May/June 2016 www.audiomediainternational.com

International

TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

John Newman on being taken seriously as a producer and why hes proud of his Tileyard workspace p22

FEELING THE LOVE

FEATUREFestival season from the rental rms perspective p16

LIVE PROFILEGoing Above & Beyond at the Royal Albert Hall p20

REVIEWWe nd out what WaveLab Pro 9 has to off er p34

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

I honestly thought wed seen the last of Mumblegate nearly two years ago when TV viewers had nally calmed down about inaudibility issues in drama series such as Jamaica Inn, but

it seems I was wrong. Although a couple of months have passed since the latest outcry about dodgy dialogue in Happy Valley, more recent comments from the BBCs director general about tackling the problem and the response to an article from the Royal Television Societys Maggie Brown in regard to potential solutions show that with this being a worryingly recurrent problem, something does have to be done about it this time.

Whats just as frustrating as the problem itself though is the immediate assumption from some people that the sound professionals simply have to be responsible for the whole thing. Midway through the Jamaica Inn saga, the Beeb identi ed sound levels as the probable cause for it all, before later changing its stance and acknowledging that there was more to it than that.

So instead of jumping to conclusions, all the possible factors need to be considered, including the methods of the actors themselves. Therefore, its hardly surprising that so many sound technicians were disappointed when the Happy Valley backlash erupted and the decision from those in charge was to rush back into the edit suite and pull apart the the sound mix.

It really does seem to be the case now that the only time the audio professionals behind TV shows and lms get any real att ention from the wider public is when something goes wrong and the nger of blame is pointed at them. Very litt le recognition is given for good work, but when theres a problem, all of a sudden theyre the centre of att ention and oft en for the wrong reasons, which makes it all the more painful when a lot of the time they were doing everything they possibly could in very di cult circumstances, and when they form such a small part of a crew dominated by visual teams.

But thats enough from me on the subject although we do have more on this is in our Opinion section later on. To restore the balance aft er that slight rant, and with summer now more or less upon us, also in this issue we dive into the world of festival sound and visit a newly-upgraded post facility in (sometimes) sunny Bristol, so theres plenty of positivity to go around this month too, honest!

May/June 2016 3

WELCOMEwww.audiomediainternational.com

Adam SavageEditorAudio Media International

Adam Liberman is technical support engineer at Audio Precision. His broad range of experience includes lm and TV production and post-production sound; theatrical sound design; radio production and

engineering; computer audio testing and reviewing; music and nature sound recording; and test, repair and modi cation of pro-audio and lm editing equipment.

Matt North is a freelance audio producer, specialising in high-end corporate and branded content. Based in Norwich, UK, he primarily o ers post-production sound mixing, design and restoration services to clients internationally,

but also has professional experience in location sound recording for lm and TV.

Paul Timmins is general manager at London-based event company Capital Sound.

EDITORAdam Savageasavage@nbmedia.com

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STAFF WRITER Colby Ramseycramsey@nbmedia.com

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PRODUCTION ASSISTANTWarren Kellywkelly@nbmedia.com

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Audio Media International is published by NewBay, 1st Floor, Suncourt House, 18-26 Essex Road, LondonN1 8LN, England.

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Experts in the issue SPEAK UP!

May/June 20164

CONTENTS

PRODUCT NEWS

PEOPLE

6 Sennheiser introduces new DSLR mic

8 PreSonus unveils ULT-series active loudspeakers

12 OPINION Producer Matt North gives his take on why some UK TV dramas continue to suffer similar audio issues

14 The Audio Hunts Stephen Bartlett explains why sticking to the established rules of music production is not always the best way

42 INTERVIEW Deborah Whiteld and Patch Rowland from Final Cut Sound discuss the facilitys collaborative approach to post-production

ALSO INSIDE10 SHOW NEWS 140th AES Convention/Develop Conference

FEATURES16 FESTIVAL SOUND As we build up to another busy summer season of live sound, we talk to a few audio rental companies about the challenges they regularly face on site

20 LIVE PROFILE Adam Savage visits the Royal Albert Hall to nd out how engineer Tom Howat chooses to handle a tricky show from trance group Above & Beyond

22 INTERVIEW UK recording artist John Newman sits down with Colby Ramsey for a chat about his inuences, ambitions and habits as a producer

24 STUDIO PROFILE Natural history specialist Wounded Buffalo Sound Studios unveils its new Dolby Atmos- ready dubbing theatre

TECHNOLOGY26 HOW TO Adam Liberman from Audio Precision creates a xture for testing a condenser microphones phantom power

28 PRODUCT SPOTLIGHT We highlight some of the latest technologies in the studio outboard market

REVIEWS32 Turbosound iP100034 Steinberg WaveLab Pro 9 36 AKG K18238 Avid Pro Tools 12.540 RTW TM3-Primus

14 20

24

34

May/June 20166

PRODUCT NEWS

Calrec Audios new Brio console is the smallest member of its Blue n2 range.

The console is 892mm wide with a 36 dual-layer fader surface and a 15.6in HD touchscreen UI. A bank of illuminating hardware rotary controls gives fast and precise control over parameters displayed in the touchscreen UI.

Brio is entirely self-contained, with analogue and digital I/O and GPIO built into the surface. Additional expansion I/O slots allow for further I/O integration, while tt ing an available Hydra2 module makes it possible to connect to and share audio over Calrecs Hydra2 network.

Connecting to Hydra2 allows broadcasters to take advantage of Hydra2s management facilities for network-wide control, including interfacing with multiple video- and audio-over-IP networks such as

SMPTE 2022, Dante, AES67, Ravenna, and SoundGrid. Multiformat support protects the system against any future formats that emerge and allows the console to sit on multiple networks simultaneously if desired.

Brios standard broadcast-speci c features include:

64 mono-equivalent legs that can be assigned as mono, stereo, or 5.1 input channels

36 mono-equivalent legs that are assignable as mono, stereo, or 5.1 mains or groups (maximum of four mains and eight groups)

24 mono-equivalent legs that can be designated as mono or stereo auxes (maximum of 24 auxes)

Complete integrated loudness metering

EQ and dynamics on every channel, group and main.

www.calrec.com

CALREC RELEASES BRIO BOARD

Sennheiser used this years NAB Show to announce the MKE 440, a new stereo camera microphone designed for DSLR users which is available from June.

Two mini-shotgun microphones feature super-cardioid pick-up patt erns that overlap to create a front focus, allowing the MKE 440 to record the sound from within the camera angle, unlike mini AB, MS or XY options.

The two mini-shotguns are mounted in a V-shape arrangement that predominantly picks up the sound from within the direction of lming and rejects the majority of o -axis noise from outside the camera focus.

The microphones are shock-mounted internally to reduce any handling noise and are protected against wind noise by a stainless steel micro-mesh.For strong wind, a special hairycover is available as an accessory.

The compact, all-metal MKE 440 att aches to standard camera shoe mounts, and features a three-level sensitivity switch to adjust to soft er and louder sound sources with a switchable low-cut lter to eliminate low frequency noise such as wind. The microphone is powered by two AAA batt eries, with the green LED of the on/o switch doubling as a low-batt ery indicator. The LED will turn red approximately four hours before the batt eries run at, ensuring su cient time to nish shooting.

www.sennheiser.com

SENNHEISER INTRODUCES MKE 440 DSLR MIC

Focusrites A8R adds eight channels of analogue I/O to the rms range of Dante-based AoIP interfaces, access to which is provided by dual rear-panel DB25 connectors wired to standard AES59 speci cation, while two XLR connectors provide additional AES/EBU I/O connectivity.

A8R features a rugged yet elegant 1U enclosure, and promises high-quality, network-connected analogue input and output with precision 24-bit, 192kHz A-D/D-A conversion, along with full network and power supply redundancy.

Word Clock I/O connections are made via BNC sockets and include switchable termination. Dual network connections are provided on locking etherCON connectors and the dual power supplies IEC power sockets include cable retaining clips.

The A8R is due to ship this summer with a US MSRP of $2,999.99.

Also new is the PCIeR card, which functions similarly to the existing RedNet PCIe, but with added network redundancy and dual RJ45 Ethernet ports allowing two networks to be connected to the card, which can switch between them automatically according to network availability.

It supports 24-bit/192kHz operation with connected interfaces, and requires a standard four-lane PCI Express card slot in a Windows or Mac computer, or Thunderbolt chassis. The card delivers 128 inputs and 128 outputs at 44.1, 48, 88.2 and 96kHz with under 3ms analogue-to-analogue latency when used with RedNet A-D and D-A at any sample rate. PCIeR is available now for $1,599.99 (US MSRP).

www.focusrite.com

FOCUSRITE REVEALS MORE REDNET GEAR

Nugen Audio has launched a 9.1 option for its Halo Upmix plug-in, which includes overhead positioning and generates a 7.1.2 (Dolby Atmos) bed track-compatible upmix.

The company says that with this extension, sound designers and post-production engineers can bring existing stereo content more easily into the realism of a full Dolby Atmos mix, while the expanded visual interface makes overhead positioning clear and intuitive.

The Halo Upmix 9.1 option is based on frequency-domain and time-domain energy distribution and neural network arti cial intelligence. Producers can target various upmix goals including full stable surrounds, exact downmix matching, or full dialogue isolation.

In addition to stem and group upmixing, producers can use Halo Upmixs centre channel control and management to ne-tune a surround mix and to create intricate mixes when there is no access to the original stems. Its centre channel control includes

Nugens proprietary neural network-based dialogue extraction, which can be applied in all upmix cases, from stereo to 5.1/7.1 and 9.1.

Halo Upmix is available at $499 for both OS X and Windows. The 9.1 upmix extension can be purchased for$199 and is also available as aseparate upgrade for existing HaloUpmix customers.

www.nugenaudio.com

NUGENS NEW HALO UPMIX 9.1 OPTION

T H E N E X T L E V E L O F T O U R S O U N D

Vero is a large format sound system,which has been engineered for new levels of audio

and operational performance. It has been designed,developed and perfected over the last six years

by some of the most knowledgeable andexperienced audio engineers in the world.

Its meticulously crafted proprietary waveguidesand driver technology produce naturallyeven frequency response and coverage.

The result is uncompromisedsystem dynamics, headroom and

coherency combining to present anincredibly spacious stereo image,

which is why Vero is alreadygaining the plaudits ofsound engineers from

around the world.

www.vero-system.com

May/June 20168

PRODUCT NEWS

Apogee Electronics and distributor Sound Technology have announced UK shipping of the new Apogee ONE for Mac audio interface.

ONE for Mac is a 2-in x 2-out USB audio interface/microphone and all-in-one solution for writing, recording and mixing music on a Mac.

The third generation in the Apogee ONE family, and now streamlined for

Mac-only use, (it does not include an iOS cable, power supply or batt ery operation), ONE for Mac is available for 274.80 with an optional iOS connectivity kit sold separately.

Whether a beginner or pro, users can deploy

ONE with its built-in microphone, instrument and mic input and high-quality output as the ultimate all-in-one tool for making professional recordings in a studio or on the go, according to Apogee.

Users can connect a microphone, guitar or use ONEs built-in omnidirectional mic to easily capture their music. It can also be used to record with a microphone (built-in or external) and guitar simultaneously. Utilising Apogees 24-bit/96kHz A-D/D-A conversion and mic preamp technology, ONE produces pristine music, podcast and voice-over recordings while also delivering studio quality sound to headphones for precision mixing or hi- listening.

With an intuitive controller knob and seamless compatibility with Mac OS X, ONE is designed to be easy to use and works with any Core Audio compatible soft ware application.

www.apogeedigital.com

APOGEE ONE FOR MAC ARRIVES IN UK

AKGs new closed-back K872 master reference headphones feature custom components including a specially engineered 53mm transducer said tobe the largest AKG has ever built.

The headphones also have an ultra-light open-mesh headband, slow-retention foam ear pads and a carrying case/stand.

The driver was developed from the K812 transducer and employs a 1.5 Tesla magnet system, which the manufacturer claims is the strongest available today, providing highly accurate imaging and pristine, natural sound.

K872 o ers a high-sensitivity copper-covered aluminium voice coil that extends sound beyond the limits of the human auditory system, spanning a full spectrum of frequencies. The ultra-lightweighttwo-layer voice coil also ensures an extended frequency range from 5Hz to 54kHz while delivering the lowest distortion level in its class.

The newly designed closed-back ear cups provide isolation from external sound while its 3D-shaped slow-retention ear pads and new quick-lock

mechanism maintain the right size for the wearers head shape. The K872s also feature all-metal cardan-type hinges to ensure maximum durability and a tight ear pad seal.

The headphones come with a case that functions as both a headphone stand and a low-pro le carrying bag that conveniently ts in a suitcase.

www.akg.com

AKG UNVEILS K872 HEADPHONES

PreSonus new ULT-series active loudspeakers are designed to combine the widest horizontal dispersion of any loudspeaker in their class with a focused vertical dispersion for anultra-long throw.

Created for both mobile use and permanent installations, the series comprises the ULT12 and ULT15full-range systems and theULT18 subwoofer.

The full-range ULT12 and ULT15 feature the manufacturers rotatable Pivot X110 horn and a 12/15in, low-frequency driver with a 2.5in voice coil. Both speakers are biamped and driven by a 1,300W (peak) Class D ampli er. The ULT12 generates up to 132dB SPL, and the ULT15 delivers upto 136dB SPL.

The ULT18 subwoofer is driven by 2,000W (peak) Class D power and uses a direct radiating, ported enclosure. A proprietary 18in low-frequency transducer with a 4in voice coil provides 7mm of driver travel before over-excursion to push more air and bring more thump.

All ULT loudspeakers feature lightweight, Baltic

birch enclosures with a powder-coated steel grille, ergonomic handles, a locking IEC power connector and a defeatable front-panel power-indicator LED. The ULT12 and ULT15 o er multi-angle enclosures for use as mains or monitor wedges.

The ULT series is available at the following US street prices: $999.95 (ULT12); $1,099.95 (ULT15); and $1,299.95 (ULT18).

www.presonus.com

PRESONUS ULT-SERIES NOW AVAILABLE

The new SGM-14 shotgun microphone from JTS is now available from UK distributor FBT.

Designed for ENG, outdoor recording and other specialised uses, the hypercardioid, electret-condenser SGM-14 provides the narrow acceptance angle required for these applications, and comes with both low cut and pad facilities included.

According to FBT, the mics extreme directivity enables it to reject or cancel unwanted signals, making it ideal for long-distance miking at sport venues,

for front of stage use picking up audience reaction as well as ambience and similar distance applications.

A 78dB signal-to-noise ratio means the JTS SGM-14 can ensure background noise is kept at a very low level, while a full 20-20,000Hz frequency response guarantees audio delity.

Operating on 9-48 VDC phantom power, the 366.7mm-long SGM-14is supplied complete with awindscreen andmicrophone holder.

www.jts.com.tw

JTS LAUNCHES SGM-14 SHOTGUN MIC

May/June 201610

SHOW NEWS

Attendees can once again expect four full days of research and technology across numerous areas of interest in the professional

audio spectrum when the industry heads to Paris from 4-7 June for the AES 140th International Convention.

Co-chaired by Michael Williams and Umberto Zanghieri at the Palais des Congrs, the event promises a busy programme of presentations and engineering brief sessions showcasing the work of over 120 researchers covering a wide range of issues from 3D recording and reproduction to binaural listening, bluetooth technologies, digital lter design and other hot topics.

Additional workshop events will bring together panels of experts to

discuss subjects including music production for lm, wind noise in microphones, expert transfer techniques and more.

Popular at AES conventions are topical paper sessions, which provide a varied array of presentations on audio fundamentals for beginners and seasoned professionals alike.

Saturdays sessions will oer a number of talks on the topics of audio equipment and formats, instrumentation and measurement, audio signal processing and room acoustics, while Sunday will focus on audio perception, live sound production, upmixing, audio quality, content management and applications in audio. But thats not all.

Day three paper sessions will be steered towards perception and audio

signal processing, live sound practice, rendering, human factors and interfaces, recording and production techniques and human factors and interfaces in audio.

Immersive audio paper sessions will be delivered on the nal day of the convention, along with further presentations on perception and rendering, human factors and interfaces. Sessions have been reviewed and evaluated by convention papers co-chairs Thomas Goerne, Wolfgang Klippel, Bergame Periaux, Robin Reumers and Dejan Todorovic, assisted by a number

of external expert reviewers from the AES audio community.

Visitors can also expect the usual student and career development events throughout the week including a career and education fair, recording competition and critiques, student delegate assemblies, and other networking opportunities.

Meanwhile, the Professional Sound Expo (PSE) makes its AES Convention debut. The expo is designed to educate and inspire attendees about what it takes to make it in the industry through special presentations from experts.

Also unique to AES 140 is a series of special events called Audio Projections, which presents visitors with the opportunity to take part in a range of listening experiences from 5pm to 7pm on the Saturday, Sunday and Monday.

GATHER ROUNDWith the AES 140th International Convention on the horizon, we take a look at what the Paris event has in store for the European audio community.

www.aes.org

The Develop:Brighton Conference continues to uphold its reputation as a key event in the European games development

calendar. Visitors are given the opportunity to learn from renowned gurus and top indie newcomers in the industry, while keeping up-to-date with the tools and techniques that will potentially give their studio an edge.

This years conference has been guided by some of the industrys leading gures. With the focus rmly on practical takeaway insights that visitors can employ once back at their desk, the three-day event is split into various Tracks: Design, Art, Coding, Business, Marketing, Audio and new for this year VR.

Tuesday 12 July sees the event kick o with the famed Evolve conference devoted to breakthrough technologies and game development, along with the new Games Funding Forum and Games Funding Workshop.

The Games Funding Forum oers delegates a better understanding of how to access funding, the pros and cons of the dierent types of funding and the latest opportunities out there, while the Games Funding Workshop is a day of practical advice and guidance on how to prepare for raising nance.

Wednesday 13 July marks the opening of the main Develop:Brighton conference. This year sees the production track merge into business, to reect changes in how developers are working today.

The conference continues through Thursday 14 July with the addition of Audio Track sessions dedicated to game audio and music and geared specically towards game developers. Thursday also sees the return of the popular Indie Dev Day. Now into its sixth year, the Indie Day is targeted at smaller independent developers, with tailored sessions, indie networking opportunities and an Indie Dev Showcase of some of the best new projects around.

The Audio Tracks line-up features four world-class award-winning game audio productions (three out of Europe) where there is true sound design in play. In a space dominated by tech and questions of how professionals in this sector of the business do sound, Audio Track reminds those in the industry to ask why.

These sessions will demonstrate higher level notions of true sound design not just making individual sound eects but designing a soundscape with a sonic signature, dening a sound treatment, and learning how it can dene and demarcate the game world.

Attendees can also learn how to describe or give a voice to literal sounds, and how it can be used in an entirely non-realistic emotive way to drive the players emotional response and work with or against whats being seen, as a truly eective story-telling device.

John Broomhall, Audio Track curator and chair, commented: To my mind, Develop Conference in Brighton is the premier opportunity in Europe for anyone engaged in or interested in game audio to meet with their peers, network with the games industry at large and drink in the collected wisdom of a stellar line-up of speakers.

www.developconference.com

What? Develop ConferenceWhere? Hilton Brighton MetropoleWhen? 12-14 July

InformationGAME ONThe Develop Conference returns to Brighton next month for its 11th year. Focused on game audio developers, regulars will notice some interesting additions for 2016.

The complaints regarding the sound quality and intelligibility of BBC drama resurfaced recently with the airing of the second series of the critically-

acclaimed Happy Valley prompting much discussion among both the general public and audio professionals. Its the third series in a little over two years to receive a large number of similar sound-related grievances, so why are viewers still experiencing dialogue audibility issues? Why hasnt the cause been identied and resolved?

Actually, its not quite that straightforward. The audibility issues could in fact be a sum of many contributing technical and attitudinal factors coming together, rather than there being a singular source to blame. Mike Thornton has outlined some of these potential factors in his article over at Pro Tools Expert, which I would highly recommend reading. But rather than simply repeat what has already been highlighted, Id like to oer my thoughts on a couple of points that have arisen from these discussions.

Look whos talkingOne of the main causes lies in the performances of the talent. When the complaints over mumbling actors in 2014s Jamaica Inn hit the media, many reports began to question the work

and competency of the location sound recordist, which really angered me. Actors mumbling is most certainly not a sound problem, its a performance problem; the sound recordist should never be held accountable for poor performance, delivery or intonation of the talent. Can you imagine trying to point the blame of an extra picking their nose on a director of photography?

As audio professionals, we know that it is the primary role of the sound recordist to obtain the cleanest recording of the dialogue as possible (usually in the face of many adversities), as well as identifying and attempting to solve any issues that will ultimately aect the quality of the soundtrack. Sadly, I can only imagine that such concerns over intelligibility are most likely dismissed by directors when theyre raised on set. Ive lost count of the times Ive been told were running behind on schedule, theres no time for a retake or well x it in post when raising a particular sound issue. While I appreciate that directors have many crucial decisions to make on set, they also have their own feed of the mix just the same as they have a video monitor to analyse the visual aspects of the performance, so they should be aware of and be able to pass judgement on any potential audio complication.

Missing the pointAnother angle on this is the overfamiliarity with the dialogue that could be taking place in such situations. By the time it comes to turning over on set, the director most likely knows the script inside out and this could ultimately be a subconscious reason for any dismissals of mumbling made by the sound department. When we know what is being said, it is much easier to cognitively unpick and decipher certain intonations or slurs in the dialogue. The viewers at home however will never see a script and maybe not enough thought

is put into how the viewer will initially perceive the dialogue of those on screen (not to mention the terrible speakers on modern atscreen sets that it is most likely to be consumed through). Although todays technology allows viewers to pause and rewind, forcing them to do so because they are missing key points of dialogue will severely damage or indeed break the immersion in such dramas.

When reading certain tweets about the complaints from disgruntled viewers, many complained about having to crank the volume to understand the dialogue, only then being forced to dive for the remote moments later. Some have argued that this is due to the recent changes to loudness metering and the EBU R128 broadcast specication now in place, but I would argue that this is completely untrue. While the regulations have opened up the previously out of bounds headroom for use (from -10dBFS to digital zero), in turn liberating dubbing mixers to create more dynamic mixes, the specications still require the mixer to mix in a calibrated environment with acknowledgement of a comfortable range of listening for viewers. Indeed, the concept of loudness metering is to avoid the remote diving (especially between programme content and advertisements) but the programme is mixed for consumption at the same listening level throughout. Therefore, I

think its unfair and inaccurate to blame the complaints on the recent loudness regulation implementation and rather the issues really do lie before this stage of the production process.

In conclusionThere are, of course, many other technical factors and potential causes that could also be attributing to these issues but I think, overall, one thing remains clear. A conversation needs to take place with production teams and sound professionals on how we can proceed to ensure this doesnt happen in the future. I know it is an unfortunate old adage that sound comes second to picture and while I dont think these complaints are necessarily going to change that, hopefully they will initiate a more understanding attitude to both the sound production process and the challenges faced when trying to record the highest quality dialogue on set.

WHOS TO BLAME FOR THE BBC SOUND COMPLAINTS? Producer Matt North oers up a few possible reasons why some UK TV dramas continue to frustrate viewers with inaudible dialogue, and his thoughts on what can be done to prevent future controversy.

MATT NORTH

Matt North is a freelance audio producer, specialising in high-end corporate and branded content. Based in Norwich, UK, he primarily oers post-production sound mixing, design and restoration services to clients internationally, but also has professional experience in location sound recording for lm and TV. www.mattnorthaudio.co.uk Twitter: @mattnorthaudio

May/June 201612

OPINION

Sarah Lancashire in Happy ValleyPicture: BBC/Red Productions/Ben Blackall

HK Audio is the German pro audio brand offering the easiest way to the best sound.From portable to professional live sound to install solutions for over 30 years, we build PA systems for those who are fascinated by the energy of sound. Giving them a stage. Giving them a home.

www.hkaudio.com

THE SOUNDMAKERS >

After months of planning, testing and finding the perfect sound solution for a venue, for me its all about that moment when a project truly comes to life.

Every year, more and more gear and famous rooms become modelled into digital plug-ins, and every year they get closer to the real thing, reducing the

barriers to getting almost any sound you could want. More and more people are making music, releasing it and building careers. So in the midst of this increasing competition, and within an increasingly homogenised playground of digital plug-ins, how do you make your tracks your albums stand out? What do you do to have a career that sets you apart, and puts you in demand?

With the recent passing of Sir George Martin, I took a moment, along with many others, to appreciate the life and career of the so-called Fifth Beatle. I watched videos, listened to interviews and generally took stock of all that this genius had given us, as listeners, as producers, and marvelled at the inspiration he provided to countless engineers. What stood out most to me was the relentless pursuit of innovation, both for Martin, and for The Beatles. Its easy to forget, among the now-immortalised classic sounds and tunes they created, that they challenged rules and broke conventions with every single session.

From my career experience, the best records from a production standpoint are never the ones that come easily or by following the ways of the past. Making a great record is like mud wrestling. Its

messy, its fun, but ultimately there is always some wrestling involved a quote from the great Van Dyke Parks which has stuck with me for years. It paints a picture of the engineer or producer getting dirty, using their hands, trying things one way and then trying them another. Its in this tussle that creativity and breakthrough is found.

However, to its detriment, our industry has a tendency to approach innovation and new ideas with scepticism and critique. A seemingly prevalent old hat mentality runs deep.

Breaking the MouldTheres so much to be gained when youre willing to try new things and are prepared to fail in the pursuit of something new. It means working together, nding partnerships, using other peoples skills, and seeing what happens when you collaborate. We have witnessed a huge growth in the EDM scene over the past ten years, and one thing that I admire them for is their never-ending desire to work together, to collaborate and to innovate.

Without slighting digital plug-ins, theres a realm of creativity to be explored when youre ready to think outside the box. The ip side of being in an industry that increasingly utilises plug-ins is that everyone else is doing it too. Its easy to fall into the trap of using them the same way that everyone else does, and the result is far from setting yourself apart.

It may sound odd, but one of the reasons I far prefer working with real gear is that it breaks. Real gear breaks. It ages. It has funky tubes, alignment issues or a range of other things that have potential to add character. The breaks and imperfections can pave the way for something special; they can be the thing that makes something musical. Like John Lennon said, art is knowing what mistakes to keep.

Before you go dropping your prized Neumann out of a high-rise window, here are some ways Ive been able to break rules to make music in the past in order to stand out. Maybe you can draw some inspiration

Once I had a singer who felt that he couldnt get the energy and the size out of his performance while he was in the studio (not even a booth I rarely use booths but a nice wooden room). My reply was to move him outside Neumann and all and we caught some background noise even some birds ying past chirping during a particularly emotive part of the song but the result was musical, emotive and worth dealing with all the obstacles.

I remember working with Pat Leonard a few years back; it was our rst session together and I was hired to engineer. To say it was a learning experience is a huge understatement. Watching him produce was amazing! He knew when to change and when to leave it; when a take was just right. Halfway through the second day, he asked if Id like to mix as well, and I jumped at it! His only condition was that I left the drums exactly as I had recorded them no more EQ, compression, verb or anything so exactly as I had the seven mics laid down. I couldnt believe it, Id always started mixing by just adding EQ and compression without thinking, but since then, Ive become much more disciplined in listen rst, EQ and compress later.

Joining forcesUnusual sounds, experiments, innovation, is often the combination of unusual gear and people working together. The great thing with the internet is that now we can

collaborate around the world, access any gear that you could possibly imagine, and work with people youve never met.

Recently I was involved in the launch of a new online service TheAudioHunt.com which, among other things, connects music makers from around the world and provides unprecedented access to dream audio gear through a peer-to-peer online marketplace.

I believe that this represents an incredible opportunity for those who refuse to accept convention as a limitation on creativity, and embrace working with others. You never know what they will bring or contribute to a project.

Whether its a Neve 1073, a Fairlight from 1980, or asking someone to play a Solina part on your track, this global connectivity can start to break boundaries and create new forms of innovation, nd new sounds. Im sure not everything will yield perfection, but the reward is for those who try.

So in any way that you can, learn the rules and break them. Innovate, and use any and all tools and people you can nd to strive for something new, so that you can stand out, and live your dream career.

THE CHALLENGE OF SETTING YOURSELF APARTStephen Bartlett, engineer, producer and founder of The Audio Hunt, explains why sometimes its necessary to break the rules in order to become successful in this business.

STEPHEN BARTLETT

Stephen Bartlett is a mix engineer, producer and founder of The Audio Hunt, a peer-to-peer online marketplace for the music and audio industry.

May/June 201614

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May/June 201616

FEATURE: FESTIVAL SOUND

Ah, festivals. For many of us, summer wouldnt be complete without at least one trip to an indistinct eld in the middle of

nowhere that for one weekend a year transforms as if by magic into a wonderland of scintillating live music, good vibes, happy people and a rich medley of exquisite cuisine for when you realise you havent eaten for three days all taking place under a blanket of glorious sunshine and clear skies.

At least thats what we pray for on the drive/train down. As we all know, the reality can be quite dierent, and even if youre someone who would only contemplate kipping in a posh yurt

or one of those fancy wigwam things instead of slumming it with the rest of us, youll still leave for home feeling absolutely shattered at the end of it all guaranteed.

But if hanging out in the sun (ideally), watching some of your favourite bands and drinking beer all day can be so tiring, what about the poor guys responsible for looking after all that heavy, expensive audio equipment while ensuring everything sounds great when theres a million things that can go wrong? Thats right, last year we spoke to the manufacturers, in March we chatted to the engineers, and this time its the turn of the rental companies.

Road WarriorsAs youd imagine, there are many challenges that these rms have to face on a regular tour let alone an unpredictable event like a festival, not least the old noise restriction dilemma well come on to that later. But one thing that can be easily overseen from an outsiders perspective is the potential diculty faced by those who divide their festival season between domestic and international work a trend that seems to be becoming increasingly common. Paul Timmins, general manager at Capital Sound which not only handles major UK shows like British Summer Time at Hyde Park but also the mammoth Sziget festival in Hungary

knows all about this, having organised proceedings at both sites over the past few years.

I suppose Eastern Europe tends to be a lot more demanding on the equipment its a lot hotter, dustier and they generally run their festivals longer hours, he says. For Sziget this year theyve added another day so weve got eight days consecutive and that will run from 2pm up to midnight, so its more heavy duty.

If you go to Budapest in August you know that temperatures are probably going to get into the 40s, which is pretty hot for a lot of audio kit, so youve got to make sure that everythings designed in a way so that its going to be OK. Of

THE GREAT OUTDOORS

We all love a good festival, and although these events can present crewmembers behind the scenes with all manner of pitfalls, they would surely say the same. After hearing from a group of engineers earlier this year, its over to the rental rm bosses to get their thoughts on this area of the live sound business.

course in Hungary you can get the rain as well and the dierence there is that it will be unexpected and 20 minutes of really heavy rain so were no better o out there as we are here as when it comes in it can be erce. I think a lot of European sites can be like that, but here in the UK generally you know whats coming and its quite rare to get that extreme wind or rain in June or July.

According to Chris Hawkes at Solution One Audio in France, which supplies the countrys Worldwide Festival but also Boom Festival in Portugal, the dierences as you cross the continent amount to a lot more than just the weather.

Across Europe conditions vary enormously highly regulated France requires every piece of the production to conform to standards and has to be accompanied by the relevant certicate, he reveals. This is extremely stiing to creativity of production design so you most often see the same style of production. Portugal is the opposite we have seen some of the most extraordinarily ambitious structures, stages and canopies in festivals there and it requires huge professionalism and energy by the designers and builders to realise these giant one-o creations.

Adam Ward, managing director of Full Throttle Entertainment, is also familiar with hauling equipment vast distances and regularly having to operate in troublesome conditions, but he faces all these obstacles without leaving the country. Touring in Australia is not easy.

The sheer distances that can be experienced between one event and the next can prove a logistical nightmare. Either you carry enough inventory that you can leap frog one show to the next or you potentially risk a catastrophic cancellation if you miss a load-out deadline, he explains. For example if you have a large show on Friday night in Melbourne and a second show on Saturday in Sydney, the truck drive alone is ten hours point-to-point.

Then theres the drastic changes in temperature and conditions on some of our shows. Currently we have one in particular that bottoms out around four or ve degrees at night yet during the day can be has high as 40. This creates unique issues when it comes to the survival of the gear and tuning.

One way of aiding your ability to put on events across a massive territory is to do what North American giant Solotech has done and open multiple oces, including a new branch in Nashville headed up by Paul Owen, who says that when working across a country as large as the US, there really is no alternative.

The main thing is being able to support festivals all over the USA, and that only can be done eciently with companies that have multiple locations like us, he states.

Back in Blighty, we can count ourselves lucky that we dont have conditions like Ward has to deal with, but that doesnt mean we dont have problems of our own. Its no secret that increasingly strict o-site noise limits continue to make things dicult for these companies, but now that its been accepted as an unavoidable necessity that wont be going away, rental rms in the UK are simply focusing on doing the best they can under the circumstances.

Its been a consideration for many years now really and I think were all getting better and better at dealing with that both in terms of the technology thats available and the expertise of our sound designers, comments Bryan Grant, managing director of Britannia Row Productions, which is responsible for Radio 1 Big Weekend and Creamelds, among others. There are a few myths out there some people claim to have beaten physics but Im not entirely convinced.

Timmins has also seen a staggering rise in the number of these challenging sites in recent years, and reveals how the severity of these restrictions is one of Capitals key considerations when deciding whether a festival is doable or not.

Every outdoor event were working with now, probably 18 out of 20 will have some kind of enforcement on the o-site levels whereas ve or six years ago that probably wouldve been no more than four or ve out of 20, he reports. Its become the norm now in the UK I think every project that comes across our desks thats new we expect there to be.

Over the last three years there have been two or three occasions where

weve been approached fairly early on and weve had discussions with the promoters and venue people where weve said all we can do is advise you, this is not going to work. Thats where rental companies can work with the clients and help.

As is the norm in this industry, forging relationships like this will lead to repeat business and a familiarity with the festival site that will in most cases make things easier for both supplier and client in the future. But even if a rental company has done the same festival on several occasions, that doesnt mean it can just expect to turn up and do precisely the same thing next year.

Its not a constant environment even a site that youve done many times in the past, Grant explains. WOMAD [the annual world music festival in Wiltshire] for instance, although its the same eld, the layout of the tents and

playing areas have changed so we have to look at the site again in its entirety. There are about eight playing areas there and its all about how they interact with each other. The promoter has a lot to do with this as well and how they structure the bill. How are you going to contain the noise if youre going to have a really loud, raucous act playing quite close to an act thats very quiet and demands a lot of attention?

Go-To Gear Festivals can be full of surprises for everyone involved, but at least these companies will always have their trusty equipment, which they know will perform regardless of whats thrown at them. For Britannia Row Productions, L-Acoustics K1 is the loudspeaker system it relies on above all else.

Its the same reason we use it for touring really. First of all the audio

May/June 2016 17

FEATURE: FESTIVAL SOUNDwww.audiomediainternational.com

Picture credit: Duncographic (www.duncographic.com)

May/June 201618

quality is superb, we can control it very well and the packaging is excellent, he says. Its the new industry standard and Ive not had anyone yet say oh no we cant use it because its K1. L-Acoustics has nailed not only the big speakers but also the smaller speakers all the way through the K range its superb.

Each festival site is always dierent orientation, topography, neighbourhood, type of music youre doing and the L-Acoustics K Series is the most versatile that Ive known for dealing with that.

Being a dance music specialist but also covering a lot of mixed-genre events, Full Throttle says it only needs one loudspeaker brand in its inventory.

At the moment we are exclusively Funktion-One. We have a direct connection with their HQ and that oers us amazing support direct from the source, Ward reveals. The ability to bounce concepts o Tony (Andrews) and John (Newsham) and the rest of the team is great. This is very important to us, however it is not just about the

support we get the gear sounds amazing. It has a marketable advantage over many other brands, the punters want to hear it, and we will support an event because it is Funktion-One.

For Hawkes also a big user of Funktion-One power amp reliability is key: At Boom the main Dance Temple runs for over 50 hours without a break and the musical content is unrelenting in its demand for low frequency drive, he explains. Full Fat Audio is the amplier of choice for those needing power and when one considers the architecture and build quality it is one of the most cost-eective ampliers to be found.

Full Throttle might get everything it needs from one PA manufacturer but variety is the name of the game for Capital Sound. The big news from the rm so far this year was its decision to signicantly expand what was already a pretty impressive lineup with d&b and Outline, which will no doubt be put to use at festivals in the future.

Our desire really was to oer more choice. Weve been very successful with

[Martin Audio] MLA because of what it can do across the summer season, states Timmins. We bought into d&b and Outline and of course weve got Meyer as well. MLA through the summer is still key for us we still do 75% of what we do outdoors with that but were hoping to bolt onto it.

Solotech is also capable of oering plenty of brand variety, and knows that it has an option for all manner of requirements: When doing a festival you obviously are going to have to provide systems that everyone is happy with whether it be [L-Acoustics] K1/K2 or Meyer Sound LEO, its very enjoyable to see all types of music perform on what you provide, says Owen.

Looking ahead As for the way things seem to be going, Ward is seeing a rise in the number of smaller festivals, partly due to the decline of so many large-scale events in his home country.

There has been some massive changes in the festival circuit in

Australia with the implosion of just about every large-format touring festival, he reports. Shows like Future Music, Stereosonic, Soundwave and Big Day Out all these festivals have either taken an indenite hiatus or closed permanently. The focus at the moment is quality boutique events in the 5,000-10,000-person range. The best part of this is the promoters of these events are trying to set themselves apart by focusing on quality and doing things right rather than meeting a touring budget.

Timmins agrees that festivals that are oering an overall experience are the ones more likely to survive at present, while Grant also believes that the traditional spirit of the festival should remain a priority for organisers, not just turning a prot.

Going to festivals as a young person in my mind should be an adventure and for older people its a reminder of their youth, he says. If festivals lose their soul, people will nd other ways to have those experiences.

FEATURE: FESTIVAL SOUND

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May/June 201620

LIVE PROFILE

If you were to picture a typical gig headlined by an electronic supergroup like Above & Beyond, surely the last image youd conjure in your mind would be a sophisticated

show at a venue like Londons Royal Albert Hall. But thats just where a few thousand of the trance trios most dedicated fans found themselves for the opening leg of their Acoustic tour in early May.

Following the success of the groups rst acoustic shows at Porchester Hall and The Greek Theater in Los Angeles, which allowed members Jono Grant, Tony McGuinness and Paavo Siljamaki to demonstrate their artistic talents with a variety of instruments alongside an ensemble of orchestral musicians, the decision was made to take it to the next level in 2016 with a tour of some of the worlds most prestigious concert halls.

And because its the RAH, were not talking about just three blokes standing behind laptops punching the air and doing little else here this was a setup very much t for the venue, as monitor engineer Tom Howat explains when chatting to AMI before the gig: Weve got 17 people on stage, including four dierent singers. There are the three Above & Beyond guys, a string section, two drummers, a multi-instrumentalist, a bass player, another guitar player and even a harpist. Its a busy gig on anyones terms really but its not horrendous enough to keep your hands busy all the time.

Speaking to Howat its clear he relishes challenges like these, but as well as giving him the chance to use the experience hes gained working for

the likes of Morrissey, Paolo Nutini and Franz Ferdinand to the test, the gig also gave him the chance to get those busy hands of his on Allen & Heaths new dLive desk again a system he has been helping to develop through the early stages of its life cycle. Being an iLive user previously, the step up to dLive was a relatively straightforward one for Howat, and after some initial trials the console turned out to be precisely that a step up.

Ive had a bit of time on the iLive the last couple of years and used it on those three bands. I love the surface versatility, the fact that you can put things where you want them and change them around on a whim and the intuitive and fast nature of it. The dLive has taken that and run with it, and upped the ante in terms of sonic quality, he says.

On the moveNot only does Howat have a pretty packed stage to deal with, several of the musicians can be seen moving about and changing positions throughout the show, which of course can make things tricky for the monitor engineer, but for this one, its all about good preparation when in these kinds of situations.

One of the big things is that two of the Above & Beyond guys swap places quite regularly or wander o and play something else and the four vocalists all take dierent turns doing lead vocals and backing vocals so its immediately quite a scene-intensive process for monitors and theres not enough time to redial it all by hand, Howat reveals. Im quite an old fashioned person and I tend to resist scenes but this is one of those

scenarios where theres a scene for each song. Fortunately theyre keeping the set list the same most of the time so its a bit easier to navigate.

The dLive was supplied by F1 Sound and sub-hired by Capital Sound, the audio supplier responsible for the European leg of the tour and the Martin Audio MLA system that loomed large over the audience all evening.

With 14 MLA per side for the mains, another 14 MLA-C on the sides and a slightly increased own sub element of four MLX with a further two under the stage extension, FOH engineer Ben Findlay equipped with Avid Prole could be condent of no nasty surprises from the PA on oer to him. The Hall itself wouldve given him something to think about, however, according to Capitals senior project manager Martin Connolly: The Royal Albert Hall can be a dicult sounding venue; it can be very easy to let the acoustic qualities of the venue take over, but Ben did an amazing job and kept everything clean, in its own place and I was impressed with the mix and sound that he achieved, he states.

The personal touchBack to the monitor control package, and another tool that has been brought in to make Howats life that little bit easier on this particular job is the ME-1 personal mixing system also from Allen & Heath which is being used by a number of musicians on stage, and there are plans to add more to the kit list when the tour moves across The Atlantic.

It has freed me because key musicians using an ME-1 gives me the freedom to deal with the other half of

the stage. In a conceptual way I divided the side front to back and the back of the stage wasnt going to be automated, and the front was, Howat explains. The ME-1s make that possible because the two drummers and the musical director all have an ME-1 each. It gives the drummers autonomy one of them is responsible for all the playback so he needs to be able to override his mix and he loves the fact that he doesnt have to hassle the monitor guy for things.

Were also using an ME-1 with the string section. Its giving me options Ive already stued the desk full of outputs and these ME-1s are working as an expansion to the system. Weve got a 30-piece orchestra joining in at the Hollywood Bowl so the plan is to add more ME-1s in there with headphone distribution ampliers on the back end of them.

As well as the Bowl, Above & Beyond can look forward to playing in other iconic spaces like the Sydney Opera House and Waikiki Shell in Hawaii, but the RAH can certainly be considered the ideal rst stop on a tour of this kind.

We all know the Alberts a notoriously interesting place to get a sound from and from this bands point of view theres a certain expectation but they have that expectation at every show they have a very high standard and I dont think they would have considered doing the gig unless they had the opportunity to do something like this, Howat concludes. Its a great spot for it.

THE ROYAL TREATMENT

The Albert Hall might not be the sort of place youd expect to see an acclaimed trance group, but Above & Beyonds current Acoustic tour is no ordinary one. Adam Savage went along to meet monitor engineer Tom Howat and his companion for these concerts Allen & Heaths dLive.

www.allen-heath.com

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May/June 201622

INTERVIEW: JOHN NEWMAN

Since releasing his second album Revolve late last year, singer/musician/producer John Newman has refocused his ideas and has some

big plans for the rest of 2016. Phase one of these plans is a new base of operations located at Tileyard Studios in London, where he has been working hard since the New Year. A successful recording artist and producer in both a collaborative and solo capacity, Newman speaks candidly about his in uences, ambitions and habits in and out the studio.

How did you initially get into music production?I started o producing hip-hop as a kid taking old samples and putt ing hip-hop beats under them in fruity loops. The house scene was just gett ing big then and its just continued to grow since. I started mixing and then eventually went into producing house music, which I did for a while. My rst single Love Me Again was the point when I stopped producing music as a side project and basically learnt then that it was what I wanted to do as my main project.

What perhaps isnt widely known is that youve done a lot of your own production on the rst two albums. How have your skills developed over this time?One thing Ive learnt is that you shouldnt get too excited by the space youre in, and should just use it for what its good for. Inside the box is just as important as outside the box its not just about using every plug-in you can; its about reaching a compromise that 50/50 meet in the middle.

When I make music I produce at the same time as writing. I think youre wasting your time making demos and then pumping loads of money into producing it and totally rewriting it. I made loads of demos with a certain person for my rst record and then they turned around and claimed they owned the rights to all the sounds. They wouldnt give us access to any stems or anything so we had to remake the record, which kind of threw me o liking it as much as I think I would have in the rst place. With the second record I made sure that wasnt going to happen so I was always producing towards the nal thing.

While I was preparing to do Revolve, the second album, I realised that its oft en quicker to get the idea down simply with Logic on a laptop and a microphone. I tend to have a full vision of the sound as a whole and its quicker to just record everything on an SM57 and then put it straight into an interface, which is what I do on the road quite a lot. When you want to sit and think about that sound you can just replay your voice but on an instrument. Its de nitely the oldest technique but its also the closest technique to being able to put exactly what is in your head straight out as an idea.

Could you talk about your current setup at Tileyard and what you set out to achieve with the studio?For this studio, we actually took loads of inspiration from [producer] Greg Kurstin, especially with the guitar and synth stacks they were custom made by Studio Creations.

I was working with Greg a lot on my second record and he does the

whole outboard/on computer thing so well. That de nitely inspired this studio. Having all your instruments and outboard set up so easily and permanently wired makes it feel like its in your computer. The instruments are just a plug-in but youre gett ing the true sound and it feels digital because its so quick. Youre not having to put like ve plug-ins aft er your instrument sounds to give it any warmth or organic-ness.

I produce from the o really so thats why everything in the studios set up for sheer speed. We have all mics in the live room sent through to our outboard on these litt le 500 series lunchboxes. Drums and piano are ready to go at all times and I think were now slowly discovering what we want our sound to be; its di cult though because I need a drum sound that ts with almost any style of music. Im about to set everything up as presets on my pedals so I can just y through tones both for synths and for guitars.

Were not trying to do anything too breakthrough, just trying to take what we know and what Ive gathered along the way and do something with it. Its about discovering things along the way to then nally having a base like this where I can put all these weird and wonderful things along with the standards and then its the ear that creates the sound.

What kind of equipment are you running at the moment and do you have any particular favourites?Ive used the PMC twotwo.6 active monitors in various studios but theyre a new addition to this one. This sounds ridiculous because its the music that makes the music, not the speakers,

but they deliver something thats very clear and spot on, with a litt le bit of excitement thrown in. Some other brands just give you too much whereas these are very true to the sound.

The speakers were in here for about three weeks on their own, then they integrated the twotwo sub 2 active sub and you still dont know its there wherever youre sat in the room. It takes the load o the speakers so the mid/low-mids get 20-30% more power and then that deals with the rest.

Ive got this Akai 4000D tape recorder that I bought for about 30 quid from an old charity shop when I was living in Stroud Green. When you get lazy if youre working into the early hours of the morning its really cool. Youd only run litt le elements through it like guitars and synths, which sound great. The Cocktail X100 is also great, as is the EDP Wasp synth I used that loads on my rst record on a song called Losing Sleep. I also like nuking things on my distressors.

In terms of mics, weve got a copy of the Flea 47, as well as a Peluso 22 251 and a new BX44 a classic massive-ribbon vocal mic which we use as a room mic and lots of other applications on drums and such.

Nearly all of the synths in here are gett ing MIDI from the computer, so you can switch between any synth in the analogue world while its still running on the same inputs in Pro Tools. This way, the work ows just continuous you dont have to stop the music and you can just jump between sounds to really hone in on what you want. Ive been trying to do it for a while in the best way possible and its easier to just have everything permanently ready to go.

NORTHERN STAR

Singer and producer John Newman has come a long way since his humble beginnings in the house scene. Currently operating out of Londons Tileyard Studios, the Yorkshireman was keen to tell Colby Ramsey how he wants to be known for more than just his vocal talents when he dropped in for a chat.

How does collaborating with other producers compare to working alone?I always work with people. David Bowie would never do everything himself he would have a vision and then dedicate talented people to do those jobs like a brilliant dictator in a certain sort of way. Im constantly looking to nd people that I can get the best out of and who understand what Im trying to do. Ive always sat and worked at home by myself but having this studio means I can work with other artists a lot more and really start to push that. Ive always been quite persistent and Ill always listen to people, but Ill never work with someone who is telling me what to do because they dont have to release the record and put their name on it. Its nice having the freedom to sit and do the job alone. Its also nice for me to take on an engineer, to have more space and more

equipment, and to put all my toys in one place, all being operated right. It kind of gives you bett er focus and lets you be a bit more experimental.

I co-produced my rst and second album, and have been heavily involved in the work I did with Rudimental and Calvin [Harris]. It has always been a big thing to be a respected producer and Ive always taken it seriously, so I always hope that my production will be taken seriously and continue to do so. I have a lot of love and respect for making music and I will always have a heavy creative involvement in any of the work I do. While the new studio is a very nice place and has lots of toys, none of it makes the music.

What do you have planned for the future? We understand youre even looking into launching a record label?

Ive been working with Sigala and Nile Rodgers on a new single called Give Me Your Love which is out on 17 June and Ive been working with Calvin loads. Ive got ve, maybe six singles coming this year and Ive been working on this band idea but this is going to be my base. Its exciting because I feel like the studios allowed me to open up a bit more. I like the idea because I travel a lot and do a lot of work on my laptop, so its quite nice knowing that every time Im sending something through Ive got Pete Hutchings and the PMCs ready to check it sounds alright.

In the future Im going to start a publishing company depending on how the label develops, how many records we make, and how many talented people I get on board. I want to nd an old warehouse somewhere with charm that feels like home and family

to everyone whos involved. Thats going to take time. As soon as we had the idea for a record label, me and Tom Willers (whos going to be running it with me) wanted the biggest and the best, looking at massive o ce spaces etc. I think what weve done here is right though because everythings got to progress organically and nd its own, which is what its doing here.

Weve been making records here for two or three months now and Im making a home studio in Kent at some point. Its going to be a room in a converted barn and I think thats just so I can relax, sit and do my own thing. Sometimes its nice to just get away and not rely on anyone. Im trying to build an empire an empire of music!

May/June 2016 23

INTERVIEW: JOHN NEWMAN www.audiomediainternational.com

www.pmc-speakers.com

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May/June 201624

STUDIO PROFILE

Over the last 25 years, Wounded Bualo Sound Studios inuence as one of the UKs leading natural history audio post

specialists has gone from strength to strength, and so it comes as no surprise that the business was keen to expand since the demand for documentaries and feature lms especially the type on which it prides itself began to gain real traction.

The building that neighbours the current premises (once a humdrum car park) was purchased ten years ago with the idea of doing just that, yet it has taken until this past year to bring those ideas to fruition what with recessions resulting in nancial setbacks and the persisting lack of market condence.

The decision to upgrade coincided perfectly with the arrival of Dolby Atmos, presenting the ideal opportunity to get fully involved with the format from the beginning. It took a full year for Bualo to turn its new space into a fully-edged Dolby Atmos feature certied dubbing theatre.

It started with a demo by Dolby in Los Angeles where they were demoing to nalists at an Emmy award event, explains sound editor and company director Tim Owens. They put our 5.1 tracks through to an Atmos room and it blew us away.

It was at this point that the intention to create what is believed to be the rst purpose-built Dolby Atmos-ready dubbing theatre in the UK outside of London was realised.

At one with nature Being based in the lively city of Bristol in the West of England, a BBC Centre of Excellence when it comes to natural history, Bualo has created audio for many of the theatrical release feature lms of this kind over the years and has solidied the genre as its indisputable niche.

Dubbing mixer Ben Peace, who became the principal mixer at Bualo around ten years ago, notes that the rst Dolby Atmos feature ever to be mixed in native was a BBC Earth production called Enchanted Kingdom, which was completed at Pinewood Studios.

We do a lot of features here but weve always had to nish them in other larger studios because we didnt

have a big enough theatre here in Bristol, Peace explains. That is until now!

At the moment, were operating a Dynaudio monitoring system in our 5.1 room. Everything else is pretty much in the box, which is extremely useful for workow.

Bualo has recently handled sound design for a number of Disney Nature features, further cementing its reputation as a natural history feature lm specialist. It was only very recently, however, that freelance sound mixer Andrew Wilson was tasked with pre-mixing Disney Natures Born in China (Brian Leith Productions) in Atmos using Bualos newly opened dubbing theatre, of which the company is quite rightfully extremely proud.

NATURAL EVOLUTION

Keeping up with the technological times can sometimes prove challenging in this industry, yet wildlife programme specialist Wounded Bualo Sound Studios has recently unveiled a new addition to its headquarters that brings it bang up to speed. Colby Ramsey travelled to Bristol for a chat with the team.

the specications were quite rigid, as he explains: We had to dig down as well as build up to meet the ideal requirements. The original building was a pretty shabby and run-down place with an asbestos roof we took it all apart, underpinned the walls and rebuilt it to house the theatre because we wanted to achieve an impressive ceiling height.

The basis for the design is the Dolby criteria for dubbing theatres, which entails a specic set of parameters concerning reverberation time and background noise. It was therefore paramount for Bualo to ensure that there was enough sound insulation from the outside world and design an air conditioning system to be as quiet as possible.

The result was a measurement of 20dB(A) with all the rooms machinery turned on, easily pipping the 25dB(A) requirement.

The room was measured as extremely quiet, even with all the kit running, so were very pleased, says Allan. Its nice to not have to turn the AC o especially at certain times of the year when you need it.

Because its such a quiet and acoustically accurate space, we know that itll be super for other aspects of audio post like Foley and ADR and were excited about that, adds sound editor and company director Max Bygrave.

While the Dynaudio system in the current 5.1 room had served its purpose, the decision was eventually made to go for something dierent in the new theatre in the form of a complete Meyer Sound monitoring system.

Part of our research involved

listening to several London studios and considering the choices theyve made, Allan explains. Obviously there are some systems that very much hold sway when it comes to theatre sound, but we were looking for something less tiring and harsh, and not quite so baring on the ear.

The theatre contains 30 Meyer HMS5 surround speakers managed by two X400C bass subs, while the large LFE channel comprises three of the manufacturers X800C subs with two 18in drivers. A whole host of studio outboard gear and a fully equipped Avid S6 console complete the theatres audio setup, ensuring it is fully future-proof.

While the dubbing theatre itself is being used to mix Dolby Atmos features already, there is also a small facility upstairs which is ready for occupation, and Allan and co have got all manner of ideas in store for this new space.

Obviously our priority was getting the theatre up and running, he continues. There are two edit suites that may be put up for dry hire depending on how business

goes, or we may decide to include them as part of the whole Dolby Atmos ethos and use them as track laying suites.

A new eraDespite Bualo only recently taking on the rst job in its shiny new dubbing theatre, the facility and its ability to use Atmos in this way is likely to open up a glut of possibilities and opportunities for the company.

Allan expands on this by explaining that the room is also backwards compatible with other formats and could even look at operating iMax upon reconguration of the current speaker arrangement.

It really makes the imagination run wild, he says.

Theres a high-spec projector producing bright, sharp images and it just all looks great. Weve got a ve-metre acoustically transparent screen which is the focal point and then everything is integrated around it and emanates from that.

Despite potentially dawning a new era of business with the new dubbing theatre, Owens believes that the market for theatrical release feature lms is limited, and imagines that Atmos will be gradually rolled out domestically as soundbars become ever more popular.

In terms of an aordable Atmos theatre outside of London, Im rather

hoping that people will feel like their money will go further here in Bristol, he says. The room is feature lm capable so we know that people

will be able to get the whole job done here now, and not just when it comes to natural history.

Bygrave concludes: It was a very exciting project and were really

pleased, especially with what Andy was able to do acoustically.

At the time of interview, it had been exactly a year to the day since Bualo

began construction on the theatre, yet Owens and Bygrave made the decision not to make too big a fanfare until it was in its nal stages. One thing for certain was that everybody involved worked extremely hard to reach that point, with the nished product an undeniable testament to that.

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STUDIO PROFILEwww.audiomediainternational.com

Keeping quietAndy Allan, the chief visionary behind the design of the theatre itself, has been in the studio/live sound game for over 20 years and has built a number of music studios during his time as an acoustic designer, yet none as in-depth and signicant as this particular venture.

It took me from the start of 2011 to design the dubbing theatre, remarks Allan, who was very hands-on with the project. There was a deadline to get it ready for the Disney Nature lm thats being pre-mixed at the moment. Despite delays in the initial building stage we managed to bring it all together in time for the pre-mix and everyone seems to be really happy with it.

It was the rst lm dubbing theatre Allan had worked on of that scale and

www.woundedbualo.co.uk

Andy Allan worked to tight deadlines when designing the studio

Because its such a quiet and acoustically accurate space, we

know that itll be super for other aspects of audio post like Foley

and ADR and were excited about that.

Max Bygrave

Microphone preampliers both professional and consumer often supply a DC voltage

back over the same wires that carry the audio in order to power the circuitry in condenser microphones. Often, when testing microphone preampliers, this DC voltage is either just turned o or ignored. Unfortunately, this means the tests are not being done under actual operating conditions, which may obscure problems or produce inaccurate results.

This article describes a xture you can make to enable testing of both the microphone power itself and the audio, where the power supply is given a real-world load.

Test FixtureMicrophone preampliers include standalone devices, audio mixers and the input circuitry incorporated into any device that incorporates or accepts a connection to a microphone. In balanced connections, found on professional and semi-pro equipment, the most common condenser microphone powering system

is 48V phantom power. The xture shown in Figure 1 is designed to test this type of power. Unbalanced connections, found in consumer equipment, often use Plug-in power or similar variations. The principles and techniques here can be adapted to that as well.

Careful attention to construction and component quality is necessary to avoid sensitivity to EMI, which could degrade the accuracy of noise measurements.

Circuit DetailsThe test xture has four main features: Coupling capacitors (CB) block the DC phantom voltage and prevent it from being loaded down by the generator; load resistors (RL) draw 10 mA (the minimum required to meet IEC specications) from the phantom supply; series resistors (RC) allow the audio source impedance to be accurately set; jacks J2 and J3 allow measurement of the phantom voltage presented to the microphone.

Resistors compensate for the eect of load resistors, to maintain the rated generator output impedance, and also serve to add additional output

impedance to signal generators that do not have the desired output impedance setting. Discharge resistors (RD) are added to provide a path to ground for the phantom voltage when the generator is not connected to the xture.

Note that CB and RL form an RC circuit, which will roll o low frequencies. The value chosen for CB is large enough to keep response extremely at at 20Hz, and to not interact with the RC lter already internal to most microphone preamps for blocking phantom power from reaching the input stage.

Source ImpedanceWhen measuring microphone preampliers, the source impedance of the audio generator must be carefully set, or else the noise measurements will be invalid. This is for two reasons: the thermal noise produced across the source impedance determines the lowest noise level that can be achieved; and input circuit noise performance is aected by source impedance.

The standard source impedance for testing and producing specications

MEASURING PHANTOM POWERAdam Liberman from Audio Precision shows how to create a xture for testing the most common powering system for a condenser microphone.

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TECHNOLOGY: HOW TO

for balanced microphone preampliers is 150 ohms. Many condenser microphones, however, especially those with ultra-low self-noise (314dB SPL), have very low output impedances on the order of 25 to 50 ohms Performing additional testing using a 50-ohm source impedance, even though it isnt a standard, may give results that better represent actual usage.

Unbalanced microphone inputs are tested with either a 150 or 600-ohm source. With semi-pro gear, such as portable digital recorders, unbalanced inputs are normally tested at 150 ohms, while consumer grade gear such as computer sound cards are often tested at 600 ohms. If the preamplier under test is to be used with an internal microphone then the source impedance should be set to mimic the actual operating conditions.

Measuring 48V Phantom PowerPhantom power is fed onto the audio conductors through two 6.8 kiloohm resistors, which limit its current and prevent it from loading down the attached microphone. The phantom power with no load should measure 48.0 VDC (4.0 VDC). Some budget devices are labelled as being capable of supplying phantom power, but use non-standard voltages that do not meet the IEC P48 phantom specication. These devices often derive microphone power from an available power rail inside the unit, and do not have a dedicated 48V supply.

Figures 2 and 3 show the results of testing two dierent microphone preamps. The phantom voltage is measured at a spare microphone input channel (use the special cable shown in Figure 6).

Figure 1: Phantom power test fixture schematic

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TECHNOLOGY: HOW TOwww.audiomediainternational.com

Reinventing the large sound system

Even though we are measuring through the 6.8 kiloohm resistors, the high input impedance of the analyser ensures that the voltage drop across them will be negligible. If the DUT has only one microphone input channel, then this measurement can be made by removing the test xture or removing the load. As can be seen, the rst preamplier meets IEC specications, but the second one doesnt.

A 10 mA load is now added by connecting the test fixture. The display shows the phantom voltage measured as above, along with the voltages measured at the test fixture on the balanced audio lines of the preamplifier input channel under test. When drawing 10 mA from the phantom supply, the voltage measured on the audio lines (after the drop across the 6.8 kiloohm phantom power resistors) should be 14.0 VDC.

Again, the rst DUT passes, but the second one fails. Not only is the voltage low overall, but the phantom supply itself has dropped from 37.44 to 17.96 VDC under the 10 mA load. This test also lets us check that both pin 2 (HI) and pin 3 (LO) of the audio cable are supplying the same voltage. A dierence between them might indicate a fault in one of the 6.8 kiloohm resistors or its associated signal path.

Some additional measurements should be made to check if there are any changes in the phantom voltage with or without audio signal, and also if there are any changes in audio performance when the phantom power is turned on or o. These particular measurements should be done at a

high gain setting, such as 70dB, to make any dierences more visible.

Now that the phantom power supply has been checked out, you can proceed with a full suite of standard mic preamp audio tests, leaving the xture attached in order to maintain the proper phantom supply load and audio source impedance.

Adam Liberman is technical support engineer at Audio Precision. His broad range of experience includes lm & TV production and post-production sound; theatrical sound design; radio production and engineering; computer audio testing and reviewing; music and nature sound recording; and test, repair, and modication of pro-audio and lm editing equipment. Phantom measured at a spare microphone

input channel (no load)

Phantom measured at the spare microphone input channel, and on the audio conductors of the input channel under test

Figure 6

Figure 4Figure 2

Figure 3Figure 5

As the mid-way point of 2016 approaches, we spoke to some manufacturers of studio outboard products to see

whether there has been any change in demand for analogue gear in favour of their digital counterparts, and to nd out what types of products are selling particularly well at the moment, and why that may be.

At AMS Neve, marketing ocer Liz Wilkinson has noticed an increased demand for analogue gear, since everyone strives to nd that certain edge that these types of products provide over digital plug-ins. She believes that quality of sound and ease of use is what holds analogue gear in better stead over working in the box.

When something is designed to

sound good and it does so with very little input from the user, the time taken to waste time experimenting disappears, remarks Wilkinson. There are no load-times, no re-boots, it just sounds amazing all of the time.

The team at Universal Audio agrees, and arms that there will always be a place for analogue as long as users continue to appreciate the authenticity of the products, in that they continue to be made in the same way as they were in the 60s and 70s.

While plug-ins allow many instances in a session compared to the one or two that users may have in hardware, UA marketing ocer Harris Barnard nds that younger users are learning that the 1176 on the screen was a real thing and they eventually seek it out: As we make plug-ins of our analogue

counterparts in recent years, it has increased the popularity of the real hardware, he explains.

Adding to this, Radials Bill Whitlock is seeing users utilise the best of both when deciding whether to go analogue or digital, and has received a lot more requests for digital connectivity to analogue products. Digital EQs and compressors keep getting better and better, but the analogue mic preamp is here to stay, he says.

As a result, Whitlock envisages the demand for digital connectivity to analogue equipment via networking protocols like Dante or SoundGrid to persist throughout the rest of the year.

The team at AMS Neve concurs that digital control is becoming more and more important, observing that people want great sounding physical

equipment to be recalled to previously stored settings as fast as possible to cut down on the creative-sapping setup time for sessions. Crafting the best sounding hardware with the simple workow-accelerating features at the right price is always the challenge, says Wilkinson.

While the analogue versus digital debate rages on and the market continues to change, manufacturers will endeavour to have one foot in the past and one foot in the future, so to speak. As companies look to integrate technologies to enhance the creative process while preserving the analogue character of their studio outboard gear, we put some of the latest gear under the spotlight to establish exactly how important they continue to be in and out of the studio.

STUDIO OUTBOARD GEAR

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PRODUCT SPOTLIGHT

GETTING PHYSICALQuality of sound and accelerated workow are just two advantages to building a studio outboard arsenal instead of relying solely on digital equivalents. The surge of plug-ins coming to the market shows no sign of slowing any time soon, but there are also plenty of new hardware products that demand attention...

AMS Neve

1073DPXLaunched in 1970, the Neve 1073 Classic soon became the first choice mic preamp for many leading producers and artists. Designed and built in England, the modern-day 1073DPX is produced to the exact specifications of the original with matched components to ensure the sound remains true.

The 1073DPX has two channels of Neve 1073 Class A design microphone preamplifiers, each with three-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter. The mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning and captures a more precise image embodying, according to many engineers and producers, the essence of the genuine Neve sound.

Building on the 1073 classic module features, the 1073DPX introduces extra functionality with integrated DI input, phantom power, selectable insert feature, level meters, selectable headphone monitoring and I/O connectors on each channel for easy and direct connection of microphones and instruments. The 19in rack-mount 2U unit includes an external multi-voltage PSU.www.ams-neve.com

By re-engineering the original 1073 design, weve been able to reduce the price considerably b