ami december 2015 digital edition

December 2015 www.audiomediainternational.com

PRESENTING OUR 2015 TECH HIGHLIGHTS p20

APRIL 1621, 2016

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GAME AUDIOBen Minto on the making of Star Wars: Battlefront p24

STUDIO PROFILEWe talk to Temple of Tune owner Fredo Gevaert p29

REVIEWJerry Ibbotson eyes up iZotope RX 5 p32

01 AMI Dec 2015 FC_Final_v2.indd 1 10/12/2015 15:09

In creating the X Series, we brought all of the experience gained in designing the K2 to bear on a new series of reference coaxials.

Optimized design, ergonomics, acoustical performance and weight make the X Series the most advanced coaxials on the market. Four

distinct enclosures with format, bandwidth, SPL and coverage angles perfectly adapted to short throw rental or install applications, the

X Series offers studio monitor sound quality, compact design, consistent tonal balance, no minimum listening distance and exceptional

feedback rejection. www.l-acoustics.com

X12, MULTI-PURPOSE ENCLOSURE - L-ACOUSTICS X SERIES

THE BEST SOUND, ALL AROUND

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Well, that was quick. How did another December come around so fast? It feels like only weeks

ago that the Christmas decorations came down, and now, as AMI goes to press, it feels bizarre to already see the tinsel hanging, the office tree blinking cheerfully in the corner and Mariah Carey shrieking away in the background once more, but there you have it.

December isnt just about eating, drinking and being merry but there will be plenty of that its also a time for reflecting on the year that was, and looking ahead to what 2016 could bring. And for us, of course, its especially fiing as it marks the end of our new mags first full year in print and online.

I cant tell you how much Ive enjoyed building up this brand over the past 12 months, and its been great to receive so many emails, phone calls and face-to-face feedback from people across the industry in regards to a recent feature,

review, interview or news story that they took a particular liking to.

As well as using this page to offer my thanks to all of those who have delivered messages of motivation since we launched back in January, this was also an opportunity to go back over what we have covered over the course of 2015, and revisiting the content that prompted the best response.

Looking back, its hardly a surprise that a story on Music Group acquiring TC Group ranks near the top of the list, but personally its more pleasing to see so many opinion pieces and How To articles from guest columnists, reviews and exclusive features up there too. Im being deliberately vague about precisely which articles were the most successful youll have to wait for our online round-up for more on that.

So heres to a great 2015, then, and like me, Im sure youre eager to find out what 2016 will have in store for us. Although its sure to have its fair share of surprises, one thing we can be sure of is the good old trade show schedule. Well have a full preview of the next NAMM Show in our January issue, but before that, youll want to make sure youve sent in your nominations for our ISE 2016 Best of Show Awards if you havent already. If this year is anything to go by, the deadline of 29 January will be here before you know it!

December 2015 3

WELCOMEwww.audiomediainternational.com

1 Color - 100 White

John Broomhall is co-founder of the annual Game Music Connect event, and a multi-faceted independent music and audio creative with many years

experience in both the music and games industries.

Jerry Ibbotson has worked in pro-audio for more than 20 years, first as a BBC radio journalist and then as a sound designer in the games industry.

Hes now a freelance audio producer and writer.

Jon Schorah is founder and creative director at Nugen Audio, maker of advanced tools for audio analysis, loudness metering, mixing/mastering and tracking.

Alessandro Travaglini recently joined Minnetonka Audio as product manager within the Research & Development Group of The Telos Alliance, having previously held

the role of sound supervisor at Fox Europe for more than ten years. Since 2006 he has focused his research on loudness-related subjects.

EDITORAdam [email protected]

MANAGING EDITOR Jo [email protected]

STAFF WRITER Matt [email protected]

ADVERTISING MANAGERRyan [email protected]

ACCOUNT MANAGERRian [email protected]

HEAD OF DESIGN Jat [email protected]

DESIGNERTom [email protected]

PRODUCTION ASSISTANTWarren [email protected]

CONTENT DIRECTORJames [email protected]

Press releases to:[email protected]

NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.

Audio Media International is published by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England.

Editorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000

Audio Media InternationalISSN number: ISSN 2057-5165 (Print)

Circulation & Subscription enquiries Tel: +44 (0)1580 883848 email: [email protected] by Pensord Press Ltd

Experts in the issue HOW TIME FLIES

Adam Savage EditorAudio Media International

03 AMI Dec 2015 Welcome_Final.indd 1 04/12/2015 17:19

December 20154

CONTENTS www.audiomediainternational.com

PRODUCT NEWS

PEOPLE

6 Neumann releases KH 805 subwoofer

7 Genelec reveals fl agship SAM speaker

8 dbx introduces goRack processor

9 Studiomaster previews new products for 2016

10 OPINION Nugen Audios Jon Schorah considers the implications of mobile devices on loudness regulation

12 Paul Nicholson concludes his look at the live sound market with his thoughts on the acoustical issues he regularly faces mixing outdoors

14 Alessandro Travaglini of Minnetonka Audio outlines the main ingredients for a great mix

16 TECH TALK Following the recent release of version 7, Steinbergs Timo Wildenhain talks Nuendo

42 INTERVIEW Oscar-winning sound duo Karen Baker Landers and Per Hallberg discuss their work on Spectre

ALSO INSIDE18 GEO FOCUS: PORTUGAL After a tough few years the pro-audio market here appears to be on the road to recovery

FEATURES20 GEAR OF THE YEAR: With help from our intrepid reviewers and nominations from across the industry, we reveal our Gear of the Year for 2015

24 GAME AUDIO: John Broomhall talks to DICE audio director Ben Minto about the sound of Star Wars: Battlefront

29 STUDIO PROFILE: Adam Savage talks to Temple of Tune boss Fredo Gevaert

REVIEWS32 iZotope RX 534 Avid VENUE S6L36 Focusrite Clarett 8PreX38 Heavyocity Gravity40 Electro-Voice EKX Series

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PRODUCT NEWS www.audiomediainternational.com

Radial Engineering has revealed that the McBoost, a 100% discrete, Class A dual FET signal booster for low output dynamic and ribbon microphones, is now shipping.

The McBoost features Radials trademark all-steel construction with book ends that create protective zones around the switches and controls.

Inside, the McBoost includes hand-matched transistors to ensure absolute performance is achieved with the dual FET Class A circuit. This delivers up to 25dB of boost through a fully variable front-panel level control, which is supplemented with a three-position high-pass filter to eliminate excessive rumble and proximity build-up.

A three-position impedance selector allows the engineer to optimise the load on the mic for greater accuracy. Powering comes via standard 48V phantom, eliminating the need for batteries or external power supply, and there are standard XLRs for connections.

This great-sounding mic was designed for broadcast voice so when it is used to pick up lower level signals, the detail is oen lost. The McBoost provides the perfect solution, said Radials Jay Porter. The same applies for older ribbon mics. These tend to have lower sensitivity as a means to protect the ribbon from booming out. So they need an extra boost when used with regular preamps. You just connect the McBoost in between the mic and preamp, turn on the phantom power and you get tons of super clean boost as you breathe new life into your old favourites.

Made in Canada, the McBoost carries a MAP price of US$199.99.

www.radialeng.com

RADIAL INTRODUCES RIBBON MIC BOOSTER

Neumann has added a new active subwoofer, the KH 805, to its range of studio monitoring products.

Based on the acoustical performance of the KH 810 subwoofer, the KH 805 is designed for stereo setups in combination with the KH 120 or KH 310, and is described as ideal for tracking, mixing and mastering in recording, broadcasting and post-production studios.

Wolfgang Fraissinet, president of Neumann, commented: With the KH

805, it is possible to configure flexible monitoring systems for studios of different sizes, with a smooth, uniform response that ranges from below 20Hz to above 20kHz. State-of-the-art amplifier technologies and high-quality acoustic components have been used to ensure maximum accuracy of sound reproduction.

A 10in driver, as well as solid cabinet and ports, ensure tight, articulate and distortion-free low-frequency reproduction down to 18Hz, even at high playback levels, the firm says.

The KH 805 features a remotely controllable 2.0/0.1 Bass Manager which enables it to be used in different applications, and the active subwoofer is also built to decrease the harmonic and intermodulation distortion of a loudspeaker set-up or to reproduce the Sub signal of a bass-managed multichannel source, working as an extension for KH 810, KH 870 and KH 805 subwoofer systems.

www.neumann.com

NEUMANN ADDS NEW SUBWOOFER TO KH LINE

PreSonus has announced its R65 and R80 active studio monitor speakers, both offering a custom Air Motion Transformer (AMT) tweeter, which promises a fast transient response to provide detailed resolution.

The biamped monitors feature Class D power amplifiers, with 100W RMS driving the woofer and 50W RMS driving the AMT tweeter, and as with all PreSonus studio monitors, both models are equipped with the companys Acoustic Tuning controls.

Both the R65 and R80 employ an AMT tweeter that responds to the subtlest waveforms and high frequencies, making them suitable for hearing ultra-highs that add air and a sense of space, according to the manufacturer.

The R65 employs a 6.5in coated Kevlar woofer, while the R80 sports an 8in woofer. This design results in cohesive, less time-smeared audio with minimal coloration and extremely punchy bass.

The Acoustic Space switch controls a second-order, low shelving filter that helps to compensate for the boundary bass boost that occurs when the monitor is placed near a wall or corner. An HF-driver level control is also provided to help mitigate room problems. An onboard, four-position highpass filter makes it easy to integrate a subwoofer into a monitoring setup.

Balanced XLR and 1/4in TRS and unbalanced RCA input connections are designed to make hookup quick and easy, while safety features include RF shielding, current-output limiting, over-temperature protection and subsonic protection.

Both the R65 and R80 are available at PreSonus dealers for $399.95 (379) and $499.95 (429), respectively.

www.presonus.com

PRESONUS DEBUTS R-SERIES MONITORS

French pro-audio manufacturer Amadeus Philharmonia speakers are now available.

The Philharmonia is a high-definition monitoring system combining innovation and technology with style and a pristine sonic character, the company says.

They embody the know-how, the creativity and the values with which Amadeus has been building its history for more than 35 years, stated Bernard Byk, co-founder and CEO of Amadeus.

Philharmonia features a hybrid laminar port using progressive termination and a curved structure that is both simple and complex, with a distinctive look and volume.

The two-way, self-powered speakers offer

a 28mm so-domed tweeter and custom 8in woofer, boasting analogue and digital inputs with a customised integrated DAC and an amplitude linearity range (2dB) from 43Hz to 22kHz.

The high frequency driver promises very low dielectric losses and high thermal conductivity, loaded behind a fast exponential waveguide.

The speakers are biamplified using two dedicated high-resonance digital custom-built amplifiers, each delivering 700W under eight ohms. These proprietary PPM-PWM fixed frequency Class D amps are equipped with a high-efficiency switched mode power supply and each speaker channel is controlled by a powerful, 64-bit digital processing unit capable of a 118dB dynamic range. Each onboard DSP unit includes a module dedicated to managing core system parameters including system EQ, time alignment between sections, limiting and transducer thermal protection.

www.amadeusaudio.fr

AMADEUS PHILHARMONIA SPEAKERS OUT NOW

06 AMI Dec 2015 News_Final.indd 1 04/12/2015 14:17

Focusrite recently announced the launch of a new product in its popular RedNet range of Dante audio-over-IP products: the RedNet AM2 stereo audio monitoring unit.

RedNet AM2 is a Dante-compatible stereo monitoring unit combining headphone and line outputs for flexible monitoring of signals sourced from the Dante network. RedNet AM2 features a 1/4in front-panel headphone socket, plus a pair of balanced line outputs with male XLR connectors mounted on the rear panel, which may be used for loudspeaker monitoring and other applications.

The headphone output promises significant audio output power sufficient to drive even high-impedance headphones at substantial levels. RedNet AM2, fied with non-slip feet, is designed to either sit securely on a flat surface or be mounted on top of a mic stand using a standard 3/8in BSW threaded bush in the base.

RedNet AM2 includes a two-channel Dante receiver based around the latest Ultimo hardware allowing up to 24 bit, 96kHz operation and features an

aluminium extrusion-based enclosure. Two large volume control knobs are provided for Headphone and Line output levels; the laer also features a mute buon with associated LED. Other indicators show the presence of Power, Network and Signal.

RedNet product manager, Will Hoult, said: RedNet AM2 is a product our customers have requested and were pleased to deliver; allowing a reduction in the deployment cost of audio-over-IP systems for studio and education facilities, while the AES67 demonstration is an important aspect of the future of audio-over-IP which Focusrite is a key part of.

RedNet AM2 is expected to begin shipping in Spring 2016.

www.focusrite.com

FOCUSRITE EXPANDS REDNET RANGE

Genelec has unveiled its new flagship 1236 Smart Active Monitoring (SAM) main monitor system.

The 1236 and its individually-calibrated 3U-high Remote Amplifier Module RAM-XL provide the highest performance possible in a large format, flush-mounted main monitoring system, according to the company. The new design is based on the high-efficiency proprietary double-18in bass driver design of the companys 1036 speaker.

The new systems frequency response extends from 17Hz to 26kHz and is capable of delivering 130dB SPL referred to one metre through a combination of modern digital signal processing and efficient Class D amplifiers, providing 2 x 1,000W, 800W and 400W of short-term power into woofer, midrange and tweeter channels, respectively.

Measuring 960 (H) x 1,180 (W) x 650mm (D), the enclosure features a pair of 18in high-linearity woofers and two Genelec proprietary high-efficiency 5in mid-range drivers, as well as a 2in high compression tweeter, mounted in a very

large Directivity Control Waveguide (DCW) enclosure.

SAM technology is a vital part of the RAM-XL design, and all crossovers, protection circuitry and driver calibrations are implemented in the digital domain with high precision, Genelec says. In addition, the latest version (2.0) of Genelec Loudspeaker Manager (GLM) and AutoCal couples with the 1236 to ensure that the speaker-to-room interface remains as near to perfect as possible, from the moment the sound leaves the cabinet until it reaches the users ears.

www.genelec.com

GENELEC REVEALS FLAGSHIP SAM SYSTEMSony has introduced the URX-S03D two-channel slot-in receiver and UTX-B03HR bodypack transmier as part of the UWP-D Series announced last year, designed for compatibility with Sonys XDCAM and HDCAM camcorders.

The URX-S03D (pictured) is described as the first two-channel slot-in portable receiver in the UWP-D series for Sony camcorders, providing a true diversity system with stable RF transmission.

The true diversity reception system featured in the URX-S03D wireless receiver promises highly stable reception thanks to its two receiving antennas and separate RF circuits for each channel.

The URX-S03D fits into the slot of Sonys XDCAM camcorders with two-channel digital audio connections directly from the DSP. It can also be matched with the slot of an HDCAM camcorder with single-channel audio connection. It can monitor the AF/RF status of the URX-S03D via the viewfinder of supported Sony camcorders as well.

The UTX-B03HR bodypack transmier is equipped with a new four-pin microphone connector designed to withstand the rigours of ENG shooting. A standard broadcast lavalier microphone (ECM-77BC) can be used with the connector.

The transmier features Sonys Digital Audio Processing and is compatible with all UWP Series/WL-800 Series models. Boasting a compact, lightweight and robust metal body, the model can also use USB for power supply or charging baeries and includes a switchable mic/line input level and an aenuator (0dB to 21dB, 3dB steps).

The URX-S03D and UTX-B03HR can both be used with the new PXW-X400 camcorder and are planned to be available in early 2016.

www.sony.com

SONY UPDATES UWP-D SERIES

Allen & Heath has added three new mini mixers to its ZED analogue console range: the ZED-6, ZED-6FX and ZEDi-8, each promising the features and quality required for AV work in a compact, portable format.

All the new models feature two mono channels with separate XLR and TRS jack sockets, and two Stereo channels. The mono channels include DI high impedance circuitry for the jack sockets, allowing guitars to be plugged straight into the mixer without the hassle and expense of carrying separate DI boxes.

Additionally, the ZED-6FX includes a new in-house-designed FX system

which encompasses multi-FX models, combining reverbs, delays, doublers, chorusing and other modulators to create a varied suite of studio-quality sound effects.

The ZEDi-8 combines a compact mixer with a 24-bit 96kHz 2x2 USB interface, providing recording and playback to a Mac or PC or to an iOS device (using a Camera Connection Kit), with flexible source routing options.

All of the new mixers promise optimal sound quality due to the new GSPre preamp design, developed from the GS-R24 professional studio console, which provides exceptionally low noise and massive headroom, A&H states.

Featuring a moulded chassis and metal front panel, all the new ZED models also feature two-band EQ, 60mm smooth travel master mix faders, channel monitoring and 48V phantom power.

www.allen-heath.com

NEW ZED MIXERS FROM ALLEN & HEATH

PRODUCT NEWSwww.audiomediainternational.com

December 2015 7


December 20158

PRODUCT NEWS www.audiomediainternational.com

Sound Technology and dbx have announced UK shipping of the goRack, a loudspeaker management processor that enables a portable PA system to be optimised for the best-possible sound quality.

The dbx goRack boils all the essentials of our DriveRack processors into an affordable product that is incredibly simple to use, said Jason Kunz, market manager, portable PA and recording & broadcast.

With the introduction of goRack, bands and musicians can now easily improve the sound of their PA.

The goRack offers processing including EQ, compression, AFS Automatic Feedback Suppression, Subharmonic Synthesis for enhanced low-frequency response and more. Five buons offer access to the most commonly used processing effects, and a large data wheel lets users quickly dial in any of the goRacks processing sound-enhancement effects including 20 musical genre-based 31-band graphic EQ seings.

The goRacks compressor is based on the design of the original dbx 163X, and the unit also includes dual dbx mic preamps, selectable mic/line input seings, and AUX input and le and right channel volume controls.

The dbx goRack connects between a mixer and an amplifier via its stereo inputs and outputs, which accommodate both XLR and 1/4-inch connectors. It can also be used as a standalone performance processor/mixer for a solo artist.

www.dbxpro.com

DBX INTRODUCES GORACK PROCESSORWaves Audio has announced that its Sub Align plug-in is now shipping.

Sub Align is described as a survival tool for live sound engineers. It lets FOH engineers align sub and top speakers in PA systems where the two are tied and the system processor is inaccessible.

The physical position of tops and subs and the distance between them are critical for the overall punch and clarity of the PA system. However, most performers and engineers play small and mid-sized venues, where very oen the tops and the subs are not properly aligned. In order to clear floor space, the subs are usually stacked at the sides of the venue or all the way in the back, causing the sound to be smeared and unfocused.

The Sub Align plug-in promises to put the front-of-house engineer in charge of the venues PA sound with a simple solution: by giving the engineer

control over the delay between their tops and subs and creating a crossover point between them, it enables the user to move their subs back or forward in relation to the tops, until they reach the alignment point that sounds best.

The company claims that, with Waves Sub Align, badly aligned PA systems need no longer dictate how a mix will sound, enabling users to get a clearer, punchier mix, no maer the venue.

Sub Align is included in the Mercury and Pro Show Waves Bundles.

www.waves.com

WAVES SUB ALIGN PLUG-IN NOW AVAILABLE

"It does exactly what I want it to do. All day, every day." - Mike Minkler (Black Hawk Down, Star Wars, Dreamgirls)

The SA-2 Dialog Processor is based on hardware originally conceived by Academy Award winning re-recording mixer Mike Minkler and used on over 100 major motion pictures. The SA-2 is designed to improve the overall sound of recorded speech. But the SA-2 is not just for dialog. Its equally useful for vocals, and is a great tool for adjusting the timbre of any track, a reliable de-esser, and a ne multi-frequency compressor.

Download a fDownload a free 14-day demo of the SA-2 Dialog Processor today at mcdsp.com.

Features: - Five independent bands of strategic active equalization - Multiple process modes for a variety of applications - Unique signal reduction metering - Double precision processing - Ultra low latency - Mono and stereo versions


Crown Audio and its UK distributor Sound Technology have announced the immediate availability of the manufacturers XLS DriveCore 2Series amplifi ers.

The new amps off er a host of upgraded features including more fl exible DSP band pass fi ltering, selectable input sensitivity, remote power trigger operation andnew styling.

There are four models in the range XLS 2502 (792 RRP), XLS 2002 (696), XLS 1502 (522) and XLS 1002 (432) with power ratings from 350W to 775W per channel at four ohms and 1,100W to 2,400W at four ohms bridged, as well as Harmans exclusive DriveCore amplifi er circuitry.

The 2U-high amplifi ers come with a bandpass fi lter on each channel in addition to the previous low and high pass fi lters, promising more precise DSP crossover tuning, loudspeaker matching and system EQ capability. All models allow the front-panel LED indicators (except the clip and thermal indicators) to be turned off

if desired, reducing distraction in dark venues. All have selectable input sensitivity of either 1.4 Vrms or .775 Vrms, facilitating their use in a wider variety of applications and enabling the amplifi ers to be driven at full power.

They also now have a remote power trigger function to turn the amp on and off from a distance, along with a display sleep mode that turns the display lighting off a er a specifi ed time. A security se ing disables the front-panel menu bu ons; the menu is locked and unlocked by entering a simple bu on combination. In addition, a system reset function enables all factory se ings to be restored.

www.crownaudio.com

CROWN XLS DRIVECORE 2 AMPS NOW AVAILABLE

Telefunken has partnered with Dysonics for an eight-capsule, 360 microphone array for immersive audio and VR capture. Using the Samsung Gear platform, the system features the fi rst-ever solution that combines 360 motion-tracked audio with 360 video.

Bill Ryan, design engineer at Telefunken, said: Dysonics is an ideal partner for us as we push forward into exciting new opportunities to deliver sound to recording professionals and audiophiles alike.

At the core of Dysonics off ering is the RondoMic, a mic array that houses eight custom omni-directional Telefunken M60 FET microphones that capture sound environments in 360.

RondoMic is designed to be able to pick up room acoustics with incredible accuracy. Then, via spatial and motion-

tracking audio so ware, Dysonics stitches the eight recordings together in real time and reproduces those room acoustics over headphones. The result is an authentic and pristine audio experience that truly makes listeners feel like theyre there live.

Utilising proprietary circuit topology, the M60 FET amplifi er promises an exceptional transient response and SPL handling capabilities. Components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifi er with a frequency response of +/- 2dB from 20Hz to 50kHz.

The output is matched with a custom American-made transformer designed to deliver low self-noise and a typical THD+N of 0.015% or be er, making it ideal for critical recording applications.

The TK61 capsule features a six-micron gold-spu ered membrane measuring 15mm in diameter, andoff ers a large, open sound perfectfor capturing the ambience of therecording environment.

www.telefunken-elektroakustik.comwww.dysonics.com

TELEFUNKEN, DYSONICS UNVEIL RONDO 360 MIC ARRAY

Mackie has revealed the Reach Professional PA System, built to deliver ultra-wide coverage for unmatched sound quality and powerful built-in personal monitoring.

The system off ers a range of features including ARC array, which promises clear, high-fi delity sound and a built-in EarShot personal monitoring system for fl exible stage monitoring without the need for additional speakers and miles of cables. Plus,with wireless Bluetooth streamingand control over the built-in six-channel digital mixer via the Mackie Connect app for iOS and Android devices, the unit provides wireless adjustment of levels, EQ, FX and sound-enhancing tools.

Reach is perfect for artists and venues that need a simple but powerful all-in-one PA solution, remarked John Boudreau, Mackie SVP of product planning. From coff eehouses, wineries and brewpubs to school assemblies and corporate presentations, the Mackie Reach provides unmatched versatility with the best sound quality possible.

The ARC (Amplifi ed Radial Curve) high frequency array technology in Reach utilises three horizontally-angled high-frequency drivers paired with dual vertically spaced high-output low-frequency drivers providing 150 of coverage. Combined with the EarShot system, a total of 250 of room coverageis available.

Reach also off ers complete wireless control using the Mackie Connect app, allowing level adjustments and control over professional performance features like three-band channel EQ, a built-in feedback destroyer, application-specifi c speaker voicing mode and 16 vocal/instrument eff ects.

www.mackie.com

MACKIE LIFTS CURTAIN ON REACH PA

Studiomaster has further expanded its mixer and speaker PA off erings, with new active PA cabinets, the digiLiVE 16 hybrid control surface/tablet-operated micro-mixer and more CLUB XS ultra-compact analogue desk models.

Shown for the fi rst time at the recent Music China show in Shanghai were several additions to Studiomasters latest DRIVE series of two-way active, portable injection-moulded PA cabinets the bDRIVE 10A and bDRIVE 10AU, along with the DRIVE 12 AU and DRIVE 15 AU. The bDRIVE models sport a diff erent facia design, while AU-suffi xed models all come with an integrated digital media player, featuring Bluetooth wireless and USB media/SD card stereo playback, as well as USB/SD card stereo recording.

Featuring simultaneous fi xed surface/remote tablet operation, digiLiVE marries the moving-fader and touchscreen control of a physical mixing console with simultaneous remote tablet operation.

With a 16-input/16-bus/8-output confi guration, the digiLiVE control surface integrates a 7in (Android OS) high-resolution touchscreen and 100mm moving fader/hardware control operation.

Also in the micro-mixer product category, two models in the CLUB XS series were also launched at Music China. Built to be a highly price/spec competitive portable mixer series, featuring integrated Bluetooth wireless with USB media/SD card stereo playback and USB/SD card recording from the main stereo mix bus, the new CLUB XS 6 and XS 12 complement the current X 8 and X 10 models.

www.studiomaster.com

STUDIOMASTER PREVIEWS NEW PRODUCTS FOR 2016

PRODUCT NEWSwww.audiomediainternational.com

December 2015 9

as well as Harmans exclusive DriveCore www.crownaudio.com


Its been quite a while since loudness standards were fi rst introduced (with Europe adopting EBU R128 in 2010 and the US gaining the CALM Act in 2011) and, for many of us, producing audio to

these specifi cations has become a familiar daily routine. As a result, consumer complaints due to programme loudness jumps are down, and the consistency of listening levels from channel to channelis greatly improved.

Although loudness regulation was originally designed to apply only to television programming, the wide-ranging benefi ts of loudness normalisation for increasing customer satisfaction have led to its consideration and application in other aspects of consumer audio. A major driver is the revolution in mobile streaming and the vast increase in the use of portable devices, even within the home, which have brought about dramatic changes in audio consumption over the past fi ve years. Therefore, a regulation that was originally designed for the relatively controlled environment of home television has begun to be tested and stretched when applied to the multitude of additional off erings for which audio quality is also an important factor.

Mobile consumption in particular presents a new set of complications. The mobile listening environment is o en a noisy place, since cars, public transport, open spaces and busy offi ces are fi lled with ambient sound. Low-level audio that

might be perfectly acceptable in the home can be very diffi cult to hear clearly in more public environments.

In addition, audio is o en delivered to the mobile listening device via a streamed data connection. When data bandwidth is in short supply and rigorous data compression techniques are employed, the streamed data can suff er fromcodec distortion.

Finally, the playback device itself o en provides limited playback gain and headroom, resulting in poor control over output level and/or distortion at high levels of applied gain.

In combination, these issues can mean that the standard EBU -23 LUFS/ATSC -24 LKFS, -1dBTP and widely dynamic materials are unsuitable for many of todays consumption pa erns. As broadcasters look to repurpose broadcast material for such uses as internet streaming, radio and smartphones, a parallel set of target requirementsis emerging.

Standards and recommendations are evolving to address these issues; for instance, the recently published AES TD1004.1.15-10 proposes a loudness window of -20 to -16 LKFS for streaming audio, and a similar consideration is underway in the EBU Ploud commi ee.

STREAMING AHEADIn practice, many well-known streaming services are now applying loudness

normalisation ahead of formal recommendation simply because of its benefi ts to their consumers. Perhaps the most well-known and publicised example is the adoption of approximately -16 LKFS by Apple in iTunes Radio.

These loudness levels, several dBs above the television targets, address the issues of noisy environments and problems with playback gain. However, repurposing existing work using traditional audio compressors can lead to a signifi cant decrease in quality, such as loss of dialogue clarity and preserving quality by employing level-riding by hand can be diffi cult and time consuming.

Ultimately, it may be possible to deliver broadcast television-standard audio to any device, with appropriate metadata allowing the device itself to make appropriate adjustments (including true-peak limiting) depending on the environmental conditions and device specifi cation. But were not there yet.

At Nugen Audio, we specialise in producing practical solutions to challenging audio tasks. The consumer is demanding audio that is fi t for purpose, be it high-quality 5.1 audio for the home cinema or consistent audio with distinct dialogue for consumption in a mobile environment. These diverse demands place increased pressure on budgets and busy production schedules, and they are driving a requirement for high-quality content repurposing.

In response, Nugen Audio has developed a new algorithm to address multiple delivery specifi cations and audio dynamics simultaneously, while also respecting the level of dialogue in the mix to avoid introducing the dialogue clarity issues commonly associated with similar solutions. Our DynApt (Dynamic Adaptation) algorithm, currently available as part of our off -line batch-processing tool or as an NLE plug-in, allows audio repurposing and complex loudness-compliant dynamic adaptation (including LRA targeting) within the NLE as part of the creative process. Running much faster than real time, this process delivers signifi cant repurposing power into the hands of post-production professionals with minimal workfl ow disruption, while eliminating the need to remix the work several times for each target platform.

With these new tools and the use of fl exible loudness metering, the task of producing multiple audio versions need not be a signifi cant challenge. In fact, since many international broadcasters (both TV and radio) are already applying these new tools in their day-to-day programming, the chances are good that you have already heard the results!

ADAPTING DYNAMICS FOR VARIOUS PLAYOUT SCENARIOSNugen Audio founder and creative director Jon Schorah explains how the rise of mobile streaming and portable devices has led to new loudness complications and suggests how they can be overcome.

JON SCHORAH

Jon Schorah is founder and creative director at Nugen Audio, maker of advanced tools for audio analysis, loudness metering, mixing/mastering and tracking.

December 201510

OPINION www.audiomediainternational.com

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You may well disagree, but in my perfect world every concertgoer would have their own audio source and sound engineers

would be able to provide a perfect mix. As I mentioned previously I believe that festival audiences will sooner rather than later be able to enjoy their own personalised sound field experience. Similarly, indoor audiences could also benefit from this technology, provided the audio industry is willing to make what would be a truly radical paradigm shi and offer consumers an alternative way of enjoying music without acoustical coloration or degradation.

However, until then I believe we should take a serious look at improving the current norm. I dont know about you, but as far as acoustics are concerned I find that outdoor shows and festivals can sometimes be even more of a challenge than indoor events.

Heres why. Lets begin with the place where sound originates: the good old fashioned stage. I say old fashioned as it is just that: a simple 2,000-year-old concept of a raised platform that allows the performers to be seen by more than just the front row of an audience. So we have a platform, but as most outdoor shows are not in California well also need a roof to protect the performers from El Nio or the great British summer. That makes two problems straight away: a reflective stage

surface and roof, both interacting acoustically.

Beyond that, theres the audience area, so topology and reflective surfaces come into the equation and add to the complexity of the acoustic issues. Naturally, theres also the weather to contend with: wind shi, temperature fluctuations and humidity effects, etc. Then in my opinion maybe the worst problem of all for the sound engineer: the front-of-house tent.

As you may be aware from my previous festival pieces Im a huge fan of the silent stage, but this is still somewhat of a rarity when you look across the music industry. I think we can all agree that stages are far too loud in general and the artists are the root cause. The performers amplitude is then exacerbated as monitor engineers have to at least match the backline and drum levels, which simply adds to the overall gain issue problem.

I worked at 15 festivals this year and the stage sound at every one was quite literally deafening with myriad reflections and an unnecessarily high SPL within the stage structure. So, the FOH engineer invariably has to contend with a loud incoherent stage sound, which can only degrade what comes out of the PA. Clarity has been sacrificed upon the altar of unnecessary volume.

Works a TreatSo, what can be done apart from losing loudspeaker-based backline and monitoring? Well, only one of those festivals I worked on had a carpeted stage, which certainly helped, but not one had any roof treatments. Therefore, its clear to me that stage suppliers should look at these long-standing issues and provide simple cost-effective acoustic treatments as standard. Hard decking surfaces and shiny reflective stage roofs can be tamed dramatically with simple fixes. Its obvious that everyone would be far more comfortable in a treated environment and could then turn down the volume.

In general, not enough thought goes into festival arena design. Concessions, auxiliary stages, even trees all affect sound propagation. Paern control and delay issues are always compromised when the sound field is cluered with obstacles. Just a bit of extra thought regarding arena layouts would go a long way towards helping achieve beer end results.

My final bugbear is the FOH mix tent. Once you are inside the box you simply have to guess what it sounds like in the audience and make the necessary blind adjustments. If Im not mixing for the headliner and cant access the front of the platform then I always set up my console

on the grass. I did this at Cropredy earlier in the year as I would have been stuck halfway back and unable to jump down from the platform and listen in free-field conditions. Luckily it was a dry day and SSE provided a small flight case to stand my desk on and dropped my Cat5 and power over the front of the platform. I was then right in the L-Acoustics K1 footprint and I had a truly wonderful time. A silent stage and no arena reflections iced the cake.

As we all know, FOH tents also suffer from higher SPL inside than the immediate outside area, accentuated sub bass and just like the stage harmful reflections. Therefore, I think its about time the FOH tent had a big time makeover.

Its been extremely interesting discussing the future of festival sound over the last few issues, and just in case youre wondering, I dont like festivals, I simply love them. So lets try to make them even beer!

FESTIVAL SOUND PART THREE: ACOUSTICAL ISSUESPaul Nicholson concludes his trilogy of live sound articles by explaining how mixing out in the open can oen be trickier than indoor work when it comes to acoustics.

PAUL NICHOLSON

December 201512


Paul Nicholson has been a sound engineer and tour manager for 30 years and runs Salisbury-based Midas ProSound. He also worked at L-Acoustics UK from 1998 to 2008 and continues to specify and use festival systems on a regular basis.


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Similar to preparing an aromatic dish, craing a convincing sound mix is not only a maer of ingredients, but also most importantly

how the individual elements are merged and balanced together.

You could start with brilliant, clean and aractive sound sources and end up with a muddy soup of meaningless, flat sound. Or, on the other hand, your ingredients might not be particularly outstanding, but your mixing talent could take the best out of them and combine them in a way that makes the final result pleasant, smooth and realistic.

So what is really making a difference in the science of sound mixing? What do we really have to focus on when approaching a sound mix from scratch? The first sound element we should look at is the voice. The voice is the most important carrier of narration, be it dialogue, or on- and off-screen speech, both in terms of storytelling, mood, expression and the characters description.

Dubbing is a crucial operation that can highly influence the overall perception of a piece of AV content. Replacing the native actors voice with that of the dubbing artists can oen determine the success of the film, and selecting dubbing voices that do not match with the original creative intentions is as risky as replacing salt with sugar.

Speech is the sound element that can

describe the scene and represent its mood far beyond the straightforward meaning of the words. It can be highly articulated in terms of dynamics, expression and intonation and all these flavours must be carefully considered when processing a voice recording with compressors, EQ, reverbs or other means of audio processing. Treating a piece of dialogue with inappropriate compression might result in an altered narration with either dull modulation, flat dynamics or unnatural, annoying fluctuation, which in both cases would introduce unwanted artifacts to the original creative intent. Even more importantly, playing with EQs, modulators and spatial audio processors is an extremely delicate operation, which can drive the perception of the story in completely different directions.

A Force to be reckoned withJust as an example, think of how much of an impact the sound of Darth Vaders voice has on the character. Its sound is half of the story, but this was not a new way of representing the narrative intent of a piece of storytelling. In musical operas, singers voices are selected according to the role that the characters have in the play: ranging from bass to countertenor, or contralto to soprano. Composers have always distributed vocal roles according to the character they wanted the singer to represent. The deep, dramatic, bass voices of Leporello in Mozarts Don Giovanni, or the bright, sparkling soprano voices of countless operas are obvious examples of how vocal sounds heavily impact the overall performance of an artistic representation.

Furthermore, voice is the sound source that humans naturally use to detect the loudness level of a piece of content. Consequently, the modulation of its level must be controlled appropriately, maintaining it within comfortable ranges, while still not limiting its expressive power. Around that all other elements contributing to the whole soundtrack, including music and sound effects, should be balanced with taste in order to

smoothly and convincingly support the storytelling. However, keeping the listener immersed by the surrounding sound into the narration, while leaving enough room for the voice elements to be intelligibly perceived with no fatigue, is hard.

Its not an easy balance to achieve as loudness perception is significantly influenced by subjective parameters such as hearing physiology, the listeners physical and mental status, personal taste and last but not least, the technical and acoustic environment where the content is reproduced. Listening to a sound mix in a theatre is a radically different experience than listening to the same content through a mobile device. This leads us to another very important topic that any sound mixer should highly consider when approaching any new mix in which environment will the content be played back? What are the technical implications that should be considered in terms of allowed loudness and frequency range, which might affect the final result?

Being aware of these aspects and working in a mixing environment that best emulates the behaviour of the

reproduction chain at the listeners end is the safest way to achieve a result that very likely will fulfill both the production crews and audiences expectations.

In conclusion, sound mixing is a very delicate operation that can highly affect the perception of the storytelling. Starting from the voice elements and continuing with music and sound effects, a successful sound mix is capable of pleasantly presenting the narration and fully supporting its creative intent according to the environment where it will be enjoyed. Its not an easy dish to prepare, but good ingredients and talented hands or should I say ears can remarkably contribute to the making of a tasty and satisfying sonic dish.

THE RECIPE FOR A TASTY SONIC DISHMinnetonka Audios Alessandro Travaglini breaks down some of the key elements of a good sound mix, and explains how sound is so oen a crucial tool when telling a story.

ALESSANDRO TRAVAGLINI

Alessandro Travaglini recently joined Minnetonka Audio as product manager within the Research & Development Group of The Telos Alliance, having previously held the role of sound supervisor at Fox Europe for more than ten years. Since 2006 he has focused his research on loudness-related subjects.

December 201514



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December 201516

INTERVIEW TECH TALK www.audiomediainternational.com

How does Nuendo differentiate itself from other DAWs? What are its primary applications and strengths?Nuendos primary focus is on audio post production, broadcast and game audio. The strengths of Nuendo lie with its features and tools that are tailored towards these areas. With every Nuendo update, one can be sure that we concentrate 100% on customers needs, and no other platform includes more audio-post features, including audio-to-picture editing, MediaBay content management, the integrated re-conforming solution we provide, multi-format panning, automatic dialogue replacement, Game Audio Connect and much more. Put this together and one can understand why Nuendo is considered the technology-leading soware for audio-to-picture work.

The Game Audio Connect feature is an interesting addition in Nuendo 7. Why is it important that youve enhanced your focus on gaming?Nuendo has always been strong in the gaming sector, with many game developers running our soware as their central media production platform. They value the speed of operation, handling of audio files and editing capabilities. However, the audio creation environment was somehow separated from the game

engine workflow and so we thought wed bring these two worlds together. We discussed this notion with many of our clients and they liked the idea very much. So we did it. And now this feature alone is saving them many hours of work.

How have you also ensured that your core base of customers in audio post are well served with the new version?Game Audio Connect can be considered the first game-only feature weve introduced to Nuendo. It goes without saying though that the majority of features and capabilities newly available in Nuendo 7 are made for audio post production. This includes the whole re-conforming solution, VCA support, extended rendering functions, session data exchange, multiband effects, reworked user interface and many bricks-and-mortar features from previous versions on which these highlights build. The main focus of Nuendo remains audio post production, but we are very happy now to cater to the needs of the game community too.

How is Nuendo positioned in the education market?A growing number of media schools focusing on audio-post and games have started teaching Nuendo, as the career prospects in this domain are

becoming more interesting. However, companies nowadays require formal qualifications. With Nuendo 7 Educator we offer a Nuendo version for teachers, and Nuendo 7 Student provides a deal on Nuendo for students to get familiar with the soware as soon as possible.

How has the reaction been to the update so far?The response to Nuendo 7 has been overwhelming. In fact, it may be the best Nuendo version in a decade. Of course, the game community is very enthusiastic about Game Audio Connect, but also the feedback weve been receiving from our post-production customers has been very positive. The Nuendo 7 World Tour, which is scheduled until the end of this year, has seen great interest from the industry. So far we have hosted more than 30 shows in Europe, India and Japan, with up to 200 engineers aending per stop. We are very grateful for the interest and positive reactions.

How has user feedback shaped the sowares recent development?We consider user feedback to be the most vital part of our development work. We work closely with our customers and take their feedback very seriously. Thats why any feature you find in Nuendo has been tested in real-world studio

environments before being released. For Nuendo 7, we discussed feature proposals with large game and post-production companies long before we started the development. I consider the most important aspect to be listening.

What challenges have you encountered in keeping Nuendo at the forefront of the market?Of course we need to be at the pulse of the industry: one needs to be aware of market developments, new formats, the requirements of emerging markets and most importantly user requirements. Fortunately, we can rely on a loyal user base, and it is our goal to provide them with the best production tools. This places high expectations on us, and motivates our pro-audio team to constantly strive for best results.

Can you tell us anything about where youre planning to go next with the soware?We are working on Game Audio Connect 2 ,with major additions to the current feature set as well as new functionality for audio post-production, such as features for immersive sound creation as well as faster editing and processing capabilities. We will also make improvements to our video engine. www.steinberg.net

TOP DAWMa Fellows catches up with Steinbergs senior marketing manager Timo Wildenhain to discuss the evolution, impact and future of Nuendo, version 7 of which was released earlier this year.

16 AMI Dec 2015 Interview_Final.indd 1 03/12/2015 17:07

Alike for ease. Distinct to suit.

Both the D20 and D80 are controlled by intuitive user interfaces and incorporate four truly independent channels. Each provides extensive DSP capabilities for comprehensive loudspeaker management, switchable filter functions, two 16-band equalizers and up to 10 seconds of delay. Two amplifiers, alike in form and functionality but distinct in power output: D20 for small to mid sized applications, D80 for up to large scale needs.

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BLUE SKIES AHEADA er a rough few years, the Portuguese pro-audio market now fi nds itself on the road to recovery. Ma Fellows discovers why a lot of industry professionals here are optimistic for the future.

December 201518

GEO FOCUS: PORTUGAL

A relatively small piece in the European pro-audio puzzle, Portugal suff ered the eff ects of the global economic crisis worse

than most; in 2010 the country was hit by the largest recession it had seen since the 1970s, and was le with no choice but to accept a 78 million bailout in addition to instigating a range of austerity measures. The Portuguese economic climate now, however, appears to have regained its footing and is taking steps towards a stronger, more prosperous future.

Miguel Pinheiro Marques, owner of studio SDB Mastering and studio design company Muso, relayed to us the eff ects that these past few years have had on the pro-audio landscape: Every industry here suff ered and either had to cut investments, shrink in size to readjust to a new reality or even close down some of their businesses. The pro-audio industry was no diff erent

in this regard. Many live sound rental companies went bankrupt during those years. The demand in corporate audio jobs crashed almost immediately a er the crisis.

This grim picture is corroborated by Andr Correia, assistant manager at manufacturer NEXT-proaudio: The past four years of the pro-audio industry have not been good due to the economic crisis in Europe, he explains. A lot of projects and installations were stopped or cancelled thanks to that. The rental companies and resellers, from the big to small-size companies, stalled their investments and some of them completely gave up the business.

But now, according to Marques, the dust has se led, and while the climate hasnt reached a point which one could necessarily call stable, the worst is past and things are looking promising, with companies taking advantage of the opportunity to recover and grow.

The pro-audio industry in Portugal is, for the most part, in a state

of economic relief right now, he continues. Even with all the political instability were experiencing in this particular moment I think theres a general feeling that the worst has already gone by. Those who managed to hold their businesses during these tough years are now experiencing some relief and growth. Some parts of our industry have been able to start investing again, which is a clear sign of that economic relief.

In the last months of 2014 and the beginning of 2015 everything started changing, Correia adds. The market is growing again, especially in the touring and portable markets. With this crisis, some new companies appeared on the market and some adjusted their structure, but it seems everything is back to normal and with an outlook for growth in the near future.

However, even as the Portuguese market slowly recuperates, those inthe industry are not le ing theirguards down.

As with any economic relief, no one can be sure how long it is going to last or how considerable its impact will be, Marques notes. So theres also a sense of caution regarding the future.

General consensus from fi gures in the industry indicates that the Portuguese market has much in common with its European neighbours facing the same challenges and enjoying the same rewards.

Within the manufacturing sector, NEXT-proaudio has found the post-crash market to be a very competitive space, but the countrys small size may also play a key role, as Correia outlines: The pro-audio industry is diff erent in all countries around the world of course, but in Europe the markets are very similar. Talking about Portugal, there is huge competition because there are a lot of online stores competing to off er the consumer the be er price, and this makes the market very competitive. The choice for consumers is huge because almost all

Population:10.5 million

n It seems to have stabilised but the recovery is slow paced.n It is doing well but with the crises the investments stops and many facilities needs to update their equipment and rooms.n After a hard period of ve years the marketing is stabilising.

How would you say the Portuguese pro-audio market is currently faring?

18-19 AMI Dec 2015 Geo Focus_Final.indd 1 03/12/2015 17:20

December 2015 19

www.audiomediainternational.com GEO FOCUS: PORTUGAL

the brands are present in almost allthe countries in Europe.

From a technical point of view, everybody knows all the people and companies involved in the pro-audio industry, he adds. This allows the consumers to contact directly with all the products and solutions from all brands. This creates a very well-informed market.

Pillars of strengthLeading the charge from the countrys recovery is the live sector, which according to Joo Brando, owner of recording studio Estdios S da Bandeira, stands as the strongest pillar of the Portuguese pro-audio industry. Portugal has a big music scene with a lot of music festivals (small and big), and the Portuguese people have a tradition of going to shows regularly, he remarks. That means that we have several sound reinforcement companies that are pre y much busy throughout the year, and they make the biggest share of our pro-audio industry.

Marques echoes the signifi cance of the sector, noting that the strong festival presence belies the countrys relatively small size, and has come to fortify its live presence even further. Portugal is a small country. According to the last census we have a li le over 10 million inhabitants and almost half of those live in the metropolitan areas of Lisbon and Porto, he explains. Considering our size, I think its unique that we get to have a Rock in Rio and a Primavera Sound, not to mention all the large and mid-sized festivals

like Sudoeste, Alive, FMM Sines, Super Bock Super Rock, Mexefest, DBandada, Milhes de Festa the list goes on and on. I dont think there are many small countries out there with such a wide, diverse and big number of music festivals as we have. And that obviously has an impact on our pro-audio industry: most of our live sound engineers and rental companies are as good as the best anywhere in the world.

The recording sector on the other hand has had diffi culties fi nding its feet in the wider European and global markets; Ruca Lacerda, engineer at Frido Natura Recording, believes that might be set to change.

Portugal has always had some diffi culties being a part of international markets as there were diffi culties in having access to information and music that was being made in other places around the world, he begins. International markets have always been part of our market, but the Portuguese market is not so much a part of the international market. And in global industry developments as a whole, there are already enough artists, producers, agents or managers in the international markets with good working conditions and carrying out work at the highest level, so it is hard for Portugal to compete.

And this was, of course, exacerbated by the recent economic downturn. A lot of recording studios and sound reinforcement companies were forced to close, and the ones that stayed open had to drastically reduce their prices

Whats having the biggest negative e ect on the market at the moment?

Other

1 2 3 4 5 6

Slow payments

Govermentlegislation

7 8 9 100

Falling budgets

Economicuncertainty

in order to survive, adds Brando. As the country slowly recovers, were seeing more investment in the industry and most importantly, the consumer is starting to understand the need for hiring professionals to get good quality results on their projects. Even pro-audio dealers are starting to appear in Portugal, which is great because until recently most of the equipment had to be bought abroad.

But, with the horizon beginning to look a li le brighter, the Portuguese recording market is fi ghting its wayto a position of prominence withnew determination.

From the moment that it became possible, there was more focus, more desire to be be er and fi ght for the opportunity to be part of international markets, to make and play music to the world, Lacerda tell us. This caused a large increase in the quality of music and musicians, and be er technical support of producers, technicians, etc.

Dark days are overWith its dark times behind it, the Portuguese market is stepping into a promising and hopeful stage of development a stage which has industry fi gures feeling optimistic in their predictions for the future.

Lacerda expects big things are on the way: I think it will continue to improve as it has been. The quality of professional audio in Portugal is increasing signifi cantly.

And for Correia, capitalising on this growth is all about providing top service to consumers across all bases

in order to beat out competitors: As a manufacturer we try to always be one step ahead to present the market with the best and most innovative solutions year a er year. We think the future is to develop products according to consumer demand and have a perfect collaboration with the distributor, providing support for all needs inall markets.

Brando believes the countrys growing allure to consumers in the wider market could play a key role in the future of the recording and live sectors and beyond: I think the market will keep growing as the country recovers economically. We already have good facilities in our major cities, and as travelling becomes cheaper we are going to see more demand from foreign artists. At the same time, national artists want to compete with the quality of international artists.

As Portugal continues to rise up from its troubled economic past and establish itself as an ever more striking pro-audio power in the times to come, the country is hopeful it will become a greater draw for international business. Marques concludes: I think in the next years well see a considerable increase in tourism for the recording community bands and producers coming from other countries, recording their albums while hanging out in a culturally vibrant city all for the same price, or less, than they would haveto pay to rent a similar recording facility in their home countries. Plus theres lots of sun and great food, which also helps!

How is your sector performing in 2015 compared with 2014?

The same

10% 20% 30% 40% 50% 60%

Better

Worse

70% 80%

18-19 AMI Dec 2015 Geo Focus_Final.indd 2 03/12/2015 17:20

December 201520

GEAR OF THE YEAR 2015

Thanks to another busy year of trade shows, product launches, studio visits, live events and kit demos, the Audio Media International

team has been lucky enough to get hands-on with a wide range of gear in the past 12 months. That experience, along with the continued advice and support of our highly experienced reviewers, has

enabled us to come up with a list of 15 products that we believe are worthy of the prestigious Audio Media International Gear of the Year 2015 accolade. These are products that have stood out for their innovation, functionality, looks, value, or even a combination of all of these factors.

Take a look at the winners and tell us what you think on Twier using #GearoheYear.

The KLANG:fabrik 3D in-ear monitoring interface is designed to deliver a sound as natural as hearing without in ears. KLANG:fabrik is at the core of the monitoring solution. It combines the latest HD audio algorithms with a multitude of flexible audio interfaces (i.e. Dante, compatible to ADAT) in order to work with professional mixing desks and stage boxes of any kind. Up to eight musicians receive their individual 3D mixes with one KLANG:fabrik, but for those working with bigger bands there is the option to daisy-chain multiple KLANG:fabriks. The 3D monitoring mixes are sent from

KLANG:fabrik to radio transmiers or headphone amps via XLR, back to the ears of the musicians. Thanks to high-performance processors, this can happen without any noticeable latency. KLANG:fabric can be controlled via app on any device (iOS, Android, WindowsPhone, PC and Mac), or the faders of your mixing desk.

The boom line: Praised for providing clarity and a more natural sound, could KLANG:fabrik turn out to represent the next stage of evolution for the IEM market?Audio Media International

KLANG:fabrik

IT WAS A VERY GOOD YEAR

KLANG:TECHNOLOGIES

We look back at the past 12 months and compile our product highlights of 2015.

EASY ON THE EAR

The dLive digital mixing system provides an ultra-flexible architecture, FPGA processing core, a comprehensive array of expansion, control and networking options, plus the Harmony user interface with gesture control. It is geared to applications from rigorous touring and festivals to installation in live venues.

The boom line: Not only does this system look great, its intuitive workflow, capacitive touchscreen that supports gestures, and backwards compatibility with 48k ACE will satisfy the most demanding engineers.Audio Media International

dLiveALLEN & HEATH

THE NEXT GENERATION

20-23 AMI Dec 2015 GOTY_Final.indd 1 03/12/2015 16:59

December 2015 21

GEAR OF THE YEAR 2015www.audiomediainternational.com

The SA-2 dialogue processor from McDSP is based on hardware originally conceived by three-time Academy Award-winning re-recording mixer Mike Minkler and used on over 100 major motion pictures. The new plug-in is designed to improve the overall sound of recorded speech. But the SA-2 is not just for dialogue. Its equally useful for vocals, and is a great tool for adjusting the timbre of any track, with its reliable de-esser, and fine multi-frequency compressor.

The boom line: A simple idea (that quite frankly we didnt know we needed so much). Its a five-band dynamic HF EQ to tame dialogue sibilance. Its a brilliantly executed plug-in model of a great hardware box. With a brutal simplicity, strapped across your bus, it can make your dialogue sound smoother, and indeed more filmic with a minimum of fuss. It is also great on smoothing HF excess in Foley stems and music too. A simple but powerful giant.Mike Aiton, Mikerophonics Post owner

Debuted at Prolight + Sound, the Leopard is a compact active loudspeaker designed to be used in an array of at least six boxes. Its the smallest member of the Leo family and can operate alone in small to medium-sized venues or integrate with Lyon as down or out fills. The self-contained amplifiers are Class D which means less distortion, less power consumption and less heat generated. The output power-to-weight ratio of these boxes is particularly impressive.

The boom line: A clear concise and crisp sound in an incredibly compact box. It shows the way forward for compact line arrays.Andy Coules, sound engineer/tour manager

The Curv 500 is designed to combine mobility, sound perfection and user-friendliness. The mid/high speaker unit can be equipped with up to four modular, curved arranged array satellites. The result is clear, three-dimensional sound similar to the sound produced by big line arrays.

The boom line: An ultra-compact curved array that delivers clarity and precision in a portable modular system.Audio Media International

With centre channel management, including switchable dialogue extraction, Halo is suitable for all types of production from archive restoration and TV through to the full 7.1 feature film experience. Features include Surroundscope to give users a visual indication of where the audio is in the surround field, and a downmix option built into the plug-in.

The boom line: Nugen Audio has released a very professional product with Halo Upmix. The parameters are surprisingly flexible, offering many different effects and solutions for a single stereo file. The quality of the processing competes very highly against other solutions.Simon Allen, freelance mix and FOH engineer

SA-2

Leopard Curv 500

Halo Upmix

MCDSP

MEYER SOUND LD SYSTEMS

NUGEN AUDIOPLUG-IN PICKS

GOOD THINGS COME IN SMALL PACKAGES


December 201522

GEAR OF THE YEAR 2015

The broadcast-oriented BP40 features the largest diaphragm of any Audio-Technica dynamic microphone ever made at 37mm and patented fl oating edge construction to maximise diaphragm surface area and boost performance. The mic delivers full, condenser-like sound for broadcasters even at a comfortable distance and

excellent off -axis rejection, ideal for busy working studios.

The bo om line: This ni y new broadcast mic delivers natural condenser-like sound with clear and articulate reproduction, and all at an a ractive price point.Audio Media International

The Evolution Series boasts two dispersion options the Evo 6E with 50 and the Evo 7E with 40 horizontal dispersion. Both products are fully horn-loaded with 15in mid-bass, 10in Funktion-One signature midrange and a 1.4in compression driver solely for high frequencies above 4kHz. The range boasts skeletal options, as well as grouped confi gurations, such as two-wide and three-wide.

The bo om line: This system off ers very high output, which results in

fewer cabinets used. This is benefi cial for be er sound, less truck space and stage space. My opinion is that the sound quality performance is eff ortless and natural sounding. Most importantly mid and vocal ranges are very clear and present.Dave Millard, Full Fat Audio

L-Acoustics new line of coaxial speakers for the rental and installation market consists of the X8 live monitor, the multipurpose X12 and the X15 reference stage monitor. The enclosures feature high-excursion neodymium drivers, ellipsoid directivity, laminar vented ports and up to 30% weight reduction. Look out for

our detailed review of the new series in the new year.

The bo om line: Benefi ing from the R&D eff ort that went into the launch of the K2, the slender, low-profi le X Series delivers on both power and form.Audio Media International

The Drawmer 1978 is a bus compressor with an array of controls to give complete mastering over your mix, and all in a deceptively simple 1U frame. In addition to the usual Ratio, Threshold, A ack and Release controls, the 1978 features four character switches off ering a wide range of compression fl avours, as well as a variable saturation control to add harmonic distortion to the signal. Side chain functionality is also included with side chain insert points on

both channels and a very comprehensive and fl exible Side Chain EQ section which off ers LF and HF controls with a choice of specifi c shapes and frequencies for precise frequency-conscious compression such as de-essing.

The bo om line: The 1978 promises a sound thats less digital more analogue and at less than 1,000 its one for even the smallest studio.Audio Media International

BP40

Evolution SeriesX Series

1978 AUDIO-TECHNICA

FUNKTION-ONE L-ACOUSTICS

DRAWMER

BANG FOR YOUR BUCK

POWER TOOLS


December 2015 23

GEAR OF THE YEAR 2015www.audiomediainternational.com

The Babyface Pro is a 24-channel 192kHz bus-powered professional USB audio interface. It features new standalone operations and rock solid stability, making it suitable for mobile recording. It seamlessly integrates specially engineered main I/O XLR sockets into the aluminium housing, along with two headphone outputs on TRS and mini-jack.

The boom line: The clever user interface is informative and clearly laid out, making access to every feature and configuration mode of the Babyface Pro intuitive and easy to use. It also offers versatile connectivity for any application.Audio Media International

The bus-powered iD14 offers two channels of Audients classic console mic pres delivering 10-in/4-out with Burr-Brown A-D converters, all in a compact desktop package. Key features include a discrete JFET DI input, console-style monitor control, intuitive soware and ScrollControl mode, which turns iD14s volume encoder into a virtual scroll

wheel, giving complete hands-on control. The boom line: The iD14 brings high-quality preamp and converter technology to an all new price point. Its aim to provide best-in-class sonic performance on a functional form is certainly one to be commended.Audio Media International

Some significant new additions were introduced in Version 7 of Steinbergs Nuendo. Key among these was the arrival of VCA faders something you wonder how you lived without when you start using them, our reviewer stated earlier this year. There were also some useful ergonomic changes the VST instrument rack is now displayed in a Rack Zone in the Project space, while MediaBay assets can be dragged directly into the Project window. Other changes include an improved Track list and Inspector and the addition of tempo detection;

a Plug-in manager to sort your VSTs; and VST Connect version 3.

The boom line: Steinberg keep their finger on the Digital Audio Workstation tiller, expanding on what is great about Nuendo its ease of use and stability while improving the programs feature set in both post production and compositional areas.Stephen Benne, musician, engineer, writer

This JDV DI features dual switchable inputs with level controls, Drag control load correction for magnetic pickups and a 10 meg-Ohm option to maximise the tone with piezos. A balanced input with 48V phantom power has been added to channel one to allow a mic to be combined with the second channel (and adjustable phase control) to produce an incredibly natural sound. It is rack-mountable for touring plus has a line level drive option for direct recording.

The boom line: The JDV has been a staple in many professional touring musicians rigs since its first incarnation in the early 1980s. The latest incarnation boasts new technologies and improvements, while remaining true to the original design.Audio Media International

At first glance, the latest incarnation of DNS One appears to be similar to previous versions, but its secret is revealed by the LEARN buon that has appeared to the le of the control panel. LEARN allows DNS One to calculate an adapting estimate of the background noise level and determine suitable noise aenuations at each frequency for optimum suppression.LEARN can be used to take a snapshot of existing conditions and then fine-tune the parameters, but its real power lies in leaving it switched on so that it

can adapt to changes in the background and surroundings. LEARN adapts in a fraction of a second to changes and differentiates between the wanted signal and the noise for superb noise suppression at all times.

The boom line: A huge step forward in dialogue noise suppression thanks to the LEARN buon and crucially the soware retains its zero latency.Audio Media International

Babyface Pro

iD14

Nuendo 7

JDV Mk5

DNS One with LEARN

RME

AUDIENT

STEINBERG

RADIAL

CEDAR AUDIO

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IMPRESSIVE UPDATES


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December 201524

FEATURE: GAME AUDIO

Electronic Arts DICE is the illustrious Stockholm-based game development studio renowned for the massively successful military first-

person shooter series Balefield. Among its umpteen accolades are an unprecedented two consecutive BAFTA Best Game Audio wins. The DICE audio ethos that respected sound designer and audio director Ben Minto espouses is famed creating interactive sound is very much a team activity and the whole is greater than the sum of its parts. A thoughtful audio design approach and strong cross-disciplinary collaboration facilitate not only audio excellence, but also an overall world-class videogame experience. Meanwhile, a mantelpiece crammed with audio awards engenders robust corporate backing.

At the outset of his eight-year tenure, Minto could surely never have imagined his path leading to such a prestigious opportunity namely heading up interactive audio production for possibly the worlds most hallowed IP one that resonates with him deeply. The reality kicked in when he came face-to-face with personal sound design heroes and masters of Star Wars audio Ben Bur and Ma Wood. During an audio summit at Skywalker Ranch early on in the 18-month project, they agreed to give DICE VIP access to stems from the first six films (music, SFX, dialogue, aliens, etc). Minto describes the process of siing through the original recordings (complete with slates) as a dream; a unique and humbling experience. But that was just the beginning

Minto explains: In films, a single

sound might be reused many times and involve one perspective, for example most blaster shots are third person and fairly close. But we needed to extend from that to cover our more diverse game requirements first-person, various distances, and modelling how the blasters sound in different environments. We sent detailed requests for SFX pulls (where we knew it might be hard to isolate them or where we needed multiple variants) this provided many new perfect source elements. We also conducted sessions with Star Wars Foley royalty Dennie Thorpe and Jana Vance to get us the right movement and surfaces source. Then we made our own unique sounds combining the aforementioned with new recordings (such as Icelandic lava fields for the Sullust levels) and existing

BLAST OFF!

John Broomhall talks to DICE audio director Ben Minto about the sound of Star Wars: Balefront.

In-house 1 audio director 3 sound designers (plus one to cover Mintos sound design work during paternity leave) roughly split to cover core systems, technical and the missions, but with plenty of overlap and sharing of tasks 2 voice-over designers one full-time, others brought in during the busy recording, editing and implementation phases 1 audio programmer team- ased (in addition to Frostbite engine support) 1 audio analyst

External Dolby Labs: Spencer Hooks and team, Atmos support Formosa Interactive and SIDE UK: dialogue recording Skywalker Sound: Foley sessions, additional source material and guidance Source Sound: Charles Deenen and team trailers and in-game cutscenes

THE TEAM

24-25 AMI Dec 2015 Game Audio_Final.indd 1 03/12/2015 17:04

enhanced an improved obstruction/occlusion system. We also added a new area type manager (which adds an extra layer of complexity, allowing us to beer place sounds in the world in the type of environment in which they occur relative to the listener) plus some new DSP and logic modules.

However the biggest change was moving to an object-based audio system, requiring new thinking on reverbs and DSP mastering this move was driven by being the first Dolby Atmos-enabled title. On PC, the game offers a 64-object Atmos option, made up of a traditional 7.1 bed (eight fixed objects in the traditional positions) and then up to a maximum of 56 additional freemoving objects. On PC,

PlayStation 4 and Xbox One we offer a 7.1 mix and our own enhanced stereo mix.

GREAT, KID. DONT GET COCKYSuch a complex real-time audio scenario, provides plenty of opportunity for errors to creep in and non-linear gameplay makes audio testing a thorny task: The entire dev-team play-tests daily, rotating across PS4, Xbox One and PC to ensure consistency, Minto says. They provide a range of precious customer-level feedback from a vague but emotive X doesnt sound right to really insightful comments to make any Star Wars geek proud all feedback is actively encouraged. Within Audio, we rotate through different hardware set-

ups, stereo/surround/Atmos, consumer and professional monitoring, various headphones. We play as many different scenarios as possible; altering our own seings within the game (dynamic range/speaker seings) to help ensure the best balanced and mixed experience for all listeners. This also helps us create default audio seings, and define in-game audio menu options.

Overall, the audio benchmark for Star Wars: Balefront was the original trilogy; if it sounded like the films no mean feat then wed achieved our goal. A simple extension to this was to embrace the Star Wars source material, legacy, methods and be true to its origins, i.e. dont create new; build on what exists. Next, extend from those points to make all sounds sit together in the world, as part of the same family. And finally, enhance the aural experience by utilising as much from the Star Wars universe as possible to really flesh out and enrich the soundscape beyond the visually verifiable, and fill the game with many audio nods. In parts we were painting by numbers, but huge swathes of the canvas were blank so our task was to make everything, whether old or new, work together as one coherent whole that made sense and was believably Star Wars.

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December 2015 25

FEATURE: GAME AUDIOwww.audiomediainternational.com

material from our own huge DICE library. We dont create final assets in a

DAW we build most sounds at run-time by breaking them down into layers and altering the content and playback (amplitude, pitch, etc) of each layer depending on the game parameters. Its more like working inside MaxMSP or Reaktor, than Pro Tools or Nuendo. With this run-time sound design, what you hear for a given event is a combination of elements mixed and effected on-the-fly to deliver a unique hybrid sound for that instance its almost infinitely variable.

sound biteThe game is built on an in-house EA game engine dubbed Frostbite a highly complex system of interlocking computer code modules handling 3D graphics, AI, game logic, etc, and of course a sophisticated audio system that adroitly manages and manipulates huge amounts of digital audio data, calculating and mixing moment-to-moment potentially hundreds of live audio channels with send and insert effects, and dynamic fader moves, which conform with mix rules and respond to game events and states.

Minto continues: Frostbite is constantly updated and added to by a centralised group. When we start a project we take the latest version, explore the most recent upgrades/additions and crosscheck with other teams using it for anything theyve created locally which may be beneficial. Specifically for Balefront, we added third-person and split-screen extensions and mixing, harvested and further

www.dice.se

Despite time and lack of recall disadvantages, where possible Minto went fully analogue trying to stay as true to the original creation process as possible. However, where batch processing of a large number of files would be needed, he would start analogue to get the right sound and then substitute those paths out for plug-in chains.

Hardware Eurorack modular synth and other vintage synths including EMS VCS 3s.On the modular I replicated most of the ARP 2600 patches (where I could find notes and pictures to start from) previously used to create synth tones (originally named Electronic Tonalities, as

a nod to Louis and Bebe Barrons work on Forbidden Planet, in the library we were supplied), and could build upon these patches to add more complexity, variations and new layers. The most useful modules were Ring Modulators (which could be swapped out for Frequency Shiers to add a similar yet different quality), and Self Resonating Filters (how Ben Bur generated sine waves on the ARP 2600, which had no sine output from its oscillators). Spring Reverbs, Bridge Bucket Delays and various Vacuum Tube modules. Slinky springs, long cardboard and plastic tubes, powerballs, wobbly metal sheets, VLF detectors made from wire and

hula hoops, a bat detector, RF coils and Mintos own son (pre- and post-birth) all played their part too.

Soware iZotopes RX paired with Waves WNS essential in spliing original multi-tracked composites into their individual clean layers. Zynaptiqs Unveil and Unfilter For removing just the right amount of 70s haze to bring a recordings fidelity up-to-date while retaining original character and analogue feel. Prosoniqs Morph One of the most interesting and inspiring plug-ins Ive ever worked with. Waves HEQ & Reel ADT, FabFilter Bundle.

BEN MINTO'S GO-TO GEAR

The original John Williams score was licensed and recordings lovingly edited to fit game requirements, supplemented by 62 minutes of new music recorded with the 96-piece LSO in Abbey Road Studio One

24-25 AMI Dec 2015 Game Audio_Final.indd 2 03/12/2015 17:05

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