a wide rangeof mic types and kits.www.soundking.comSOUNDMANHeadquartered in Berlinand founded in 2001,Soundman have developedthe OKM dummy headmicrophone. An electretcondenser microphone foruse in live, voice, and otherenvironmental recordingapplications. The companyalso produces the OKM IIRock Studio version.www.soundman.deSTUDIO PROJECTSIn conjunctionwith partnercompany797 Audio,US-based Studio Projectslooks to provide a qualitygeneral purpose microphoneproduct with German typebuild standards at a fractionof the cost. The companyhas recently releasedthe CS series of studiomicrophones..www.studioprojectsusa.comSYMPHOTECGerman companySymphotec set aboutdesigning a microphonespecifically for the purposeof producing a better, morefaithful, reproduction oforchestral and concert hallpresentations. This resultedin the Symphotec OrchestralManagement System.www.symphotec.deT.H.EBased in Connecticut, TaylorHohendahl Engineeringproduces beautifully craftedmicrophones designedby Andy Hohendahl. Therange includes referencecondensers, modular mics,and a binaural sphere.www.theaudio.comTRAM LAVALIERSTRAM manufacturers thefamous TR-50 lavalieromni-directional mic, whichcomes with a huge rangeof accessories for manydifferent configurationsand mountings.www.tram-usa.comTRANTECBased in London andrunning now for over adecade, Trantec was formedby Steve Baker, Dave Binksand Terry Maybe, whodeveloped and subsequentlyspecialised in wireless micsolutions. Trantec nowsupply to broadcast andtheatre clients. The Trantecrange includes the SD7000digital wireless.www.trantec.co.ukTRINNOV AUDIOTrinnov Audio specialisesin the digital processing ofacoustic fields. Trinnov hasproduced the SRP Surroundarray of microphones, basedon a breakthrough specialhigh resolution technology.www.trinnov.comVIOLET DESIGNViolet has beendeveloping andmanufacturing inLatvia since 2003,where it produces arange of distinctiveand colourfulmicrophones – acombination of tube, solidstate,large and smalldiaphragm condensers.www.violet-design.comVOICE TECHNOLOGIESVoice Technologies isfocused on mics for use inbroadcast, theatre, film,video, and conferenceapplications. A range ofminiature lavaliers andheadset mics are available.www.voicetechnologies.netWUNDER AUDIOWunder Audio has comefrom refurbishing vintageequipment to producingproducts that give a big nodto past classics. Wunderproduces handmadetransformers for all of itsproducts including a rangeof high-end tube mics.www.wunderaudio.comXXL INSIDEXXL supplied technicalservices to some of thetop names in the audiosector before venturinginto production. XXL’s miccollection includes studiocondenser and dynamic,miniature lavalier, andheadset microphones.www.xxlinside.comZAXCOMKnown primarily for itsDeva location recorders anddigital wireless systems,Zaxcom produces theZFR800 handheld digitalrecording mic for fieldrecording and broadcastjournalism applications.www.zaxcom.comTHE INTERNATIONAL MICROPHONE BUYER’S GUIDE 33

Microphone BasicsThe foundation of good microphone practice is technical knowledge. Blažo Guzinaprovides a run-down of the basics for anybody just getting to grips with the wibbly bits...Microphones have different overall physicaland electrical characteristics and areclassifiable into three main groups, basedon the physical principle of converting soundinto an electrical signal: electrodynamic coil,electrodynamic ribbon, and electrostatic (orcondenser) microphones.Dynamic MicrophoneThe electrodynamic moving-coil microphonehas a coil of finely wrapped wire preciselysuspended between the poles of a magnetand attached to a diaphragm. Soundwavesdrive the diaphragm, which vibrates ina high-level magnetic field. In the coil,this movement induces a voltage, whichcorresponds to the sound pressure.Dynamic microphones are very ruggedand handle high sound pressures withoutoverloading. They are reliable and virtuallynever distort the sound signal. They areinsensitive to extreme heat, cold, and highair humidity. Dynamic microphones canusually withstand extreme environmentalconditions such as temperatures from-25°C to +70°C.Ribbon MicrophoneThe electrodynamic ribbon mic has a thinmetal foil in the form of a corrugated ribbonsuspended in a magnetic field. Soundpressure variations displace the diaphragm,in which an electrical current is induceddepending on the amplitude and frequencyof sound. Due to the short length of theribbon compared to the moving coil, itsoutput electrical impedance is less than 1 Ω.This resistance is too low to directly connectto the microphone input of a mixing deskor recorder, so a step-up transformer isneeded to increase the impedance up to the150Ω to 600Ω range.Due to constructional improvements,modern ribbon mics are suitable for outdoorand handheld use. They are prized for theirwarm, smooth, yet delicate sound quality.Condenser MicrophoneThe electrostatic (condenser) microphoneuses a transducer element consisting of avibrating diaphragm (very thin foil) and afixed metal plate (back electrode).These two electrodes make up acondenser (capacitor) charged by anexternally applied voltage (polarizationvoltage) or carrying its own permanentelectrical charge, as with an electretmicrophone.When soundwaves vibrate thediaphragm, the capacitance of thecondenser changes simultaneously, thusproducing an output voltage that varies withthe intensity and frequency of the sound.Condenser microphones usually have aflat frequency response, high sensitivity andgood ability to follow sudden, percussivesound events immediately. This is describedas good transient response.Condenser microphones require animpedance converter in the form of apreamplifier to match the very high outputimpedance to low impedance microphoneinputs. This amplifier fits within the bodyof the microphone in order to prevent hum,noise pickup and the losses of the signallevel due to the length of the circuit from thediaphragm to the amplifier.Phantom PowerCondenser microphones need a DCsupply voltage. Except for battery operatedmicrophones, the voltage usually comesthrough the microphone cable. The positive(+) side of a DC voltage connects to bothsignal wires of a balanced line and thenegative (ñ) side to the cable screen.An exception is the electret condensermicrophone. This type of microphone hasthe polarizing charge stored permanentlywithin the diaphragm or on the backplate.No external power is required to charge thediaphragm.Polar PatternsApart from the basic differences in thephysical principle of operation, the mainfactor that influences the choice of amicrophone is its polar pattern.Polar pattern, also known also aspolar response, is a chart that graphicallyrepresents microphone sensitivity withrespect to the direction of soundwavesarriving at its membrane.A chart is usually plotted in the form ofa 360° polar diagram, with the on-axis 0°direction clearly marked. It is possible toclassify microphones into two main groups,based on their directional characteristics:non-directional and directionalmicrophones.In principle, a non-directionalmicrophone is a pressure-operatedelectroacoustic transducer. Its response toacoustic sound pressure is omnidirectional,meaning that the diaphragm reacts equallyto all soundwaves arriving at its surface,regardless of their direction.A typical example of a directionalmicrophone is a pressure-gradienttransducer. This type has a bidirectional(or figure-of-eight) polar diagram. Thismeans the microphone reacts to differencesin pressure between the two sides of adiaphragm.Ribbon microphones are the mostcommon type with a bidirectional polarresponse. A metal ribbon diaphragm isequally sensitive to soundwaves arrivingfrom front and rear axes.All other known directional patternsare obtainable as a result of a combinationof the aforementioned two main polarpattern types. The number of variations ispractically unlimited.When the outputs of an omnidirectional(pressure) and bidirectional (pressuregradient)pickup pattern are combined, thebest known resulting polar responses thatare obtainable are cardioid, supercardioid,and hypercardioid. Their common name isunidirectional microphones.A unidirectional microphone is mostsensitive to soundwaves arriving from onedirection, in front of the microphone, butsoftens sounds from the sides or rear.The cardioid microphone is sensitive tosounds from a broad angle in front of themicrophone. Generally, it is about 6dB lesssensitive at the sides, at 90° and 270°, and15 to 25dB less sensitive to the rear.34 microphone basics

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Built for the next generation of sound. Digital recording has eliminatedthe bandwidth constraints of thepast. You deserve a mic designedspecifically to deliver the full sonicspectrum of today.Your voice. Your instrument.You. We have a mic designedto capture it.Decades of creating award winningmicrophones for professionals inspiredus to create the highest quality soundimaginable, in the simplest form,at prices accessible to anyone.Blue Microphones is the microphone company of today. Record for today. Step up to the mic.