Lexicon PCM96 A Reverb Masterclass? - Audio Media

AUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING 

AUDIOMEDIA 

THE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE 

IBC & PLASA 

AMSTERDAM & 

LONDON REPORTS 

Lexicon PCM96 

A Reverb Masterclass 

New Plug-Ins 

A Product Sampler 

Plus: Next Gen’ 

Surround Preview! 

Conch 2008 

The Winners 

List 

House Of Fallen 

A NEWBAY MEDIA PUBLICATION 

Trials In Gothic Horror 

WORLDWIDE EDITION 

ISSUE 215 •OCTOBER 2008 • UK £3.80 

Sound Devices 788T • Microtech Geffell UM 930 • Steinberg Cubase 4.5 • ADK Custom Shop Duo • Allen & Heath ZED R-16 • Audio-Technica M3 IEM • Conch: The John Iles Interview • Power Part II • Geo Focus: 

Spain And Portugal • What’s Up UK: Financial Matters • Video Guide: Cameras, Final Part • AMSR: Bruce Johnston Tips • AMSR: Drawmer 4X4 KickBox • Recording News: TL Audio: When Tubes Go Digital; DPA’s 

Mic Revolution; Mixing It With Deva • AMSR News: More MIDAS For The UK; Polar Audio Born; Gottelier Award • And More!

contents 

I S S U E 2 1 5 • o c t o b e r 2 0 0 8 

ReGULARs 

GeoFocus: 

Portugal & Spain 16 

JIM EVANS heads south to sunnier climes, 

to see what’s new and what’s unusual in Portugal 

and Spain. 

What’s Up UK 18 

The Credit Crunch equals a forecast of doom 

and gloom; but are there any rules as to who will 

become a casualty, wonders KEVIN HILTON. 

Final Cut: 

House Of Fallen 28 

STROTHER BULLINS gets in the Halloween spirit 

with a horror film with the volumes set to 'chill'. 

Video GUIDE 56 

KEVIN HILTON takes a last look at what the 

evolving world of digital has to offer the 

film-making process. 

Reviews 

Lexicon PCM96 30 

A return to top form, DAVID HELPLING is stunned 

into quiet awe by the unmistakable qualities of 

Lexicon’s classic new digital reverb. 

SOUND DEVICES 788t 40 

TY FORD finds a rare thing in Sound Devices' new 

audio recorder. 

Allen & Heath ZED R16 44 

SIMON ALLEN has his expectations blown out of 

the window with A&H’s new analogue mixer; and 

leaves him now expecting only great things from 

the company. 

Product Sampler – 

Plug-inS 52 

Smaller and smaller studios are definitely in vogue 

right now; Audio Media chocks up its laptop with a 

bundle of plug-ins to help you wave goodbye for 

once and all to your 19-inch racks. 

AMSR AMSR 

AMSR 

FEATURES 

The Conch AwarDS 36 

Audio Media presents the winners of the Conch 

Awards 2008, and KEVIN HILTON chats to John Iles, 

winner of the prestigious Fellowship Award. 

Power: 

Fact & Fiction, Pt.2 48 

ANDREW GRAEME returns to the power behind the 

sound, ready with his multimeter, intent on either 

proving or busting open the myth of balanced and 

conditioned power differences. 

Live Mixing Techniques: 

Bruce Johnston 66 

ANDY STEWART talks to Bruce Johnston about 

his magic mixing formula that’s changed little in 

over 20 years. 

News 

RecordinG 8 

API and KMR build themselves an Arsenal, there’s 

a Smaart renovation in California, and a new Blimp 

in the RØDE for shotgun mics. 

Post 12 

Fairlight’s Dream becomes reality, while 2nd Sense 

is the first to see a Fusion in the mix. 

Broadcast 14 

A Vision of the future is DK-shaped for Wimbledon 

and the Olympics, and Sennheiser go tiny for their 

new clip-on mic. 

IBC Report 20 

PAUL MAC returns from IBC 2008 on a high, and 

wants to share all the innovations and just plain 

'good ideas' on display in this year's halls. 

AMSr 60 

beyerdynamic goes Polar while Electro-voice goes 

boom, and Yamaha Fest nets itself lots of Outline 

Butterflys. 

PLASA Report 62 

Audio Media brings you the lowdown on the 

highlights of the PLASA 08 show. 

AMSR 

AMSR 

RUSHES 

Cover Stories 

AUDIOMEDIA 

AUDIO-FOR-VIDEO BROADCAST INTERNET AUDIO LIVE SOUND MULTIMEDIA POST PRODUCTION RECORDING 


IBC & PLASA 

AMSTERDAM & 

LONDON REPORTS 

Lexicon PCM96 42 

DAVID HELPLING is stunned by the unmistakable 

qualities of Lexicon’s classic new digital reverb. 

Final Cut: 

House Of Fallen 28 

STROTHER BULLINS gets in the Halloween spirit 

with a horror film with the volumes set to 'chill'. 

Microtech Geffel UM930 22 

ALAN BRANCH is impressed by the UM930, and 

that’s before it’s even out of the box. Will it sound 

as good as it looks 

Steinberg Cubase 4.5 24 

Far from running for cover from Cubase’s Update 

that threatens to explode with all the extras 

packed in, RICHARD WENTK delves right into the 

middle of it. 

New Plug-Ins 

A Product Sampler 

Conch 2008 

The Winners 

List 

A NEWBAY MEDIA PUBLICATION 

WORLDWID EDITION 

 

Lexicon PCM96 

A Reverb Masterclass 

ADK Hamburg & Vienna 26 

Identical and in stereo, yet so very different; finds 

RUSS LONG of ADK’s premium microphones. 

Audio Technica IEM M3 64 

These little saviours have it all – lithesome good 

looks, a reasonable price tag, and the capacity to 

be real heroes. BEN BURNS plugs in, turns up the 

volume, and waits to be saved. 

Drawmer 4x4 Kickbox 70 

Doing the splits proves not a problem for 

Drawmer’s agile Kickbox; MARK WOODS puts this 

gymnastic aptitude to the test. 

Plus: Next Gen’ 

Surround Preview! 

House Of Fallen 

Trials In Gothic Horror 

 

 

 

4 

AUDIO MEDIA october 2008

RUSHES 64 

aUDIo tEchnIca IEM M3 

REVIEW 30 

lExIcon PcM96 

leader 

There's something about awards ceremonies that makes 

people all gushy about their industry. It might be the lasting 

effects of the champagne, the late night "you know what, I 

love you mate," or even the basic togetherness of an industry 

celebrating itself. Whatever it is, the third annual Conch awards, 

held late last month in London, exposed an underlying comradeship and pride in 'the 

job' that everyone contributes to, and everyone deserves praise for. But what are we 

really celebrating 

It might be the co-operation and teamwork required to get a complicated project 

to a public that, if it's done well, will have no idea just how hard you worked. There's 

an amazing sense of worth and community derived from being complicit in complex 

foundation that no-one will ever see. 

It might be the attention to detail – the fact that the effects team have gone the extra 

mile and found the real sound (or gone the extra mile to find the unreal sound, come 

to that) that makes the story come alive; or the one word in ADR that took forever to 

get right – but did end up right; or indeed the sum of any number of pivotal moments 

or actions. It might be the attitude that willingly participates in the preparation and 

lay-up of hundreds of effects, in the knowledge that, even though many won't make 

the mix, they will have contributed. 

It might even be the shared artistic experience. I had a conversation at IBC in 

Amsterdam with someone who would be the first to admit to being a layman when 

it comes to audio production. It took that conversation – mainly centred around the 

illusion of the results – to make me remember that dramatic presentation is a significant 

contributor. It's not just an illustration of drama, but an enhancement and creation of 

it – choosing emphasis, choosing to envelope the listener, choosing to alienate the 

listener, and choosing to unbalance the listener when it suits (and when it doesn't). 

All this and more goes on without complacency – which is in itself, incredible, and 

worthy of celebration. Most people involved in audio are in it because they wanted to 

be, not because they had to be – a runner who wants to be in audio will very rarely 

get turned; whereas runners who don't know what they want, generally don't want 

audio. 

There's something about the right microphone in the right place, at the right time… 

There's something about the perfect compressor setting… There's something about 

the final nudge of the fader… And there's something about sound. 

It's all reason to celebrate, so no one should be embarrassed about the gushy side. 

From one who has not yet achieved closure on the 'champagne effect', to all in the 

industry (not only the deserving Conch winners)… Congratulations. 

Lastly, I want to welcome David Mackenzie to the Audio Media team as News Editor. 

He'll be helping to move our news pages, among others, onto bigger and better things 

over the next few months and into the future. 

Paul Mac, Editor 

AUDIO MEDIa is a Sustaining Member of the Audio Engineering Society. 

AUDIO MEDIa 

www.audiomedia.com 

aUDIo MEDIa (Europe), 1st floor, 1 cabot house, compass Point business Park, St Ives, cambs, UK. 

telephone: +44 (0)1480 461555 – facsimile: +44 (0)1480 461550 

General E-mail: mail@audiomedia.com – Press release E-mail: pr@audiomedia.com 

FEATURE 36 

thE conch awarDS 

Managing Director 

Angela Brown 

a.brown@audiomedia.com 

Associate Group Publisher 

Nick Humbert 

n.humbert@audiomedia.com 

Production Editor 

Lanna Marshall 

l.marshall@audiomedia.com 

Design & Production Manager 

John-Paul Shirreffs 

jp.shirreffs@audiomedia.com 

Circulations Manager/ 

Administration 

Jo Perriss 

mail@audiomedia.com 

Editor In Chief 

Paul Mac 

p.mac@audiomedia.com 

Regional Sales Manager 

Bob Kennedy 

bkennedy@imaspub.com 

+44 (0)1279 861264 

Subscriptions 

subs@audiomedia.com 

UK £43 

News/AMSR Editor 

David Mackenzie 

d.mackenzie@audiomedia.com 

US Sales Manager 

Matt Rubenstein 

mrubenstein@imaspub.com 

+1 914 524 5045 

European (airmail) £60 

International (airmail) £72 

Payable in Sterling through UK bank 

REVIEW 40 

SoUnD DEvIcES 788t 

 

the contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, is 

expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but 

neither IMaS Publishing (UK) limited nor the Editor can be held responsible for its contents. the views expressed are those of the contributors and not 

necessarily those of the Publishers or Editor. the Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. 

© 2008 IMaS Publishing (UK) limited. all rights reserved. 

*within broadcast & Production 

aUDIo MEDIa octobEr 2008 

5

The first Intelligent Controller 

in this price range 

from the designers of the Smart Console 

Smart AV has combined their patented ARC Technology with a huge 

22” (16:9) acoustic wave touchscreen to produce the most versatile 

and intuitive workstation controller yet. 

Super-fast Ethernet control of Logic Pro 8, Cubase, and Nuendo 4. 

Tango offers unique music and post-production features. Interfaces 

with other work stations will follow soon. 

12 fader Extension Bays become available in September for those 

who need more than 8 faders. 

from £3,790

from £11,270 

www.smartav.net 

from £7,080 

Tel: +61 2 9648 6744 Fax: +61 2 9648 6766 

Email: talktous@smartav.net Website: www.smartav.net

ecording news 

streaming news @ www.audiomedia.com 

NEW PRODUCTS 

Charter Oak Acoustic 

US-based manufacturers of hand 

assembled professional audio 

products, Charter Oak Acoustic 

Devices, showed three new products 

to the US market at this year’s 

125th AES show in San Francisco. 

Showing for the first time in the US 

will be the M900-T, SCL-1, and the 

Small Studio Collection. 

Charter Oak 

www.charteroakacoustics.com 

. . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

Madix Madi (AES-10) 

Engineering design firm Lab X 

Technologies has released the 

new MADIX (AES-10) Module, 

expanding its ever-growing family 

of MIX network interface modules. 

MADIX offers up to 128 digital audio 

channels and will operate as either 

master or slave. Lab X President, 

Lee Minich stated, "The MIX 

Module series is designed to help 

manufacturers minimise the cost and 

time to market involved in offering 

the networking technologies that 

end users are demanding today." 

Lab X Technologies 

www.labxtechnologies.com 

PRODUCT UPDATE 

M1 Tube Tracker 

TL Audio has announced 

that it will be launching a 

brand new version of its 

popular M1 Tube tracker 

console at the 125th AES 

convention in San Francisco 

this month. Combining 

analogue and digital 

technology, the modular 

console will be available in 

eight and twelve channel configurations, and hand built in England. 

The new M1-F will feature the same high quality tube preamps and 

styling, with additions such as an improved master section featuring a 

mono button for use when mixing, in addition to balanced insert points for 

mixdown, summing, and mastering. 

However, perhaps the most notable 

new feature being brought to the 

M1-F is its ability to be fitted with TL 

Audio's latest digital interface, the 

DO-F card, which is also due for release 

at this year's AES convention. The 

DO-F is designed to offer an easy and 

high quality solution for interfacing 

TL Audio's products with Mac- or PC-based DAWs via a single FireWire 

cable without the need for an additional interface or soundcard. Simple 

configuration and the ability to access all inputs and outputs of the analogue 

hardware via FireWire promise to make the system tidy and user-friendly. 

The DO-F interface is estimated to start shipping later this year, and can be 

ordered to be pre-fitted to the Fat Track or new M1-F consoles. 

TL Audio 

+44 (0) 1462 492090 

www.tlaudio.com 

NEW PRODUCT 

Fostex UR-2 

Fostex has released its new UR-2 stereo rack memory recorder, which 

records high quality audio to SD cards and USB drives. It is designed to be 

adaptable to a 

variety of playback 

requirements, such 

as stage sound 

reproduction, or 

as an installation 

playback device. 

This adaptability is provided by the UR-2’s options of ‘chain play’ and 

‘memory play’. Furthermore, the unit’s ‘timer play’ and ‘power on play’ enable 

automatic playback start, for chimes and repetitive announcements; features 

included for use in the installation audio industry. 

Fostex 

www.fostexinternational.com 

NASHVILLE 

AMS Neve Genesys 

AMS Neve’s new Genesys console 

has been presented to the Nashville 

market during a tour, 

with presentations to 

follow in other major 

markets. 

AMS Neve 

www.ams-neve.com 

. . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

Sonnet Tempo SATA Pro 

ExpresCard/34 

Sonnet technologies has 

announced the Tempo SATA 

Pro ExpresCard/34, a twoport 

SATA host controller 

that the company’s CEO 

claims will set “the new 

standard for host 

controller performance 

in mobile storage 

applications.” 

Sonnet 

www.sonnettech.com 

. . . . . . . . . . . . . . . . . . . . 

CALIFORNIA 

Smaart 

Sam Berkow of SIA Acoustics 

recently renovated Bruce 

Botnick’s California studio 

to great success with the 

aid of Smaart software. 

Botnick later commented, 

“He’s definitely a wizard, a 

true acoustician.” 

SIA 

www.siaacoustics.com 

. . . . . . . . . . . . . . . . . . . . . 

UNITED KINGDOM 

Ableton Live 

Ableton are launching 

a series of events across 

Britain, showcasing their 

revolutionary Live software to 

new and experienced users 

alike. Visit www.novationmusic.com 

for information regarding tour 

dates and venues. 

Novation Music 

www.novationmusic.com 

8 

AUDIO MEDIA OCTOBER 2008

ecording news 


NEW RELEASE 

Zaxcom Deva Mix-8 

Zaxcom has announced that the 

Deva Mix-8 will begin shipping 

worldwide this month. Combining 

the comfort of eight faders with a 

console compact enough for overthe-shoulder 

use, the Deva Mix-8 

has been referred to as “an exciting 

new concept in location mixing” by 

Zaxcom President, Glenn Sanders 

Zaxcom 

www.zaxcom.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCTS 

KMR Arsenal Audio 

London-based studio audio 

consultancy and equipment supplier 

KMR Audio has announced Arsenal 

Audio, a new line of affordable 

analogue signal processing products 

from API. The range consists of three 

new products; the R20 mic pre, the 

R24 four-band EQ, and the V14 

four-band VPR 500 format equaliser. 

Sales Manager Keith Malin stated, 

"Basically what you're getting is the 

heritage of outstanding quality, solid 

build and manufacturing, coupled 

with a price associated with home 

recording technology." 

KMR Audio 

www.kmraudio.com 

NEW PRODUCT 

DPA 5100 

DPA Microphones launched 

the DPA 5100, a mobile 

surround microphone for 

5.1 recording at IBC 2008, 

where it was demonstrated 

capturing the action of a 

game of table football. 

The stand-alone ‘plug and 

play’ 5100, which is primarily 

designed for HDTV surround 

sound production, can 

be mounted on a camera 

or microphone stand, suspended or handheld, and requires no additional 

signal processing. The 5100 also features pressure transducers with low 

sensitivity to wind and mechanical 

noise, and an override-able central 

channel. Also new from DPA are the first 

four microphones from its new 4099 

range; the 4099 Guitar, 4099 Sax, 4099 

Trumpet, and 4099 Violin. 

All 4099 microphones are optimised 

for a particular instrument family, and 

feature stable gooseneck positioning 

and gentle, discreet mounting solutions. 

DPA 

www.dpamicrophones.com 

NEW PRODUCTS 

Waves MV2 & MV360 

Digital audio processing specialist Waves has introduced two new dynamic 

processors to its product range; MV2 and MV360. MV2 sound controller features 

high and low level compression, and dual faders for dynamic optimisation. 

It is free to users of Gold, 

Broadcast and Production, 

Platinum, Diamond, and 

Mercury covered by 

the Waves Update Plan. 

MV360 surround sound 

dynamics controller 

features six channels 

of high and low level 

compression, and nine 

Link Modes. Following on 

from the M360, the MV360 

derives Quad, LCR, Stereo, and Mono mixes from a Surround mix. 

Users of Mercury and 360 Surround Tools covered by the Waves Update Plan 

can also download MV360° for free. 

Waves Audio US 

+1 865 909 9263 

www.waves.com 

NEW PRODUCT 

RØDE Blimp 

RØDE Microphones have released 

the Blimp, a new suspension 

windshield for use with professional 

shotgun microphones, complete 

with shock mounting. 

RØDE 

www.rodemic.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . 

SCOTT WIELAND 

Oceanus and Clarion Mics 

Producer Douglas 

Grean recently 

selected the new 

Oceanus LT-381 

and Clarion 

FC-357 microphones from Lauten 

Audio on Scott Wieland’s upcoming 

solo album. 

Lauten Audio US 

+1 877 721 7018 

www.lautenaudio.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

PreSonus FireStudio Driver (v3.3) 

PreSonus Audio Electrics has 

announced a new FireStudio 

Driver (v3.3) for the award winning 

FireStudio 26x26 Fire Wire 

recording system. 

PreSonus 

www.presonus.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

Metric Halo 

Metric Halo has released its new 

Mobile I/O ULN-2 Expanded Mic Pre, 

Processor and FireWire interface. 

Metric Halo 

www.mhlabs.com 

AUDIO MEDIA OCTOBER 2008 9

“At Envy our engineers and audio team 

have worked very closely with Scrub from 

design to support on every aspect of our 

audio technology, from Icon consoles to 

Dolby encoding, networked sound effects 

management to microphone stands. We 

see Scrub as part of the team.” 

Dave Cadle, Envy 

“Scrub understand the business we 

are in and the importance of topquality 

sound to our facility and our 

clients. We have the people, and we 

happily rely on Scrub to provide the 

technology.” 

Simon Kanjee, Evolutions 

“Throughout The Farm’s history, the 

Scrub team has worked hand-in-hand with 

our renowned audio department. From 

state of the art Pro Tools systems to the 

latest Dolby encoding/decoding hardware, 

we’ve always trusted Scrub to understand 

all aspects of our technology needs.” 

David Klafkowski, The Farm 

“Our clients demand the highest 

standards. In turn, we demand the same 

of our suppliers. Scrub have always 

delivered the audio expertise, a range of 

great technology and any support we 

need, consistently living up to their helpful, 

knowledgeable and supportive reputation” 

Jim Jacobs, Prime Focus London / blue 

www.hhb.co.uk/scrub 

Search details on more than 1700 leading audio products at www.hhb.co.uk/hhb/uk/products/

AUDIO TECHNOLOGY 

PARTNERS 

FOR POST 

From a single microphone to a 

full Icon surround theatre. 

The UK post production community 

relies on Scrub to design, supply and 

support technology for maximum 

creative and commercial impact. 

Contact Scrub at: 

Scrub - A division of HHB 

2nd Floor, 80 Berwick Street, London W1F 8TU 

Tel: 020 7025 6020 Email: scrub@hhb.co.uk

post news 


Diary of Events- 2008 

October 13-26 

ShowEast 

Orlando World Center Marriott, USA 

October 17-20 

Prolight and Sound 

Shanghai, China 

October 20-23 

SATIS SIEL RADIO 2008 

Versailles, France 

October 20-26 

LDI Institute & Backstage 2008 

Las Vegas, USA 

October 24-26 

LDI Exhibits 2008 

Las Vegas, USA 

November 5-8 

BIRTV 2008 

Beijing, China 

November 7-8 

SBES 

NEC, Birmingham 

November 13-16 

Tonmeister, 

Ludwigsburg, Germany 

November 19-21 

Integrated Systems China 

Hong Kong 

PRODUCT UPDATE 

Fairlight Dream II 

Fairlight has launched version 2.0 software for its CC-1 accelerated Dream II platform, 

delivering an array of new features for 

the professional user. New Fleximap 

software assists assignment to surface 

controls, with over two hundred premapped 

plug-ins. Fairlight’s major 

upgrade also boasts processing blocks 

that can be instantly rearranged 

in any order for each channel, and 

native processing performed in 36-bit 

floating point resolution by their FPGA 

engine, guaranteeing zero-latency and availability on every channel in the system. 

Also new from Fairlight is the option of the Xynergi Centre Section panel for the 

company’s popular Constellation consoles, bringing SLICK technology to the series. 

The first Constellation with XCS panel is now installed at Highway Television in Paris. 

Fairlight US 

+1 626 793 3940 

www.fairlightus.com 

HERTFORDSHIRE 

2nd Sense Picks Up S5 Fusion 

2nd Sense Broadcast has become the first 

company in the UK to install a Euphonix S5 

Fusion digital mixing audio system. The S5 

Fusion is a 24-fader, 78-channel system with 

EuCon DAW control of a Pyramix digital audio 

workstation, and is housed in Theatre A of their 

newly opened post house at Hertfordshirebased 

Elstree Film Studios. “We had pushed our 

current technology to the limit and needed 

to take a step forward, especially to meet the growing demand for 5.1 in broadcast,” 

explained Richard Sillitto, Senior Dubbing Mixer at 2nd Sense. 

Euphonix (US) 

+1 650 855 0400 

www.euphonix.com 

NEW PRODUCT 

SPL Goes Digital 

German analogue hardware processor 

manufacturer SPL plans to present its 

first software plug-ins, the Transient 

Designer and a set of three EQs, at 

this year’s AES 

Convention. 

Going digital 

marks the 

beginning of 

a new era in 

the company’s history. CEO Hemann 

Gier commented, “Latest methods for 

the high-precision modelling of circuit 

designs give us results beyond pure 

mathematical approaches.” 

www.soundperformancelab.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . 

SCI-FI SERVICING 

SonicPool In Search Of The Truth 

SonicPool has been signed to 

providing 

mixing 

servicing for 

the second 

season of the 

Sci-Fi Channel 

reality TV series Destination Truth. 

Brad Kuhlman, Executive Producer of 

the series, said, “Hunting for cryptozoological 

beasts can sometimes 

present our production team with less 

than perfect audio. But the guys at 

SonicPool somehow make it all sound 

so good you’d never know about our 

troubles in the field.” 

www.sonicpool.com 

media production centre 

Pure 

Inspiration 

record • edit • mix • create 

12 

Audio Media mag '08.indd 1 

AUDIO MEDIA october 2008 

4/2/08 6:37:45 PM

plug system 6000 

into your DAW 

PowerCore 6000: System 6000 plug-ins for your DAW. You now 

have the same award-winning algorithms used by high-end mastering 

studios and Oscar-winning sound designers all over the world. 

Imagine what you’ll be able to do with legendary classic reverb, 

vintage emulations and source-based reverb. You’ll have full access 

to MD3 multiband dynamics for no-compromise mastering, precision 

brickwall limiting and unsurpassed stereo to 5.1 conversion. 

Plug in for more power at 

tcelectronic.com/PowerCore6000

oadcast news 

NEW PRODUCT 

Sommer SC-AURA DMCK 

Sommer Cable has released its new 

compact multipair SC-AURA DMCK 

cable for permanent installation 

and mobile application. The cable 

is shielded in pairs and insulated 

with a guaranteed consistent 

surge impedance of 110Ω and 

a tolerance of ±3%, with each 

wire protected by an oxygen-free 

copper spiral. 

Sommer Cable 

www.somercable.com 

. . . . . . . . . . . . . . . . . . . . . 

MTV AWARDS 

HME Spans Five Wireless Acres 


NEW RELEASE 

Sennheiser MKE 1 

The Sennheiser MKE 1 professional clip-on microphone is now 

available. The tiny omni-directional mic measures just 3.3mm 

across and is designed to operate in harsh live conditions. 

Accordingly, the MKE 1 

can be provided with 

a multi-purpose cap 

to protect it from wind 

and divert moisture 

past the microphone; 

particularly useful for 

sweaty stage shows. The 

reliability afforded by this 

protection is reinforced by 

an acoustically open stainless steel membrane surrounding the 

capsule, in addition to all of the contacts being housed within the 

casing or the moulded coating. 

Sennheiser 

+44 (0) 7966 294877 

www.sennheiser.co.uk 

Innovative technology company 

HME was present at the 2008 

MTV Video Music Awards, where 

it supplied wireless intercom 

systems to the primary stage 

managers across three locations 

at Paramount Studios, spanning 

a total area of approximately five 

acres. The twelve HME PRO850 

systems involved overcame the 

distance by linking base stations in 

order to share common circuits. 

HME 

www.hme.com 

. . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCTS 

Calrec Audio at 125th AES 

Broadcast specialists Calrec 

presented a range of new products 

at the 125th AES, including several 

fixed format I/O units and the 

new Sigma console 

with Bluefin technology. 

The new fixed format 

units included a new 

8-SDI input de-embed I/O, which 

extracts up to 128 channels of 

embedded audio from as many as 

eight HD/SD streams 

Calrec Audio 

+44 (0) 1422 841310 

www.calrec.com 

14 

WIMBLEDON & OLYMPIC COVERAGE 

Events Have Vision 

Visions, the UK’s largest independent Outside Broadcast facilities 

company, has received the first batch of 

DK-Technologies’ award winning PT0760M 

Multi-channel Video Waveform Monitors. 

Six units were delivered ahead of the official 

August release date for use in the coverage 

of Wimbledon 2008. The units, serial numbered one to six, proved 

a significant success with Visions, and within hours of Nadal’s 

Wimbledon victory, these same six units were prepared for 

shipping to Beijing, for use in the NBC’s coverage of the Olympics. 

Continuing this success, DK-Technologies have supplied four of 

its MSD600M++ audio meters, loaded with DK’s new StarFish 

surround sound display, to sound design studio Wave. 

DK Technologies 

+44 (0) 2392 596100 

www.dk-technologies.com 

NEW RELEASE 

iZotope ANR-B 

Research-driven audio technology company iZotope are now 

shipping their ANR-B Adaptive Real-time Noise Reduction Unit, 

bringing the company’s renowned audio algorithm for adaptive 

noise reduction to a dedicated hardware unit for use in real-time 

broadcast applications. American public broadcasting producer 

WGBH Boston, commented, “Our reporters and guests are often 

interviewed in war zones and some of the most remote locations 

on Earth... iZotope’s ANR-B reliably and quickly removes ambient 

and path noise automatically, allowing us to focus on getting the 

interview completed instead 

of fiddling with controls to get 

usable audio.” 

iZotope 

www.izotope.com 


geo focus: 

Madrid’s Classic & New Upgrades With Fairlight 

The Classic & New Madrid team with Fairlight Constellation: (Left to right) Audio 

Post Production Technical Manager Quim Rubi, Sound Engineers Pepe Palomo 

(seated), Antonio Alvaro, and José Diaz. 

Classic & New Madrid has maintained its reputation for technical excellence 

by installing Fairlight Constellation large-scale digital recording, editing, and 

mixing systems into three of its audio studios. 

The facility, which was specifically set up to handle musical production, music 

and soundtrack creation, and sound post-production, installed the new systems as 

Meyer Sound Award Winners 

Five students of ESAMA (Superior School for 

AudioVisual Media) in Andalusia have been 

awarded the John and Helen Meyer Scholarship. 

The scholarship programme was announced in 

2007 by Meyer Sound Laboratories in conjunction 

with Meyer Sound España and ESAMA, to recognise 

the academic excellence of five first-year students. 

This year’s awards were presented to David 

Carrasco Santos, Manuel Lazaro-Carrasco Sierra, Jose 

Carlos Martinez Salas, Antonio Ramos Garcia, and 

Alonso Velasco Tavora, during the graduation 

ceremonies held at the Hotel Silken Al-Andalus. 

They each received a grant of €1,000 toward tuition for 

the following semester. 

Meyer Sound’s ever-expanding education 

programme now brings more than 100 seminars 

to 29 countries a year, covering topics that include 

line array technology, the use of acoustical 

prediction, sound system design, mixing, audio 

show control system programming, and source 

independent measurement. 

“Meyer Sound has supported audio education in 

Spain for years with its seminars,” said Nacho Sánchez 

of ESAMA. “Now, by establishing this scholarship, it 

has taken that proactive approach to the next level. 

We are most grateful, not only for the scholarship itself, 

but that there is a manufacturer so dedicated to the 

betterment of the audio industry.” 

“We’re very excited to be involved with a school as 

respected as ESAMA,” said Helen Meyer, Vice President 

of Meyer Sound. “These students are the future of our 

industry, and by supporting their education we can 

foster greater competency in a new generation of 

sound technicians.” 

Established in 2002, ESAMA offers a two-year 

curriculum emphasising studies in audio, video, and 

part of a general refurbishment programme. It has also invested in Fairlight’s Crystal 

Core Engines (CC-1) and integrated Pyxis SD non-linear video systems. This provides 

the facility with the very latest audio mixing technology, enabling it to offer clients 

a formidable combination of speed and functionality. 

Technical Director Quim Rubí says: “The new Constellations replace Fairlight 

Prodigy 1 (MFX) systems that were originally installed in 1999. The fact that we have 

always been very satisfied with Fairlight’s technology is a key reason why we have 

chosen this upgrade path.” 

All three studios are being networked via a centralised storage system that 

allows Classic & New Madrid to easily move and share media between each of the 

rooms. The new systems are located in Rooms 1 and 4, which are primarily used for 

advertising projects, and Room 2, which is a Dolby Certified 5.1 dubbing theatre 

that handles productions destined for the cinema screen. 

“This is a major upgrade for the facility and one that allows us to considerably 

speed up our workflow and accommodate changes in the post production 

business,” Rubí adds. 

Fairlight’s Spanish distributor Unitecnic, which handled the sale, initially installed 

one Constellation system into a demo studio at Classic & New Madrid so that 

engineers could undergo training. The permanent installations will be completed 

within the next few weeks. 

multimedia disciplines. ESAMA has a record of placing 

a high percentage of graduates into professional 

positions with leading companies such as Fluge, Radio 

Television Andalusia, and Isla Mágica. 

An Unusual Void 

Void Acoustics reports an unusual installation in Portugal, involving 

a club in a tunnel. Porto’s newly opened Gare Club features an 

all-Void system, installed by T2 Produção e Eventos, designed to 

deliver high impact sound throughout the club. The club’s main room 

occupies a 35m tunnel, just 6m wide with a ceiling height of 10m, with the 

system incorporating Void’s signature design, the triple-horn Air Motion 

speakers, as well as the Stasys 8 dual 18” horn loaded enclosures. 

Media Matters: Portugal 

Portugal’s commercial TV stations command a 

lion’s share of the viewing audience, and provide 

tough competition for the cash-strapped public 

broadcaster. Public TV services are operated by RTP, 

which enjoyed a monopoly on the airwaves until the 

launch of commercial channel SIC in 1992. 

Multi-channel TV – via cable and satellite – 

reaches more than two million homes, and offers a 

wide range of domestic and foreign channels. 

Public radio networks are operated by RDP. 

The Roman Catholic Church owns the widely-listenedto 

Radio Renascenca. There are some 300 local and 

regional commercial radio stations. 

VITAL STATISTICS: PORTUGAL 

FULL NAME Portuguese Republic 

POPULATION 10.6 million (UN, 2007) 

CAPITAL Abu Dhabi 

LARGEST CITY Lisbon 

AREA 92,345 km2 

(35,655 miles2) 

MAJOR LANGUAGE Portuguese 

MONETARY UNIT 1 euro = 100 cents 

MAIN EXPORTS Textiles and clothing, 

wood products, electrical 

equipment 

GNI PER CAPITA US $16,170 

(World Bank, 2006) 

INTERNET DOMAIN .pt 

INTERNATIONAL +351 

DIALLING CODE 

16 AUDIO MEDIA OCTOBER 2008

Spain & Portugal 

JBL Vertec Reinforces 

Rock in Rio… in Lisbon 

Brazilian sound 

company Gabisom 

Audio Equipment 

provided a massive JBL 

Vertec line array system 

at Rock in Rio, one of 

the world’s largest music 

festivals. The first in two 

series of shows, Rock 

in Rio Lisbon featured 

performances by Lenny 

Kravitz, Bob Dylan, Bon 

Jovi, Metallica, Rod Stewart, 

and Linkin Park. The second series 

of shows in Madrid featured Bob 

Dylan, Franz Ferdinand, Chris 

Cornell, Neil Young, Shakira, The 

Police, and Amy Winehouse. 

In both locations, Gabisom 

deployed a JBL Vertec system 

with four array locations for 

the main (World Stage) system. 

A total of 120 VT4889 largeformat 

line array elements and 

60 VT4880A Ultra Long Excursion 

subwoofers were deployed 

in the main suspend arrays. 

The main system consisted of 

four arrays across the front in the 

normal L/R 

(front), LL/RR 

( o u t f i l l ) 

configuration. 

Peter Racy, 

Gabisom Audio 

Equipment ’s 

Chief Engineer 

for Rock in 

Rio, explained: 

“The main PA 

was set up in a 

non-traditional 

and unusual 

manner, which 

we call ‘side-by-side.’ It was nontraditional 

for line array systems 

because of its mammoth size, 

and also unusual because it was 

intentionally designed to have 

a greater amount of acoustical 

output than usual.” 

Gabisom also provided six 

Digidesign Venue systems for the 

event, as well as an Icon D-Control 

for post production tasks. Four 

D-Show consoles and two 

D-Show Profiles were in service 

at FOH and monitor positions. At 

the same time, all performances 

were simultaneously recorded 

on dual Pro Tools|HD systems, 

creating preliminary mixes 

in real time using one of the 

D-Show Profile consoles, and 

remixing by artists’ request with 

a studio-quality environment 

on the ICON system and D- 

Control console. 

VITAL STATISTICS: SPAIN 

FULL NAME 

Presented by 

www.munro.co.uk 

Kingdom of Spain 

POPULATION 44.2 million (UN 2007) 

CAPITAL 

AREA 

Madrid 

505,988 km2 

(195,363 miles2) 

MAJOR LANGUAGE Spanish (Castilian), 

Catalan and its variant 

Valencian, Gallego 

(Galician), Euskera 

(Basque) 

MONETARY UNIT 1 euro = 100 cents 

MAIN EXPORTS Transport equipment, 

agricultural products 

GNI PER CAPITA US $25,360 (World Bank, 

2006) 

INTERNET DOMAIN .es (.cat for Catalonia) 

INTERNATIONAL +34 

DIALLING CODE 

Media Matters: Spain 

Broadcasting in Spain has witnessed a spectacular 

expansion in recent years with the emergence 

of new commercial operators and the launch of 

digital services. 

The cable and satellite TV markets are growing 

steadily, and a free-to-air digital terrestrial TV 

(DTT) service was relaunched in late 2005. 

The government aims to switch off of analogue TV 

transmissions by 2010. 

Home-produced dramas, ‘reality’ shows and longrunning 

‘telenovelas’ are staple fare on primetime TV. 

Public radio and TV services are run by RadioTelevision 

Espanola (RTVE), which is funded by advertising and 

state subsidies. As well as public and commercial national 

TV networks, there are 13 regional stations backed by 

regional governments and many local stations. 

Multi-channel TV is offered by the satellite platform 

Digital Plus. 


what’s up 

UK 

whatsupuk@audiomedia.com 

Cause For Collapse 

KEVIN HILTON wonders who will next become a casualty of the ‘Credit Crunch’ 

Tense, nervous headache Strange sense of 

uncertainty and an over-powering desire 

to give everything up and go to live in the 

woods That might have something to do with the 

over-use of such phrases as ‘economic down-turn’ 

and ‘global credit crunch’, combined with the sight 

of George Bush and Gordon Brown trying to work 

out how the hell everything fell apart so quickly 

and so dramatically. 

When economic woes strike everyone assumes 

we’re all at risk, if not doomed. But each company 

and individual has particular circumstances that 

makes them either vulnerable or more able to 

withstand harder times. Not that this stops people 

fretting, which most certainly they must have been 

doing in the UK post and audio businesses over the 

last few months. 

There have been high profile casualties since 

the end of last year, Videosonics among them. 

This prompted an industry friend to remark to the 

company’s co-founder, Dennis Weinreich, “If this 

can happen to you then it can happen to any of 

us.” Well, yes and no. In the last ten years or so, 

post-production facilities – stand-alone sound 

houses, one-stop shops, visual effects specialists – 

have fallen victim to a variety of ills, and each time 

the end of the entire market has been forecast. 

But Soho survives, and new companies open, 

and many old timers continue to run successfully, 

although, that adverb is relative. 

Despite foreseeing in 2006 that changes to 

the tax break rules for feature film production 

might pose ‘potential financial difficulties’, and so 

budgeted accordingly, Videosonics did not prepare 

well enough to cope with the true consequences 

of the situation and was forced into voluntary 

liquidation. Other facilities largely dependent 

on cinema work are still operating and, it is to be 

hoped, will withstand any choppy waters. 

The demise of video and compositing house 

Resolution at the end of last year was attributed to 

the company not making any money for the previous 

12 months due to rate-cutting by competitors, 

and the trend for production companies to go ‘DIY’ 

and use desktop systems in their own edit suites. 

But undercutting is the dark side of competition 

and has been a posting reality since the earliest 

days of the business. The use of in-house facilities 

have affected many companies, but there are still 

parts of the post chain that cannot be done by a 

standard computer program, including elaborate 

visual effects and surround sound audio dubbing. 

A lack of investment in new equipment and 

technology is another cause of collapse but often 

this is connected to, or caused by, other difficulties. 

As Ben Nemes at reseller Scrub points out, the 

management of many post houses still adhere 

to the old principles that have been supposedly 

lost in our ‘get it now’ credit culture by waiting 

until they can afford something before investing. 

Which explains why a great deal of gear is still 

leased today. 

But if a company puts off buying new kit, it 

falls behind its competitors and clients may go 

elsewhere, despite the skill of the operators. 

Sanctuary went down citing both low rates and 

difficulty in raising credit. Dennis Weinreich of 

Videosonics has also pointed to low programme 

making budgets in ‘a shrinking economy’. 

The gloom has continued with Pepper Post 

going into administration, despite, or perhaps 

because of, moving premises, investing in new 

technology, and taking over the audio studios of 

Future Post. The company has bounced back under 

new ownership, which is heartening in a general 

business sense, but probably not for creditors of the 

previous incarnation. There have been further signs 

of hope amid the darkness pervading life, which is 

almost so bleak I’m starting to think I’ve gone back 

in time and am ten years old again in 1973. I’m just 

waiting for a loud-mouthed, sexist detective to turn 

up and start giving me a hard time. 

Molinare was due to open new audio rooms this 

month in a re-build valued at £500,000, and now 

has a vision facility at Pinewood studios. Both have 

been made possible by the large funds available 

through the company’s new majority shareholder, 

Indian media group Century. And commercials 

sound design specialist Wave has opened a branch 

in Amsterdam, with plans for the future including 

facilities in the US or Shanghai. 

There is still bad news, of course – mastering 

house Alchemy succumbing in recent months has 

probably sent people in the business either straight 

to the bar or back under the duvet. The market 

seems to have polarised between big facilities 

that are either part of a media group or backed by 

equity money and ‘boutique’ operators working in 

small premises with a minimal number of staff, but 

the middle market has not disappeared completely. 

These are troubling times in so many ways and 

while there will undoubtedly be more casualties, 

just because a company is similar to one that has 

gone down does not mean it will go the same 

way. The only certainty is that economics is not an 

exact science. ∫ 

Introducing the new PortaGig. 

Glyph’s second generation PortaGig 800 can handle over 55 

tracks of 24bit/48k audio, with edits, running on FireWire bus 

power. Weighing less than 10 ounces, all this power is backed 

by Glyph’s Advance Replacement and Data Recovery Policies. 

Up to 320GB capacity 

(2) FireWire 800, (1) USB 2.0 port 

7,200 or 5,400 RPM SATA II drives 

Universal AC power supply included 

Store in a cool place.. 

Steyler Str. 121 D-41334 Nettetal 

+49 (0) 2157 870 22 32 

mrichert@glyphtech.com 

glyphtech.com 

18 

AUDIO MEDIA NOVEMBER 2005 


the 

APRS 

the professional 

recording association 

BULLETIN 

summer/autumn 

2008 

APRS Sound Fellowship 

Awards Lunch 2008 

The APRS is holding this year’s 

Sound Fellowship Awards Lunch 

at the Roof Gardens in Kensington 

on Wednesday 19th November. A special 

feature of the lunch this year will be the 

appearance of legendary personality and 

star musician Rick Wakeman who will 

be proposing one of toasts to the Past, 

Present and Future of the APRS. Rick, 

who is known for his library of anecdotes 

of his experiences as a session player 

since the 60s has even offered to give us 

a tune if there is time during the festivities. 

The nomination process for the APRS 

Sound Fellowships has been opened-up to 

the entire APRS membership. There are no 

specific categories of Fellowship – APRS 

Members are simply invited to choose six 

individuals who they think should be 

“Recognised for their special contribution to 

the art, science and industry of sound 

recording”. The focus should be on 

“achievement” and “innovation”. The 

nominees could be inventors, manufacturers, 

legendary studio engineers, maintenance 

Gods, producers, artists, managers, 

broadcasters - anyone at all who has had a 

positive impact upon the recording sector 

as a whole… and they don’t have to be 

close to retirement! 

Nominations, which should include the 

name of the proposed recipient, together 

with a brief description of why he/she is 

proposed, must be received no later than 

Friday 26th September 2008. Once the ‘full 

nomination list’ is collected it will be 

presented to a panel of qualifying members 

who form an ‘Awards Academy’. The APRS 

Board and other members who have 

expressed an interest in taking part in the 

Rick Wakeman 

Awards Academy process, will vote for their 

six favourite contenders. Any APRS 

member wishing to be considered as a 

participant in the Awards Academy should 

contact Francesca Smith before 26th 

September 2008. 

The APRS are extremely pleased to announce that Air and Strongroom Studios have 

recently become Corporate Sustaining Members. Managing Director, Richard Boote 

comments, “AIR and Strongroom represent a standard of service and quality in 

recording studios which I feel is becoming harder to find. 

At a time when music production budgets are declining and well established and respected 

studios are forced out of business, I believe the APRS brings top-class facilities together to ensure 

that the principles that have earned our industry respect worldwide are preserved and promoted. 

I look forward to working with the APRS in promoting this message, ensuring clients get value 

for money while technical standards are maintained.” 

Air & Strongroom 

Studios join APRS 

JOIN myAPRS NOW! 

myAPRS is a brand new site for everyone involved or simply 

interested in the professional recording industry. 

NETWORK - LIVE CHAT - INSTANT MESSAGING - GET HELP - 

LOOK FOR WORK… 

it’s what myAPRS is all about! 

go to 

www.myaprs.co.uk 

my.

IBC ‘08 Show Report 

Going Dutch 

IBC Review 

PAUL MAC selects a few highlights from the exhibition floor of the 2008 IBC, 

held in Amsterdam. Starting with unfeasibly large numbers of microphones... 

Of all the trade shows and 

conferences this year, the halls of 

IBC 2008 were among the most 

vibrant. This year the mood 

average was definitely up. Whether 

the world of broadcast continues 

to feed off the equipment 

markets like this over the medium 

term remains to be seen – the 

mitigating words of the moment 

were ‘credit crunch’, ‘advertising 

revenue’, and so on, though mostly 

surrounded with satisfaction at the 

show’s attendance. Indeed, there 

was a time when IBC and audio 

really didn’t seem to hit it off (the 

audio crouton in a big bucket of video 

soup); but this year, if you squinted 

a little, ignored anything with a 

lens, and mostly hung about Hall 8, 

you could almost believe that audio 

was everywhere. 

Square Head, Round Disc 

When asked the usual ‘have you 

seen anything good’, I couldn’t 

help getting verbose about a new 

product, from a new company. 

That product is AudioScope, by 

Squarehead Technology. 

Imagine a large disc suspended 

above your head (or above a 

basketball court, or football pitch, or 

skating rink...) with an array of 300 

microphone capsules (yes, 300), plus 

a wide angle camera in the middle. 

These 300 microphones make up 

the ‘super-directive array’ – one that 

can be steered to any position in 

the camera’s field of view with 

a polar pattern that’s simply 

amazing. -30dB attenuation at 

somewhere between eight degrees 

and 20 degrees either side, depending 

on your ‘focus’ preference. 

Now, that’s good, but add a 

couple of other things in. First, link 

the array and camera up to a dual 

screen control panel with trackerball 

– simply move a cursor over the 

area you want to listen to – the players’ 

conversation, the skates around 

the ice, anything you like. Set preset 

cursor positions, boundary limits, 

and more to aid the broadcast, and 

even lock onto a target and have 

the system follow it. 

Next, continuously record, with 

timecode, all 300 channels of audio 

from the 300 microphones so that 

whenever a replay is required, you 

can re-focus the audio by processing 

the raw array exactly as before. 

I’m not sure I need to spell out 

the usefulness and attractiveness 

of this kind of system in sports 

and event broadcasting, nor the 

potential implications for privacy, 

libel, and broadcasting standards 

rules. In-fact, there may have to be 

a whole new rule. But put this kind 

of focus inside the more ambient 

overall surround field of HD sports 

broadcast business and it has to be 

a viewer draw. 

Surround And About 

And then to surround. The current 

heavyweights – Holophone 

and Soundfield, both had new 

offerings (more in a mo’), but they 

were joined by DPA Microphones, 

which launched its new 5100 

mobile surround microphone. 

The 5100, which looks like a very 

small, triangular cushion, has both 

top and bottom mounting holes 

through the soft, smooth (squashy), 

weather resilient covering. 

This hides time coincident, directional, 

LCR miniature microphones 

(with interference tubes and acoustic 

baffles) and spaced omnis for left 

and right rears. The LFE is derived 

DK_MSD100C_Audio Media Qtr:Layout 1 6/2/08 16:26 Page 1 

from an attenuated LR sum, and the 

whole lot is provided as a complete, 

discrete, 5.1 output (Limo) with no 

additional processing required. 

The demo on the DPA stand was 

popular as it involved both a video 

of a sports car whizzing around a 

car park, and a live game of table 

football – with audio provided by 

the 5100. From the demo, you could 

hear a good front-rear balance and 

the advantage of directional front 

mics (especially relevant if you opt 

for camera mounting, for example). 

Holophone, on the other hand, 

showed the new H2 5.1 mic 

(the H2-PRO provides 7.1), with 

discrete 5.1 outputs, again with no 

processing required, and in the now 

familiar ‘egg’ housing with omnis 

all around. For the ultra-discerning, 

Holophone also announced the 

new H5-X, billing it as the ‘top in 

the Holophone line when it comes 

to sonic quality and sensitivity’. 

Soundfield had a development 

or three up its sleeves 

– one strictly microphonic, one a 

preview that shows exceptional 

promise for many fields of stereo/ 

surround broadcast and even post 

production, and another that’s just, 

well, a good idea. First was the 

production version of the 

long-awaited SPS200. It’s the 

familiar Soundfield array of 

four microphones but in tiny 

package for convenient singlecamera 

(or even no-camera) 

location recording. Rather than 

having a bulky bit of hardware to 

decode the B-format, the SPS200 

comes with the cross platform 

(PT HD or VST) Surround Zone 

decoder plug-in. 

More intriguing though was a 

run-through I got in-front of the 

‘in-progress’ UPM-1 ‘upmix processor’. 

Intended for HD broadcasters 

who want an acceptable 5.1 

up-mix of stereo material for 

use inside HD programming, 

it certainly has a promising set of 

controls, including ‘Ambient Sound’, 

‘Direct Sound’, ‘Width’, and ‘Front 

Divergence’, which suggests there 

is some very clever stuff going on 

inside to derive those controls from 

the mush of stereo material. 

I did ask about the possibility 

of pre-sets, but at that moment it 

wasn’t implemented. Even without 

that though, it should turn a few 

heads, and not just in its target live 

broadcast market, I suspect. 

For simplicity though, the new 

Soundfield SMP200 is hard to 

beat – a set of four gain matched 

pre-amps in one box thanks to a 

ganged master gain control and 

matched, simultaneous pre-amp 

facilities. Intended primarily to 

support the SPS200, the box can be 

used with any microphones when 

matched gain control is critical. 

Current thinking on a release date 

is November. 

Microphones, Continued 

Had enough new microphones 

Not yet. Sennheiser was also in 

with its new MKE 1 mini microphone. 

And it really is miniature. 

The capsule has a diameter of only 

3.3mm but is built for high quality 

speech applications where small is 

beautiful (theatre, TV, conference, 

and so on). It’s shipping now (I 

brought one back for a forthcoming 

AM review), and it comes with a 

whole variety of caps (acoustic and 

protective), plus a clip mount. 

Also along the microphone 

theme, Rycote showed two new 

(and bigger) additions to its in- 

> 

“Solutions in Audio & Video” 

Features 

• Economical, 

dedicated loudness meter 

• AES3 & Stereo Analogue Inputs 

• Meets Loudness Standard ITU BS1770 & 1771 

• Software upgrade also available for MSD600m++ 

including graphical display and PC interface. 

20 AUDIO MEDIA OCTOBER 2008 

Email: info@dk-technologies.com • Web: www.dk-technologies.com • Tel: +45 4485 0255 • Fax: +45 4485 0250 

DK-Technologies A/S, Marielundvej 37D, Herlev DK-2730, Denmark.

vision range of ‘lyre’ shock 

mounts with the INV-9 and 

INV-10 models. The INV-9 

is designed for the usually 

hand held shapes of SM57/ 

SM58-type mics (also the 

Neumann KMS105), while 

the INV-10 is specifically 

IBC Review 

aimed at the Sennheiser 

MKH range. Also new from 

Rycote was a range of mini 

Windjammers for the ever 

widening handheld recorder 

market, so reporters are not 

left out when it comes to 

elemental protection. 

Yellowtec showed a preliminary 

version of its answer 

to the HHB FlashMic – a traditionally 

shaped handheld 

microphone with a recorder 

and USB interface built in – 

called the iXM. In this case, 

it’s a beyerdynamic capsule 

(though with interchangeable 

heads), ‘intelligent level 

setting’ (no AGC, apparently 

– though I’m still not exactly 

sure what the difference is 

yet), line input, record markers, 

low-noise buttons, dual 

power sources, and standard, 

interchangeable SD 

card support. 

Too Loud, Man 

One mini theme that came 

up at IBC in the audio 

department was the new 

recommendations from the 

BCAP rules on perceived 

differences in loudness 

between programmes and 

adverts (though not idents 

and promos, incidentally) 

and a feeling that the 

new rules might be a little 

‘woolly’ – leaving broadcasters 

scratching broadcaster 

heads. ITU recommendations 

for perceived loudness 

are mentioned though, so 

DK Technologies was keen 

to show its new ‘solution to 

the loudness issue’. 

The MSD100C Loudness 

Meter is a standalone unit 

that incorporates the ITU 

BS.1770 and BS.1771 algorithms 

and, according to DK, 

“provides accurate loudness 

matching of audio from a 

number of different sources 

and offers a selection of 

working modes.” 

Also in the broadcast 

checking arena were a few 

new tools from Sonifex. The 

RedBox RB-TGHD unit is a 

new multi-channel HD tone 

generator for line identification 

and level checking. It 

uses both the BLITS (Black 

And Lane’s Ident Tones 

For Surround) tones, and 

the GLITS (Graham’s Line 

Identification Tone System) 

tones, as well as EBU R49 

stereo line-up and channel 

ID, plus a phase check. 

There are analogue and digital 

variations, plus optional 

sync reference cards. 

There was yet more confidence 

boosting from Sonifex 

with a new line of 1U rackmount 

monitors with builtin 

loudspeaker monitoring 

and metering of up to ten 

stereo audio sources. 

Free Stuff 

Sound Devices, known for its robust 

and high quality location equipment, 

had a busy stand at IBC, with people 

looking over the new 788T eighttrack 

recorder. The additional I/O 

and, apparently, a whole new digital 

architecture, comes with a 160GB 

internal SATA drive and also supports 

Compact Flash cards and external 

FireWire mass storage devices. 

In addition the company showed 

its new CL-8 controller for the 788T 

with eight large rotary faders for the 

eight inputs, plus control over various 

input settings and assignments, and 

a solo facility. 

Lastly, Sound Devices showed 

an updated version of its free crossplatform 

Wave Agent utility software, 

with file playback, metadata 

editing, PDF report generation, 

batch conversion of .Wav types 

between polyphonic and mono files, 

frame-rate modification, and large 

timecode, actual time, and remaining 

time counters. Not bad for nowt 

With a more front-line 

theme, Sonifex also showed 

its new RB-MTV1 voiceover 

Monitor With Talkback. It’s 

for voice-over, commentary, 

and continuity booths, and 

includes four inputs, two 

outputs, a mono microphone 

input (XLR), and a 

well-featured pre section, 

with various routing and 

monitor mixing to suit most 

applications. 

DAW To DAW Sales 

For consoles IBC wasn’t quite 

as frantic as PLASA, but it 

did have a few new things. 

First, I wandered onto the 

Studer stand and asked, as 

I think probably others have 

before, when Studer was 

going to do the right thing 

and introduce DAW control 

via the Vista surfaces. 

Andrew Hills was able to 

usher me straight over to a 

Vista and proudly point out 

the Pro Tools system on the 

stand with its fader control 

taken care of by that Vista. 

The implementation is HUI, 

and is currently limited to 

32 faders, but apparently 

you can define multiple 

systems, each with 32 faders. 

Once that excitement 

had subsided I was treated 

to another new enhancement 

of the Vista system 

with complete routing and 

control flexibility across networked 

consoles – multiple 

Vistas can take control of 

other inputs on other consoles 

remotely with routing 

being taken care of centrally, 

and a simple but effective 

system of priorities so you 

can never be accused of 

stealing inputs. So – central 

control from the main 

console of a smaller satellite 

console without operator It 

has possibilities... 

Lawo wasn’t standing 

still either. It showed the 

new Crystal system, which it 

bills as ‘the ideal mixing console 

for broadcasters who 

want to be on air – now’. 

It’s characterised by a slim, 

compact control surface, 

plus a system core that fits 

into a 1U rack, the VisTool 

touchscreen software with 

additional functionality (timers, 

snapshots, DSP, levels, 

and logic interfacing), and 

optional modular panels 

with a variety of additional 

controls and indicators. 

Calrec had travels on its 

mind with the launch of the 

new Flypack version of the 

Omega with Bluefin console. 

ll of the DSP, power supplies, 

and I/O fit in a double rack 

unit so the console can sit 

on top, and there are minimal 

connections to be made 

to get the whole system up 

and running. 

Fairlight, meanwhile, 

showed V2 software for its 

CC-1 accelerated DREAM II 

platform with a huge number 

of new features including 

extended media import, 

convert and export formats, 

real time video playback, 

record, cut, copy, paste, 

and conform up to uncompressed 

HD, SD to HD upconvert, 

watermarking, 192 

sample accurate audio playback 

and mixing (96 track 

simultaneous record), and 

more. Quite a leap. ∫ 


GEFELL UM 930 

Large Diaphragm Dual Capsule FET Studio Microphone 

A top price tag for a top mic; 

ALAN BRANCH demands the 

very best from the new UM 930. 

THE REVIEWER 

ALAN BRANCH is a freelance 

engineer/producer and ex-member 

of the On U Sound Crew. His long 

list of credits include Jamiroquai, 

Beverley Knight, M People, Simply 

Red, Depeche Mode, Shed 7, 

Sinead O’ Connor, Bjork, and Sade. 

www.alanbranch.com 

Yes, it’s the old, ‘what mic should I use/buy’ 

question again… I took hold of the 

opportunity to try out the Gefell UM 

930, a large diaphragm capsule FET studio 

mic, coming from a company whose history 

includes the birthplace of the condenser 

microphone, invented and named by Georg 

Neumann himself. 

After all, ask any professional engineer 

worth his salt and he’ll tell you how a well 

placed quality mic can bring a sound that’s 

not only pleasing to the ear but a pleasure 

to work with. Imagine sound as a sculptor 

would clay, shaping and moulding into 

something stunning for the song, rather 

than something quite nasty you’re trying to 

repair to make fit. Ask any of these engineers 

for a mic recommendation, and the most 

common answer would be, ‘the best you can 

afford’. That’s not to say that every recording has 

to be squeaky clean; it’s the dirt and roughness 

of a 57 or a cheap mic that is often the magic in a 

track, but when you want a mic that will capture 

so well even your breath sounds good, then you 

need something with lots of reach and a super 

smooth, almost noiseless sound. 

The UM 930 from Gefell incorporates a low 

self noise of 7dBA, a respectable SPL of 142dB, 

and offers five polar patterns – omni, wide cardioid, 

cardioid, hyper cardioid, and figure-of-eight, selected 

by gripping the three prominent rubber bands fitted 

into the ring above the etched pattern shapes; and 

includes a muting function and operation green 

LED when switching between patterns, operated 

by what Gefell call ‘maintenance-free reed relays’. 

The feel and operation of switching 

patterns immediately shows the 

quality of this German design, like 

the impression you get when you 

first pick up this weighty mic. It has 

a surprisingly heavy weight for its size, 

although it’s no small mic at 158x65mm. 

The UM 930 can be supplied with 

a variety of options. It comes as a 

standard studio condenser in Satin 

Nickel or a Dark Bronze, with a side 

integrated shock mount elastic suspension, 

or more traditional cradle type suspension, 

in either a wooden or aluminium case. 

It also comes as a twin version (UM 930 

Twin), an ingenious idea of a mic with two 

outputs via a five-pin XLR, having one capsule 

fixed cardioid, whilst the other has the five 

selectable patterns. This gives an instant 

comparison of polar patterns to the standard 

cardioid when recording, while recording 

NTG-3 

THE EXTREME LOCATION MICROPHONE 

All The Performance. Half The Price. 

Like the current high-end shotgun mic of choice among professional sound recordists, 

the new Røde NTG-3 is almost entirely moisture resistant, and equipped to deliver 

impeccable results in the most extreme conditions. The difference is, it’s half the price. 

Full range of boompoles, pistol grips and windshields also available 

True Condenser (Externally RF biased) 

50% less noise than most shotgun microphones 

Extremely low handling noise 

Weighs in at just 163g 

High level of immunity to RF interference 

100% designed and manufactured in Australia 

£449 

SSP INC VAT 

UK distribution by Source • Find a dealer at www.sourcedistribution.co.uk/rode • T: 020 8962 5080 

22 


12kHz, all dependant on polar pattern and any 

proximity effect going on. In practice this means 

a low noise, full sound, with lots of punch to both 

ends of the spectrum. 

In use, the mic gave all of the quality expected, 

with that lovely air and clarity from a well 

engineered and precision instrument. One singer 

who tried the mic said that it really inspired him 

to sing even better, as he hadn’t heard his voice 

so clearly before. I also asked other engineers to 

give it a whirl, and all came back with a glowing 

impression of a mic of incredible quality. The UM 

930, whilst having a lovely top end sizzle, seems 

to have a natural response even through off-axis 

where I’d normally expect some colouration. 

Conclusion 

In summary, if it wasn’t for the recent 

flood of cheap, good quality alternatives, 

the price of this mic wouldn’t seem that high. 

However, Gefell have brought to us a well thought 

out and manufactured top end microphone, 

from one of the original homes of the condenser 

microphone. Given the budget, the UM 930 is 

about as good as it gets. ∫ 

.................................... 

INFORMATION 

£ UM 930, with MH 80 single axis swivel 

mount version GB£2,535.00. 

UM 930 SCT +GB£158.00. 

UM 930 Twin, with MH 80 single axis swivel 

mount version GB£3,316.00. 

A Microtech Gefell, George-Neumann Platz 

D-07926, Gefell, Germany 

T +49 366 49 882 0 

F +49 366 49 882 11 

W www.microtechgefell.com 

E info@microtechgefell.de 

A Sound-Link Marketing, 3 Kings Grove, Barton, 

Cambridge, CB23 7AZ 

T +44 1223 264765 

W www.sound-link.co.uk 

E gefell@sound-link.co.uk 

Orpheusrock122x173.qxd 28/05/2008 10:15 AM Page 1 

both signals of cardioids front and rear means 

you will also be able to change patterns in post 

production, simply by differing gain levels on the 

mixing console. As an example: both outputs set to 

0dB will sound omni, phase reverse one side will be 

figure-of-eight, reducing one side by 10dB will 

sound wide cardioid, etc. 

Another version of the mic includes a Sound 

Check Tool (UM 930 SCT). This is a 1kHz level check 

74dB tone, generated by the mic when the polar 

switch is left in between patterns for more than 

four seconds – very handy when checking a studio 

setup on your own. If that’s not enough for you 

there is even an option of changing the black 

rubber selection rings to different coloured rings 

(green, red, or blue), a great idea for identifying 

large multi-mic setups. 

Reading these options I was already impressed 

before I’d even plugged it in – but then it should 

be impressive for this price. As the saying goes ‘you 

get what you pay for’ (but unfortunately, often we 

don’t). Once plugged in and powered up, the 

green LED shone through the grille at the base 

of the mic, an even better reminder for people 

to get the mic around the right way. The UM 930 

is a universal application mic, suitable for almost 

anything: guitars, percussion, strings, vocals being 

the most common. Looking at the polar patterns 

in the manual shows no real low end roll off, and 

a consistent lift between 2-11kHz with a peak at 

WHO ARE GEFELL 

Gefell, a town in the former East Germany, was the 

location for Georg Neumann's factory in 1943. After the 

war he returned to Berlin to set up a small workshop 

for repairs, later to become known as Neumann Berlin. 

But in 1961, when the Berlin wall went up, the company 

was divided since Gefell remained in the East Zone, and 

communication between the split company was halted 

until 27 years later. Georg Neumann's original company 

had been nationalised and renamed, but development 

of microphones had continued. 

Still building each mic by hand, it's now known as 

Microtech Gefell, and is now run by Jochem Kühnast, 

the son of Georg Neumann's original manager Erich 

Kühnas 

prismsoundrecording 

With unbeatable sound quality, state-of-the-art 

clock technology, low-latency, flexible monitoring 

for control room or foldback... 

...Orpheus by Prism Sound is the 

professional’s choice. 

Orpheus - the ultimate professional 

FireWire audio interface by Prism Sound 

THE ULTIMATE PERFORMER 

+44 1223 424988 

+1 973 983 9577 

Contact us now to arrange your demo 

www.prismsound.com/orpheus 

Email: sales@prismsound.com 


The latest update of Cubase 

introduces new technologies 

and suggests new directions 

for the Steinberg line. RICHARD 

WENTK finds out more. 

There was grumbling, if not quite outrage, about the 

release state of Cubase 4 from many users. The good 

news about 4.5 is that stability seems to have been 

improved. It’s taken a while, but 4.5 seems to have most of 

the robustness of the popular but now outdated SX3. 

Elsewhere the list of new features spans 

thirteen pages. Pride of place has gone to very close 

links with Yamaha’s new hardware series of outboard 

DSP, mix control and keyboard controllers. 

almost anything that can be managed, storing presets 

under a variety of descriptions. This can be more useful 

in theory than in practice – trying to file the patches 

on even a small collection of VSTs can eat your brain 

alive and become a full time occupation in its own right. 

But this still has the potential to be a useful feature if 

you’re selective about patch management and don’t try 

to cram everything into your library. 

STEINBERG CUBASE 4.5 

Music Production System 

THE REVIEWER 

RICHARD WENTK is the owner 

of Skydancer Media, a digital 

production company providing 

sound, image, design and 

consultancy services to various 

clients in London and the 

West Country. 

There isn’t room here for a full review of 

all the new options, and the quality of the 

hardware add-ons will have to stand – or 

fall – on its own merits. If you already have 

a sizeable investment in existing hardware, 

it’s likely that only the external DSP and I/O 

boxes might tempt you. They add direct 

acceleration of certain VST 3 plug-ins, 

improved outboard reverb and an optional channel strip, 

and eight mic pres. But VST Link is still available, and you 

may find it’s easier – and possibly more economic – to buy 

an extra PC or Mac to offload some of the processing than 

to buy the new accelerator options. 

VST Sound – the Cubase patch filing system – 

has been extended to manage any sound from any 

software or hardware synthesiser. You can now manage 

adAT4050(audio media)186x129mm.qxd:Mise en page 1 9/06/08 16:18 Page 1 

Sampling The Bread And Butter 

Cubase 4.5 includes a massive new sample collection. 

There’s a Motif-ish library of bread and butter musical 

samples for the included Halion 1 sampler, with the usual 

guitars, basses, drums, pads, and effect blips and bloops. 

Not just one but two grand piano sets are included, 

as well as the inevitable collection of loops – this one 

from Big Fish Audio. Cubase is now compatible with 

the budget Sequel loop sequencer, and can also 

load Sequel content sets, like Rock, Hop Hop, Industrial, 

and more. 

Environmentally Friendly 

More professionally, MediaBay has been expanded 

making it easier to manage sample libraries and projects. 

There’s also a pattern based playback mode for 

AT4050: 

created by one, 

used by everyone. 

Before a product becomes so legendary that it is used by everyone, someone has to create it. 

When Akino-san, an employee of Audio-Technica for many years, spent hundreds of hours on 

the creation of the AT4050, he was working to obtain the AT4050’s superb quality of sound 

reproduction. 

Not only did he succeed in his ambition, but today, the AT4050 is used all over the world in a 

wide variety of applications, from recording studios to live sound to broadcast. 

And when he’s not creating legends, Akino-san loves the serenity of fishing. 

Audio-Technica’s range of studio microphones start from just £100*. To find out more, email 

info@audio-technica.co.uk or telephone +44 (0) 113 292 0463. 

*AT2020 suggested retail price 

www.audio-technica.com 

24 

AUDIO MEDIA OCTObEr 2008

experimental arranging and even more 

experimental live use. It’s not quite an 

Ableton Live killer, but it does make 

Cubase a more creative environment. 

On the plug-in front, there’s now very 

welcome sidechain support for VST3 plug-ins. 

The distortion, chorus and Roomworks reverb 

plug-ins have been updated, UV22HR dither 

makes a reappearance, and there’s a new dualfilter 

HP/LP effects, ideal for those filtered loop 

DJ effects. The VST system has been expanded 

with improved compatibility for legacy plug-ins, 

which also means that 32-bit VSTs, including both 

effects and instruments, can be run in Vista 64. 

Mac users can run PowerPC plug-ins on newer 

Intel hardware. 

Musically Supportive 

As a footnote, Cubase now supports MusicXML, 

which is a music notation meta-format designed 

to make it easy to import and export music 

notation between different editors. This could 

be more significant than it sounds, because there 

are now many applications that can scan sheet 

music and convert it to MIDI and/or sequencer 

files. With MusicXML it becomes much easier 

to scan sheet music – including complete 

orchestral scores – and convert it into an instant 

MIDI arrangement. 

It’s still not possible to replace instruments in 

one of the VST Instruments window slots without 

having to reassign them to a track. Creating a 

new track for a VSTi mutes the MIDI record for 

the track above it. And overall the Cubase routing 

system isn’t a model of straightforwardness. 

Also, Cubase now does so many things, with 

patching, filing, searching, content management, 

patch management, synthesis and processing, 

accessed through so many windows and levels 

of interaction, it sometimes felt as if it was about 

to implode under its own weight. Some of this 

might be inevitable, but there are times when it’s 

tempting to wonder if a simpler approach might 

not be possible. 

Shopping Is Optional(ish) 

Steinberg is trying to differentiate Cubase from 

Nuendo, although in fact many of the new Cubase 

4.5 features have also been added to Nuendo 4.2. 

Under the surface the similarities remain more 

obvious than the differences. Project studios 

and smaller facilities can certainly use Cubase 

as Nuendo-Lite for many post applications. 

Nuendo has better automation, plays better 

with professional video hardware, and offers 

much better network and file management for 

collaborative projects. But for basic music and 

sound editing, and synchronisation to file-based 

video, the differences may not be critical. 

Conclusion 

Existing users will of course want this upgrade, 

especially because all of it including the new 

sample libraries is available as a free download. 

For newcomers, Cubase continues to hold its 

own in the high end of the prosumer and project 

studio sequencing market. It’s still one of the 

better sounding sequencers, especially for PC 

users, and in trained hands it remains more than 

capable of professional results. ∫ 

 

 

 

 

.................................... 

INFORMATION 

£ Cubase 4 GB£473.16 (inc.VAT) 

Upgrade from 4.0: Free to registered users 

A Steinberg Media Technologies, Neuer 

Hoeltigbaum 22-32, 22143 Hamburg, Germany 

T +49 (0) 40 210 350 

W www.steinberg.net 

 

 

 

 

 

 

 

 

 

DPA 4017/4080 JP AudioMedia.indd 1 27/08/08 15:04:42 

AUDIO MEDIA OCTOber 2008 25

ADK CUSTOM SHOP 

HAMBURG II-AU & VIENNA II-AU 

Stereo Pair Microphones 

High-end materials and 

handcraftsmanship combine 

for two premium mics, 

says RUSS LONG. 

THE REVIEWER 

Over the last decade RUSS LONG 

has authored over 100 articles 

and equipment reviews for Pro 

Audio Review. 

There are a lot of companies making their business by 

importing cheap Chinese capsules, throwing them 

into budget casings, and selling them for bottom line 

price tags. On the surface their small price tags make them 

appear to be a bargain, but when you compare their quality 

(both sonic and mechanical), they aren’t such a good deal 

after all. For some reason I had always believed that ADK was 

one of these companies, but after using its products for 

several months now, I realise how wrong I was. 

ADK handcrafts microphones with modern electronics 

that replicate the sonic timbre of the classic Austrian, 

Danish, and German microphones of yesteryear. 

According to ADK, its methodology is based on the Henry 

Steinway idea to marry the craft of woodworking with the 

theories of physicist Hermann Helmholtz. ADK morphed 

this idea into the model of a continuous feedback loop 

between artists, sound engineers, and design engineers 

ultimately resulting in the ADK Custom Shop. ADK Custom 

Shop currently has facilities in Belgium and the US, with 

plans to add Canada and the UK shortly. 

In addition to microphones, the ADK Custom 

Shop offers a microphone preamp and a compressor/ 

limiter that each employs a unique modular platform 

allowing the user to easily swap discrete op-amps and 

transformers. I was grateful to have a couple of channels 

of CLA-1 compression to use along with the Vienna II-AU 

and Hamburg II-AU mics for the review period. 

Features 

Visually, the Hamburg II-AU and Vienna II-AU mics are 

identical, the only difference being the 

model number printed on the front 

of the mic. The mics have a beautiful 

matte nickel finish reminiscent of a 

classic Neumann microphone. They are 

cylindrical measuring two inches by 

8.25 inches, and they can be purchased 

individually or as a stereo pair. 

Both the stereo pair and the individual 

mics ship in a briefcase style carry case 

that protects the mic and carries all of 

the accessories. The stereo pair case 

carries the two microphones, a pair 

of standard mic mounts, and a pair of 

shockmounts. The single case carries 

the microphone, a standard mic mount, 

a shockmount, a foam pop filter, and a 

gooseneck-style pop filter. 

The ADK Hamburg II-AU and the 

Vienna II-AU microphones feature twoway 

attenuation pads (8dB and 16dB) 

and high-pass filters (100Hz or 160Hz). 

They each have a typical equivalent 

noise level (A-weighted per IEC 286-4) 

circuit that gradually 

saturates the signal 

(most condenser 

microphones clip 

abruptly). 

The ‘AU’ in the 

microphone’s model 

numbers reflects 

the fact that they 

now boast a special 

Australian-designed 

(yes, Australian, not 

Austrian) capsule in 

addition to British 

Oxford transformers, 

and high-end Phillips 

Norelco Uber-FET. 

The mics operate on 

48V phantom power, 

have a sensitivity of 

10 mV/Pa= - 40dBV 

(Hamburg) and 13mV/ 

Pa = -38dBV (Vienna), 

and have a typical 

equivalent noise level 

(A-weighted per IEC 

286-4)

Jason Ouzts owns and operates TreeFall Productions, a 

busy audio post facility in the bustling secondary US audio 

production market of Charlotte, North Carolina. As a 

sound designer and audio mixer for all sorts of audio-for-video 

gigs, Ouzts spends many of his days working on long-form 

video gigs as well as television network programming and 

corporate video projects. To say it another way, Ouzts can do, 

and does, it all. 

His broadness of scope came in quite handy this past 

spring when he was asked to ‘round out’ the mix for an 

ambitious independent gothic horror film entitled House 

Of Fallen, starring Corbin Bernsen and C. Thomas Howell. 

The film’s Writer/Director/Co-Producer Robert Stephens 

reached out to Ouzts for his assistance after the film’s 

mix wasn’t hitting the spot. “He had cut it, finished it, and 

had some sound work done, but he really wasn’t happy 

with it,” explains Ouzts of the beginnings of the project. 

“The music was done very well by Bill Grishaw, so he was 

looking for someone to help him round it out and take it 

to another level. I got on board, and we ended up having 

to re-edit all the dialogue, did the Foley and sound effects 

– we ultimately did everything.” 

ambiences, using some noise reduction tools to enhance 

dialogue and used stock sound effects and ambiences to fill 

it out.” 

Most notably, dialogue was a problem in some scenes shot 

on the beach. “They were right next to the ocean, and there 

was one particular actor that liked to talk very softly,” offers 

Ouzts with a chuckle. “That was a problem area and probably 

should’ve been ADR’ed. However, we were able to pull some 

of it out, used stock ocean sound effects to mask some difficult 

situations, as well as Waves Z-Noise plug-in to clean up the 

dialogue while minimising artifacts.” 

Dialogue Resuscitation Is 

A Learned Skill 

Charlotte is a city that thrives on banking and NASCAR racing, 

not necessarily in that order. Thus, Ouzts works quite a 

bit on audio post projects that involve racing, which also 

means he has learned, quite well, how to find salvageable 

dialogue amongst the roaring, midrange-masking sounds 

of revving Chevy, Ford, and Dodge engines. 

“Here in Charlotte, we have the Speed Channel and other 

NASCAR-related things going on,” Ouzts explains. “So, a lot of 

HOUSE OF FALLEN 

Getting the audio right meant more than simple audio 

quality, explains Ouzts; it brought about contextual clarity. 

“That was the straw that broke the camel’s back,” he explains of 

the haphazard original mix and audio post work. “Robert was 

saying things like, ‘I’m not exactly sure what I want to do here, 

but this isn’t working.’ I recognised some key things to make 

it happen and become more believable; the scenes really 

needed to be sold, so we really needed to add the ambience 

that wasn’t there to begin with. I really needed to add more of 

the scene elements that weren’t there.” 

At this point, Ouzts prioritised the clear needs of House 

Of Fallen: clear dialogue, believability, and a sense of place. 

“This film doesn’t have a lot of special effects; it’s very dialogue 

driven,” he offers. “But it still needs to be believable. People 

need to feel like they are in the scene; they need to be sold 

before they can grasp the horror aspects of the film.” 

Devilishly Difficult Dialogue 

After wrapping production in and around Virginia Beach, 

Virginia, Stephens found that his dialogue tracks left 

much to be desired. More accurately, the tracks may have 

even left a bit too much to be desired within the tracks 

themselves – mainly environmental noise. 

“The dialogue was a challenge,” understatedly offers 

Ouzts. “There were some spots that really needed ADR, but 

the budget, unfortunately, couldn’t handle that. Yet most of 

the production dialogue was pretty good. Sure, there were a 

few situations where it could’ve been a bit better, but there’s 

difficulty when out in the field, as we all know. We ended up 

using the OMF that they originally cut on an AVID, taking 

the dialogues from there. I was able to pull in a little bit of 

the ambiences from the locations, but I mostly pulled out 

times, I work on films for racing subjects. Those budgets are 

often difficult, and it’s a one-man show that goes out and gets 

the fieldwork and doesn’t pay a lot of attention to the dialogue 

he gets to tape. It’s really difficult to pull dialogue out of the 

recording, yet we can’t even do ADR for it. We really rely on 

the technology available to us to help us along.” 

Where Is It Going 

Part of the goal in mixing an independent film such as 

House Of Fallen, explains Ouzts, is knowing what the 

final viewing format will be and approaching the project 

accordingly. “It was a tricky one for me because the 

Director wasn’t sure where the final destination was,” he 

explains, surely adding a bit of extra excitement to the 

project. “My intention was that we were going to put it to 

the DVD market, and that’s how we were going to mix it. 

If it is ultimately taken to more of a film environment – as a 

feature in the theatre, for example – then we may have to 

address a couple of things. Overall though, I think the mix 

translates quite well to a number of environments; when 

the Director had a screening in a theatre, it worked!” 

When pressed, Ouzts admits that there are some 

elements he would re-address when/if the film hits the big 

screens: “Some of the panning, definitely. I did some extreme 

left and right panning, which could be more of an issue in a 

bigger theatre.” 

Building The Perfect Beast 

While the story must be a gripping one, the necessary 

excitement within the horror/suspense genre cannot 

rely upon story and character dialogue alone. It must be 

supported by a vivid setting, compelling imagery, and > 

A 

28 


PRESENTED BY: 

The Sound of Entertainment 

www.dolby.com/professional 

> 

realistic looks and sounds. 

“We were thinking about pushing the envelope with 

environments, especially in building the house – we wanted 

it creepier and scarier,” recalls Ouzts. “We wanted the audience 

to know that there’s something living in the walls. I also like to 

work with the music, and I push the music without interfering 

with the dialogue. 

To avoid dialogue-based interference, that may require 

using the scalpel-esque precision. “You do have to carve it 

out and make the dialogue sing,” tells Ouzts of the art of aural 

craftsmanship. “Dialogue is the story… and the moneymaker, 

so to speak. Sometimes composers will use appropriate 

instruments so you don’t have to carve. But in this instance, 

because the soundtrack had a lot of texture, we did have to 

carve a bit.” 

Communication And Timing 

While admittedly a cliché, the two most important 

components of success for House Of Fallen’s revisited 

final mix were communication and appropriate timing. 

“Communication is key,” Ouzts reinforces. “The Director came 

to me last minute, with ‘here’s the show.’ So, communicating 

with both the Music Composer and the Director on what he 

wanted was a big part of it. A lot of times a Producer or Director 

may not know what they want until you have something for 

them to hear. At that point, flexibility comes into the equation. 

The Director then says, ‘Hey, I don’t really like that,’ and you 

must be able to do something else. So, for these projects, 

communication and flexibility are essential.” 

Finally, as to be expected with independent films, 

the mix sessions seemed to quickly come to an end. 

Thankfully, though, Stephens allowed for enough time for the 

film to be transformed from a project with lackluster audio to 

udio Media 

one with 

Sports 

audio that 

Jul 

sold 

08 

the story. 

28/7/08 13:37 Page 1 

Running With Fairlight And Pro Tools 

Back in 2006, TreeFall Productions became the first US 

studio to install Fairlight’s Crystal Core technology engine 

– the CC-1 – when it installed a new two-bay Constellation- 

XT alongside its venerable Digidesign Pro Tools|HD rig. 

Ouzts even used the marketplace-competing systems in 

tandem for his work on House Of Fallen, best utilising the 

systems’ unique audio production attributes. 

“On this particular movie, I actually used Pro Tools as a 

‘reverb machine,’” Ouzts explains. “I have numerous reverb 

plug-ins that I used on Pro Tools and went through the box, 

automating the plug-ins as I went. Then I 

returned back into the Fairlight. It was really 

nice to have both systems going.” 

While Ouzts leans towards using his Fairlight 

system most often, both systems made good 

sense for him to purchase and use. “When I 

originally bought Pro Tools, I was able to get 

into it for a little bit less money,” he explains. 

“And honestly, the intention of getting both Pro 

Tools and Fairlight was to open up another room 

and to have both systems going. That hasn’t 

happened because of the current economy, so 

I have both systems running next to each other. If something 

comes in on Pro Tools, I can work on it right there. I decided to 

go with the Fairlight because of its machine control and mixing 

capabilities with the Constellation. It’s really flexible; I can nearly 

do a complete 5.1 mix at the same time I do the stereo mix. 

It’s really easy to work with. Add to that, it has incredible 

abilities in spotting sound effects and it’s easy using the 

AudioBase3 (a high-speed sound effects library) with the 

Fairlight. The DREAM 2 is opening up all kinds of possibilities; 

the potential is so great with the picture right there in front 

of you.” ∫ 

WHEREVER THERE’S SPORT 

CALREC AUDIO IS THE BIG PLAYER 

calrec.com 

There’s no more demanding environment than outside broadcast, so it’s not surprising that demanding production 

companies consistently choose Calrec consoles, time after time. 

Whatever the competition, Calrec is the runaway leader in the field of sport. In EMEA countries and in the US, there 

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Putting Sound in the Picture

LEXICON PCM96 

Digital Reverb 

The return of Lexicon’s 

prized heritage reverb – and 

DAVID HELPLING thinks 

this might just be a new 

legend in the making. 

THE REVIEWER 

DAVID HELPLING is a full-time 

composer/producer with over 

ten years experience in music 

for picture. He runs DHM Music 

Design in San Diego, California, 

producing music for film, TV, 

corporate, interactive, and web 

clients. David has two ambient/ 

cinematic albums released on the 

Spotted Peccary label, with a third 

now in production, and has several 

independent film projects on deck. 

Clients include DELL Computers, 

Hewlett Packard, Boeing, Lexus, 

Microsoft Game Studios and 

Qualcomm. 

The world over, Lexicon has been held in the highest 

regard as the manufacturer of premium effects 

processors, digital reverb units in particular, which it 

virtually invented in 1978 with the Model 224. 

Throughout the 1980s with the 480L 

(costing more than some cars) and the 

smaller PCM-70, it garnered a reputation 

for an extremely dense, realistic, and 

tweak-able simulation of acoustic 

reverberation. In the early 1990s Lexicon 

introduced the more attainable PCM-80 

and PCM-90 – bringing a bit of that 480L 

sound to the rest of us. So many of those 

great records produced in the 80s (that 

you still secretly listen to) owe much of 

their magical sound to Lexicon. 

Then came the next best – the 960L – 

and some other lower-end units that left 

some wondering when the next legend 

would appear. Enter the new PCM96, a 

blend of heritage and innovation 

sporting 28 new and legendary Lexicon 

reverbs, delays, and modulation effects 

straight into your DAW. Appearing for 

the first time are new Room and Hall 

algorithms, plus an assortment of new 

mono reverbs and effects. With decades 

of legacy products to pull from, the 

PCM96 also includes a massive 

collection of factory presets (over 1,200 

and growing apparently) including 

some recognisable classics from the 

immense library of classic Lexicon 

sounds. Wow. 

A New Machine 

Upon opening the box and removing 

the PCM96 from its plastic sheath, 

I am a bit star-struck by the physical 

design of the unit itself. This is not 

my father’s Lexicon. Gone is the black 

powder-coated steel and Star Warslike 

blue lines! This thing is gorgeous – with a thick and 

heavy textured Nickel faceplate, beveled silver knobs, 

and a deep black display, the PCM96 looks more like 

PCM96 SURROUND! 

Wait for a new Lexicon, and two come 

along at once. As we were finishing up 

this review, Lexicon announced a new 

PMC96, this time called the PCM96 

Surround. So, no prizes for guessing 

what one extra is – more outputs. You 

can choose between six XLR stereo 

inputs and outputs, or analogue and 

digital I/O on DB25 connectors. 

Internally, the PCM96 can be 

divided into up to four virtual 

machines, each capable of running its 

own algorithm and thus expanding the 

operating configurations enormously. 

The list goes as follows: Dual Super 

Mono, Quad Mono, Super Stereo, 

Super Stereo Mono In, Dual Stereo, 

Dual Stereo Mono In, Dual Mono + 

Single Stereo, Cascade Mono, Cascade 

Stereo, Cascade Mono + Single Stereo, 

2-in 4-out, 4-in 4-out, 2-in 5-out, 5-in 

5-out, 6-in 6-out. 

As well as the additional I/O and 

engine configurations, the PCM96 

adds the new Lexicon Surround Room 

algorithm, new pitch algorithms, 

and more factory presets (over 1,600 

and counting...). 

something from SPL... a very impressive design indeed. 

A look at the back end shows more than I expected. 

Of course there is AES/EBU and XLR I/O, but also 

dual FireWire-400 ports for getting the Lexicon 

sound into your favourite DAW. 

Other than the Ethernet, Wordclock, and 

MIDI ports that’s it – no SPDIF, Adat, or 

Toslink connectors. Now I am starting to 

get a bit too excited for a product review 

– this IS a pro unit! 

After connecting and powering on the 

unit a brilliant yellow/gold Lexicon logo 

appears on the screen for a few seconds, 

then displays ‘verifying hardware... 

restoring state...’ for another 10 before the 

default Large Plate preset screen appears. 

The crisp font and OLED screen in general 

rivals most audiophile home theatre 

components in quality. When navigating 

through parameters all but the current 

navigated word is dimmed causing the 

selected item to pop out in a very easy 

to read way – very fancy stuff really. 

This thing better sound pretty darn 

amazing, or it could be a serious 

embarrassment for such a divinely 

appointed machine. The main Select 

knob has a wonderful feel and is 

softly de-tented – pressing inward on 

the knob loads the currently selected 

program or confirms other actions. 

Under the algorithm name on the 

display are three vertically arranged 

parameters that correspond to the 

three Soft Row knobs for a quick tweak 

of key parameters – typically Pre Delay, 

Reverb Time, and Reverb Out Frequency. 

Like the main Select knob, these knobs 

have additional context-sensitive 

functions when pressed. To the right of 

these are Tap/Tempo, Load, Compare and 

Store buttons. Also on the front panel 

are two columns of six multi-coloured gain LEDs that 

show analogue and digital input levels and a Compact 

Flash card slot. 

30 


ISA One 

Classic Microphone Pre-amplifier with Independent D.I. 

The original Focusrite consoles were custom built for a few discerning studio owners, 

like Allen Sides of Ocean Way, Hollywood. Their unique sound has contributed to countless 

gold and platinum recordings over the last two decades. 

The Focusrite consoles were based around the ISA110 Microphone Pre-amplifi er and EQ 

module, originally commissioned in 1987 for Air studios, London, to extend the custom 

Neve console in Studio One. Sir George Martin, the AIR Studios team and Focusrite tuned 

the microphone pre-amplifi er by ear. It went on to form the cornerstone of all ISA products. 

The topology has never changed, except for the addition of a variable impedance circuit, 

providing ISA users with increased control and a broader variety of sounds. 

The new Focusrite ISA One shares the same pre-amplifi er topology, featuring the 

original Lundahl LL1538 transformer and bespoke Zobel network. A host of other features, 

including an independent D.I. and an optional class-leading 192kHz A-D converter, 

ensure this classic design fi ts seamlessly into your modern studio environment. 

Now you know the history, isn’t it time you had the experience Visit your local pro audio 

dealer and hear what the Focusrite ISA One can do for you. 

The fl exible and independent D.I. allows engineers to 

blend a mic’d cabinet and D.I’d Instrument, or track 

a vocal and guitar simultaneously. 

ISA One’s optional Stereo 192kHz A-D card 

embodies cutting-edge conversion technology within 

Focusrite analogue circuitry to deliver the best 

performance in its class. 

ISA One comes presented within a rugged custom 

fl ight Case, built to protect your ISA One from the 

rigors of the road. 

www.focusrite.com/ISAOne

Plug Me Into Lexicon! 

Lexicon is very serious about DAW integration 

of the PCM96 – an attempt that most high-end 

hardware and synth manufacturers 

have been rather unsuccessful in 

achieving. Lexicon’s ‘Hardware 

Plug-In’ feature is a Mac-only 

application supporting Audio 

Units and VST formats on most 

major DAW applications, also 

under RTAS using an included 

FXpansion wrapper on the 

installer disc. Now a reverb unit 

with such a legacy behind it 

that is sporting FireWire-400 for 

streaming audio to and from your 

DAW has me very nervous. 

Following the instructions in 

the 'Read Me' file, I downloaded 

the latest version of the Lexicon Pro software 

(1.3.0 as of this review) and installed it on 

the Quad-Core Mac Pro running my studio. 

After a restart I launched Digital Performer 6.01 

“I have become very 

accustomed to the 

certain quality and 

flavour that Lexicon is 

known for. That flavour 

is very much alive and 

lurking in the heart of 

the PCM96.” 

Side By Side AM 26|02|2008 14:45 Side 1 

sound engineering 

RM8 TUBE MODULES 

and opened a recent mix session. I created 

an aux track and pulled down my plug-in 

list only to see the Lexicon name – strange 

and exciting at the same time. 

After selecting ‘Lexicon Halls’ 

in anticipation it crashed my 

entire DAW. ”Well I guess they 

are still working the bugs out”, 

I optimistically say to myself. 

Since MOTU’s Digital Performer 

is often the last kid on the block 

to be tested and approved by 

a plug-in manufacturer I went 

ahead and tried it in Bias’ Peak Pro 

and it too crashed. Now I am sad... 

but still hopeful. 

After checking the ‘Read Me’ 

file again I found an overlooked 

‘Update Your PCM96 Firmware’ 

paragraph, and followed the instructions to 

update the unit (a 20-minute procedure – time 

for a coffee). So I launched Digital Performer 

and tried the same thing. I got a progress 

SIDE-BY-SIDE 

FRONT TO BACK 

Lexicon | PCM 96 

wheel, and the PCM96 switched to displaying 

‘Application Lockout’ – Yeah! Up comes the 

Lexicon PCM96 plug-in window (also a very sexy 

interface). Here (without reading the manual), 

I could easily navigate and load any of 1,200 presets 

and tweak all parameters (more than you could 

possibly imagine) with a slider laden interface not 

unlike the classic LARC remote control for the 480L 

– only much nicer. Working this way via Firewire (on 

my Quad-Core 3GHz Mac) the latency was almost 

non-existent... Rock on Lexicon! 

Another major pat on the back for Lexicon is 

the ability to use the plug-in in ‘Control and Audio’ 

or ‘Control Only’ mode (any other manufacturers 

reading, please take note of this ability). 

This remote control can also be performed over 

the Ethernet connection for better stability and 

longer cable runs. Regardless of your connection, 

the ability to remotely control and edit the PCM96 

from your DAW is a huge benefit and will tempt 

any engineer. 

You Had Me At ‘Hall’ 

Both as a plug-in in my DAW and connected via 

AES/EBU, the detail and quality of the reverb was 

amazing – not just regular amazing (“that was 

an amazing movie we just saw”), but actually 

AMAZING. Having armed myself with Lexicon 

reverb units for longer than I would care to 

divulge, I have become very accustomed to the 

certain quality and flavour that Lexicon is known 

for. That flavour is very much alive and lurking in 

the heart of the PCM96. Though there certainly 

have been varying levels of quality within the 

product line over the years, we really need to be 

focusing any comparisons on the professional line 

of classic Lexicon reverb units. Studio standards 

like the 300, 480L, and the upper PCM series are 

the units to aspire to here. I am very familiar with 

the 480L sound, but without one sitting next to 

the PCM96, suggesting that we are sounding 

as good or better is not easy to say. The 480L 

has long been the stuff of dreams and has been 

used on countless gorgeous records and films. 

Just starting with the 96’s basic Hall I am hearing 

a sound very reminiscent of some experiences 

on a Hollywood soundstage film mix – I sense 

the 480L is coming to life here but I am trying 

not to be persuaded by the dark side of the 

honeymoon force. 

Saying that the PCM96 is performing 480L 

tricks in a product review is risky business. 

However a timely forum contribution of some 

comparison audio files between 480L and PCM96 

Halls got a unanimous vote for the PCM96 as the 

'best and most classic sounding'. I feel that we may 

be seeing a few 480Ls in the classifieds soon. 

- CM1A, EM1A, PM1A & RM8 now shipping... 

LYDKRAFT 

www.tube-tech.com 

Reflections 

For starters, the PCM96 can be divided in to up 

to four virtual machines, each of which can run 

its own algorithm. Even though the PCM96 can 

only use up to two physical inputs and outputs 

at a time, this lets you route signals through a 

variety of algorithm and signal flow combinations. 

However, the software plug-in lets the PCM96 use 

up to four inputs and outputs when connected 

via FireWire – as such those configurations 

are only accessible in the software plug-in. 

Choices include: Single Mono In Stereo Out, Single 

Stereo, Dual Mono, Cascade Stereo, Cascade 

Mono, Cascade Mono to Stereo, and Combined 

Stereo Mono In. This may sound a bit complex but 

the applications of this design are rather brilliant. 

> 

32 


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crystal – welcome to digital broadcasting. Now there’s 

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the most efficient workflow both for on-air operation and 

in the edit suite. But best of all, this convincing console 

is not just exceptionally attractive to users – it will also 

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Experience the new crystal live at Tonmeister 2008: 

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Lexicon | PCM 96 

> To begin with, one could use the Cascade Stereo 

configuration to run two different stereo effects 

in series with each other – such as Random Delays 

feeding a Plate Reverb. 

The algorithms themselves – here is where 

this review could run away from me – I could talk 

about each reverb algorithm, the unique sound 

and best application, all of the new innovations, 

special controls, and how much like a hit record 

or film this thing sounds, but I shan’t (for fear 

of some major cuts from the lovely Audio Media 

editors), so here is a condensed look. The PCM96 

offers a comprehensive selection of legendary 

Lexicon reverbs and effects, including the return 

of Lexicon’s prized Concert Hall reverb. 

Appearing for the first time are new Room 

and Hall algorithms, plus an assortment of new 

mono reverbs and effects. Selectable, reversible 

reflection patterns, multimode filters, and ‘infinity 

switches’ provide additional new capabilities. 

The stereo reverbs and effects include: Room, 

Hall, Chamber, Random Delay, Classic (Random 

Hall), Plate, Dual Delay, Ambience, Resonant 

Chords Chorus/Flange, Concert Hall, and Signal 

Generator. The Halls are amazing, the Random 

Halls are very lush (much like the 480L), the 

Chambers and Rooms are frighteningly present 

and realistic, and the Plates will make just about 

anything sound alive and ‘produced’. The Delays 

are fat and very tweak-able, the Chorus is warm 

and ‘swimmy’” just like in the 80s, the Concert Halls 

are royal, and the Resonant Chords algorithm is 

amazing – using impulsive energy at the inputs 

to excite eight resonant voices (notes). 

The PCM96 also gives new capabilities to 

traditional reverbs by adding multimode filters at 

several spots in the audio flow. This allows more 

exact shaping of the reverb while still maintaining 

the distinctive Lexicon sound. All reverbs also 

have an 'Infinite' switch that allows the reverb to 

run forever, a very awesome and useful feature 

for creating unusual backgrounds and sound 

effects. Lexicon’s new Room algorithm provides 

a more flexible alternative to convolution type 

reverbs by providing reflection patterns that 

can be easily selected, scaled and equalised – all 

while simultaneously passing audio. They can be 

instantly reversed or combined with a traditional 

reverb to extend the decay or bring a stronger 

sense of ‘liveness’ to the space. The bottom line is 

that this is no ordinary processor. 

Conclusion 

The design of the PCM96 is top notch. Lexicon has 

covered every possible luxury that this reviewer 

could ask for. The ability to remotely control and 

reliably stream audio to and from a DAW via 

FireWire shows a serious dedication to bringing 

the the Lexicon heritage to the cutting edge of 

current production needs. The classic bloom 

of reverb that comes from every algorithm is quite 

definitely amazing and something to behold if 

you’ve never used a high end reverb before. In any 

application, the PCM96 provides versatility and 

sound that is unmistakably Lexicon. ∫ 

.................................... 

£ GB£1,999.00 exc.VAT 

INFORMATION 

A Lexicon, Inc., 8760 So. Sandy Parkway, Sandy, 

Utah 84070, USA 

T + 1 (801) 568 7567 

W www.lexiconpro.com 

A UK Distributor: Sound Technology Ltd., 17 

Letchworth Point, Letchworth Garden City, 

Hertfordshire, SG6 1ND 

T +44 (0) 1462 480000 

F +44 (0) 1462 480800 

W www.soundtech.co.uk 

E info@soundtech.co.uk 

34 


The Conch Sound Awards 2008 

The Iles Of Honour 

An Interview with John Iles 

KEVIN HILTON talks to John Iles, who received this year’s Conch Fellowship Award, 

about his contribution to sound for the ultimate movie-going experience. 

Hard to believe, perhaps, not keen on working with Messrs 

but there was a time when Daltrey, Townshend, Entwhistle, and 

surround sound was not a Moon because of their reputation for 

forgone conclusion on a feature film smashing instruments, but the young 

soundtrack. Today audiences would engineer says he had a “great working 

immediately know something was relationship” with them. 

missing from their movie-going By the mid-1970s Iles was well 

experience. So John Iles receiving established, but decided to make 

the UK Screen Fellowship during the a change and joined Dolby in 1976 

Conch Awards is a fitting tribute to as a Product Engineer for its noise 

his efforts in establishing the various reduction range. The company had 

forms of multi-channel audio in been moving into film since the early 

the cinema during a career of over ‘70s, but its movie business was still 

thirty years. 

at a very early stage of development. 

Now retired from his position as That side of the industry was also 

Vice President of the cinema division fairly uncharted for Iles. “I had 

of Dolby Laboratories, Iles says he recorded film music,” he says, “but I 

was “very surprised” to be honoured had not mixed film soundtracks.” 

at the Conchs, calling it “fantastic” Despite this Iles eventually became 

and a humbling experience. the Dolby consultant on many films 

“It’s very rewarding that all the during the late 1970s that laid the 

things I did during my career have foundations for the development 

been acknowledged, but people like of audio mixing and reproduction 

me don’t necessarily do the job for in the cinema. “My role was to offer 

thanks. After all, I’m sure there are support for both the technical 

some in the business who might not aspects, getting the best out of the 

have loved everything I did.” 

system,” he explains, “and the artistic 

Although now heavily identified elements, helping the mixers adapt 

with sound for the cinema, Iles the system to assist them in achieving 

started out in a different area of their creative goals.” 

audio. While training as a technical This was not easy, he remembers. 

engineer Iles was also a playing in a There was resistance from directors 

group, like many young men in the and producers worried about the 

early 1960s. He went to London to additional cost of using the thennew 

technology, and Iles found 

make a record, became interested 

in the recording process, and got himself fighting to get the system 

his first job in the business in 1964, on big films. “The film business is 

becoming Technical Engineer at conservative,” he says, “the American 

Ryemuse studio in Mayfair. 

part of it more so than the European. 

He soon began mixing bands as But convincing the mixers was not 

well, and was later offered the chance difficult. If something is any good 

to work at the new recording studios they will want to experiment, but the 

of music publishers Chappell on Bond problem is that often the production 

Street. During his recording career schedule gets cut and there is less 

Iles worked with “many of the big time to do anything new.” 

names of the day”, including Cream, Iles found trying to get Dolby 

Sonny and Cher, French superstar Stereo, the company’s first surround 

Johnny Hallyday, and The Who. system, on major productions a 

Iles’ colleagues at Ryemuse were classic “chicken and egg” situation. 

The breakthrough was Star Wars in 

1977, although, Iles acknowledges, 

this did have a slight negative side 

effect in making some producers 

regard surround as a gimmick for 

action films. “Many didn’t see the 

need for surround,” he says, “so I had 

to convince them of the benefits of 

music in stereo and enveloping the 

audience in the experience.” 

As the Dolby system developed 

Iles had to go through the same 

process of encouragement and 

persuasion, from four-channel A-type 

Dolby Stereo to SR into the digital 

domain. Cinema surround sound 

systems have appeared since the 

1940s, but in the last twenty years 

Dolby has faced its most serious 

competition. Kodak was the first on 

the market with a digital system, and 

now Dolby Digital co-exists with DTS. 

But along the way Iles has formed 

working relationships with leading 

re-recording mixers who have 

championed the general concept 

and Dolby’s offering in particular. 

Among these was Gordon 

McCallum, an American who worked 

at Pinewood studios. “He was not a 

young man but he would experiment,” 

Iles recalls. “I felt he was an artist 

and I was keen to work with him 

and others to promote the system.” 

McCallum mixed Superman (1978), a 

film Iles regards as an early example 

of good surround sound. “It was very 

exciting for its time and Dick Donner 

(Director Richard Donner) was very 

sound oriented,” he says. “That’s a 

big help because even if a film has 

a small budget its sound can be just 

as effective as a big blockbuster if the 

tracks have been well recorded, and 

built up well, and tastefully mixed.” 

John Iles has left the film 

post-production business at another 

time of great change, this time on 

the vision side, but from retirement 

he still maintains his deep interest 

in what is going on. “Digital cinema 

is bringing a lot of changes and 

there is the danger that standards 

will slip as the new technology 

comes in,” he says. “Digital cinema 

should be good for the industry 

but it could also not be so good. 

Everybody has got to keep the 

standards high. Going forward will 

be an interesting time. 

36 


And The Winners Are… 

Described variously as, ‘the best Conch Awards to date’, and ‘an amazing night, the highlight of the audio year’; the Conch Awards 2008 was an undoubted runaway success. 

Audio Media brings to you the winners of these prestigious awards – roll out the red carpet, turn up the volume, and put your hands together for… 

Best Audio 

on a TV 

Entertainment 

Programme 

Sponsored by Sadie, part 

of Prism Sound family 

WINNER Top Gear – 

Evolutions 

Commercial of the Year 

Sponsored by Film London 

WINNER SVW Golf ‘Enjoy the Everyday’ – 

The Jungle Group/Paul Hartnoll 

Best Music Production 

Sponsored by TC 

Electronic 

WINNER 

Sweeney Todd 

– Mike Higham 

at AIR Studios 

& Out Of Eden 

Studios 

Audio Media 

Unsung Hero 

Award 

Sponsored by Skillset 

WINNER Smudger 

– Formerly 

Videosonics 

Best Film 

Soundtrack 

(Under £10 

Million Budget) 

Sponsored by 

AMPS 

WINNER Happy Go 

Lucky – Goldcrest 

Best TV 

Dubbing 

Mixer 

Sponsored by 

Media Lease 

WINNER Pip 

Norton – 

Breathe Post 

Production 


on a TV / Film 

Documentary 

Sponsored by Wise 

Buddah 

WINNER Michael 

Palin’s New Europe 

– Molinare 

Best UK Film 

Re-Recording Mixer 

Sponsored by Euphonix 

WINNER Mark Taylor – 

MJM Sound 

UK’s Most Promising Newcomer 

Sponsored by The Pinewood 

Studios Group 

WINNER Glen Gathard – 

Shepperton Studios, part 

of The Pinewood Studios 

Group 


on a TV 

Drama 

Sponsored by 

White Mark 

WINNER Ashes 

To Ashes – 

Hackenbacker 

The UK 

Screen 

Fellowship 

Award 

Sponsored by Dolby 

PRESENTED TO 

John Iles 

Best UK Film 

Sound Editor/ 

Designer 

Sponsored by Digidesign 

WINNER James Boyle 

– MJM Sound 

Production 

Sound Mixer of 

the Year 

Sponsored by The Hub 

WINNER Simon Hayes 

(Collected by Simon’s Dad!) 

Best UK TV Sound 

Editor/Designer 

Sponsored by Solid State 

Logic 

WINNER Chris 

Roberts – 

Ascent 142 

Best Film Soundtrack Of The Year 

– Over £10 Million 

Sponsored 

by UK Film 

Council 

WINNER 

Sweeney 

Todd – De 

Lane Lea 

Best UK Commercial Sound 

Facility 

Sponsored by Hub 

Plus 

WINNER 

Grand 

Central 

Studios 

Best UK TV Sound Facility 

Sponsored by Scrub 

WINNER Hackenbacker 

Best UK Film Sound Facility 

Sponsored by Fineline 

WINNER 

De Lane Lea 

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Conch Award Sponsors 2008 

Audio Media Unsung Hero 

This year’s winner of the Audio Media draw for everybody who nominated 

in the Unsung Hero category (see AM April 08) was Ruth Berrington 

of Films At 59 in Bristol. Ruth wins a Steinberg Nuendo 4 (donated by 

Steinberg), a Focusrite Liquid Mix (donated by Focusrite), KRK VXT4 monitors 

(donated by Focusrite), and an SE Electronics SE4400a microphone (donated 

by SE Electronics). 

On hearing she won, Ruth said: “We’re delighted to have won this kit, especially 

as this was to promote the ‘Unsung Hero’ category. We will make the kit available 

to our younger staff who are trying to break into the industry, guys who are either 

in our audio machine room or are dubbing assistants. Here’s to a winner for 

your ‘newcomer’ category for next year!” 


SOUND DEVICES 788T 

Digital Audio Recorder 

TY FORD wants to present 

Sound Devices' new digital 

recorder a 'no brainer' award 

for its ease of use and general 

all-round niceness. 

THE REVIEWER 

TY FORD is a recording engineer 

in the US, and regular contributor 

to Pro Audio Review, another 

NewBay title. 

The Sound Devices 788T is (over) simply described by 

Sound Devices as, “a high resolution digital audio 

recorder with time code.” That’s sort of like saying the 

Hummer H1 is an off-road vehicle. This is a four pound, 

feature rich, eight track recorder with 160 GB SATA 

internal drive, rechargeable Li-Ion battery, and external 

power supply/charger. This is not a prosumer hard drive 

recorder. This is a very professional audio recorder 

specifically designed for film and video. There’s not enough 

space to go into detail about the more intimate features of 

this device that make it truly extraordinary. Take a trip to the 

788T PDF manual at www.sounddevices.com to discover 

all of the features. 

The 788T is a second gen. device. Lessons learned from 

their 744T have been applied. While viewed as a ‘purt near 

perfect’ recorder by some, the 744T reduced the range of 

wireless mic receivers at certain frequencies when packed 

in a bag with those receivers. That problem does not exist 

with the 788T. Also, the rechargeable battery comes out 

a lot more easily. Although fairly straightforward, I would 

suggest reading the manual before using it. 

Basically, you’re recording up to eight tracks of very 

nice sounding preamps, line or AES/EBU digital sources to 

16- or 24-bit wave or poly wave files to the internal HD (up 

to 2TB), internal CF card and/or DVD-RAM drive attached 

via either the 400 or 800 Firewire ports. Unlike the 744T, 

there are only seven sample rate choices between 32 kHz 

and 48.048F. 

The 788T generates highly accurate time code and 

recognises composite NTSC, PAL, and Tri-level sync. 

The 788T supports 23.976, 24, 25, 29.97, 29.97 DF, 30, 30 DF, 

and 30+ frame rates via a five-pin LEMO connector on the 

right panel. It can be operated without time code or in 

free run, record run, free run jam once or 24 hour modes. 

The 788T also has its own sample clock with PLL circuitry 

and ignores external word clock, AES clock, and video 

sync during playback. 

On the left side of the 788T are four female XLRs, four 

TA3Ms and a headphone jack, and rotary headphone control. 

The preamps in the 788T are new to Sound Devices. 

I can’t tell a lot of difference between them and the ones 

in the 744T, but the new ones are supposed to have even 

more dynamic range. They are extremely quiet and very 

nice sounding. The 788T came with firmware version 

1.06 installed, and I thought the input limiters sounded 

a bit grungy, but after downloading and updating the 

firmware to 1.07 they sounded a lot better. 

The front panel is very straightforward; eight 

retractable input gain knobs separated by four toggle 

switches. Each switch instantly brings up the Input 

Settings Window that allows access to each input’s 

mic/line/digital, phantom power, input gain, high-pass 

filter (mic only), input limiter, track routing, and polarity. 

In this mode, the audio from the particular input selected 

will be soloed to the headphones. A separate input 

delay window allows each input to be digitally delayed 

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www.sound-link.co.uk 

40 


Compact flash is swiftly becoming the new industry standard for solid state recording. A quick look at the benefits of 

Compact flash can tell you why. Since there are no moving parts this makes it extremely reliable. It’s a universal standard 

which allows for quick transfer to and from PC/Mac. With its capacity it allows for higher than CD quality recordings 

and far greater record times. Its compact and robust meaning your files are on a secure medium. Since it is read/write 

capable this allows for editing after a recording. 

The SSR1 is a simple to use high quality solid state recorder. With Balanced In/Out and Digital In/Out this 

makes it ideal for studio, live & mobile installations. Both the SSR1 & SSCDR1 Offer all of the same editing & Auto 

Cue/Ready features of our Minidisk machines plus higher quality (broadcast standard) 24 bit 48k recording. The SSR1 is 

a space saving 1U with both parallel and RS232 connections for remote control and a Keyboard connection for titling. This 

makes it an ideal unit for all your recording and playback needs. 

The SSCDR1 is the only available 1U standalone professional CD recorder by TASCAM. As well as being 

space saving the unit gives the reliability of solid state and the convenience of Compact Disc. The SSCDR1 allows 

you to record to Compact flash then transfer to CD or vice versa. Any CD can be ripped onto the compact flash card in 

MP3 or Wav format. This makes the SSCDR1 great for archiving CD’s into Wav or MP3 format. Standard Mp3’s can be 

transferred onto a compact flash card then setup as a playlist for play out purposes or burning onto CD. 

The HDR1 offers direct to compact flash or USB recording. Both line level and Phantom powered Microphones 

can be recorded without the need for external pre amps. The HDR1 has a ducking function to allow for announcements to 

be made while music is being played back by the unit. The Ethernet port allows remote operation of all functions as well 

as being able to retrieve any files or send files to the unit using standard File Transfer Protocol. 

For further information call 

Gary on 01923 438845 / 

e mail info@tascam.co.uk 

or visit www.tascam.co.uk 

The RC SS20 is the perfect addition to the SSR1, SSCDR1 

& HDR1. On the SS models this remote enables the use of 

the flash start feature which allows for up to 20 tracks to be 

triggered instantly. This makes the remote ideal for jingle 

play out or instant play of any track in a playlist. When connected 

to a HDR1 up to 16 tracks can be triggered all from 

a wired remote that can be up to 10 meters away!

Sound Devices| 788T 

> 

in tenth of a millisecond increments up to 30 

milliseconds. 

The rotary control on the right side of the chassis 

spins you through the selectable knee positions of 

the high-pass filter and through the main menus. 

At the bottom of the input window a block of 

letters, LRABCDEF, is used to show to which 

of the eight tracks that particular input is assigned. 

Very easy to read. Very cool. 

Track Routing And I/Os 

Any input can be routed to any track. 

Multiple inputs can be routed to a single 

track, or any combination of tracks via four female 

XLR inputs and four TA3 inputs for balanced or 

unbalanced mic or line level analogue audio. 

The eight digital inputs enter through a single 

DE-15 (D-Sub) connector. 

Each input gain pot is surrounded by an 

exceptionally cool and innovative LED light 

ring that glows green to indicate signal activity, 

red for the approach of clipping, yellow to 

indicate input limiter activity and flashing 

yellow to indicate an unlocked digital input. 

The green and yellow LEDs increase in intensity as the 

level increases. 

The six analogue and digital outputs are 

parallel, so whatever goes to analogue output 

1 also goes to digital output 1. On the right 

TELEFUNKEN AUDIO MEDIA AD 27/9/08 17:29 Page 1 

panel, there are four male TA3 active, balanced 

analogue outputs, and a 3.5mm unbalanced 

stereo analogue output for outputs five and six. 

In addition, there are two male TA3 connectors for 

digital outputs 1-4. Digital outputs five and six exit 

through the DE-15 connector on the back panel. 

No D-Sub cable was supplied by Sound Devices, 

so I couldn’t evaluate the digital inputs. I was able 

to output digitally from one of the TA3 digital outs 

the AES/EBU input of a Panasonic SV-3900 DAT 

machine with no problem. 

The 13-segment green, orange, and red output 

meters, which also operate when recording, have 

non-linear resolution and are small. It took an 

‘adjustment’ for me to stop looking at them so 

much and pay more attention to the input lights. 

The three red output LEDs fire between -3.0dBFS 

to 0dBFS. I, myself, would like that to be changed 

to ‘red means over’. The brightness of the LEDs are 

continuously adjustable for operation for full sun 

to total darkness. 

Headphone amp gain is more than 

sufficient and also has a peak light of 

its own. Monitoring multiple inputs 

and outputs with one set of stereo 

headphones can be challenging. 

The 788T headphone output control supports 

the monitoring of each input and output, various 

selections or all, regardless of input and output 

routing assignments. In addition, the headphone 

circuit can also decode Mid-Side inputs to LR, 

and derives a stereo signal from the W, X, and Y 

channels, when working with the four-channel 

Soundfield B-Format. 

Recording starts manually by pressing the 

REC button, or from External TC-Auto Record or 

External TC/cont-Auto Record. The REC button 

stays red so you can quickly see that you’re still 

rolling. If you’re wandering around the menus 

when the director calls ‘action’, just hit the Rec 

button and you’re recording. The 788T Pre-Record 

Buffer can be set to record a full ten seconds 

before the Record button is pushed, except when 

in Record Run mode or in any of the four external 

time code operation modes. 

In Use 

During recording, I found the additional presses 

of the Record button can be programmed to 

do nothing, add a cue marker to the file being 

recorded, or start a new file. The 788T records 

both broadcast wave and poly wave files with 

> 

42 


Sound Devices| 788T 

> 

additional metadata in the file’s header, BEXT 

(Broadcast Audio Extension) and iXML data chunks. 

Poly wave files are recognised by some non-linear 

editing systems, and for those that don’t, Sound 

Devices offers free Wave Agent software. 

A navigable file directory system allows files 

to be stored in different folders. Scene and take 

numbers can be changed with a USB keyboard 

via a separate USB jack on the back panel. 

False takes can be deleted. 

You say you don’t need eight tracks 

How about six tracks of isoed mics and two tracks for 

a stereo mix If you get lucky, you might get a good 

stereo mix, but if you are really paying attention 

to your audio in post, pulling out unneeded 

sections can really clean up your audio. 

Then there’s surround. With the 788T you are 5.1 

and 7.1 ready. And with the poly wave file format, 

all eight tracks are seen and imported as one icon 

on the drives. As more and more post-production 

shops begin to use surround, you’ll have the 

production tracks for it. 

In Conclusion 

This is one of those rare devices. 

Whether you’re running as a highly mobile 

‘bag’ operator or have the 788T on a cart, this 

is a seriously good sounding, stable recorder. 

In its design, Sound Devices has managed to 

reduce menu levels, increase comprehension 

and ease of operation. They should get an 

award for that. In it’s short stay here I was able 

to record from wireless receivers and my 442 

Sound Devices mixer easily and always got great 

sound. Even when I purposely under-recorded and 

used normalisation in an editing program to bring 

the levels up, the sound was excellent. £4,150 for 

this 8-track recorder is a no-brainer. Nicely done 

Sound Devices. ∫ 

.................................... 

INFORMATION 

£ GB£4,150 (exc.VAT) / $5,995.00 

A Sound Devices, LLC, 300 Wengel Drive, P.O. Box 

576, Reedsburg, Wisconsin 53959 USA 

T +1 (608) 524 0625 

W www.sounddevices.com 

A UK Distributor: Shure Distribution UK 

T +44 (0) 1992 703058 

W www.shuredistribution.co.uk 

STOP PRESS: CONTROL TO 10 

Mono, Stereo, 5.1 and Beyond... 

As we went to press, it emerged that Sound Devices 

has announced an attractive option for the 788T 

called the CL-8. 

The CL-8 is a controller for the 788T, termed by 

Sound Devices as a “mixing control surface companion... 

which provides additional capabilities to the 788T without 

a significant increase in weight.” As well as the additional 

control options, it also adds two auxiliary tracks to the 

recorder itself. 

Here’s the Sound Devices info: 

The CL-8 features eight large, rotary faders to control the 

eight inputs of the 788T, and offers control over numerous 

input settings, including high-pass filter, limiter, polarity, 

and mute. When used with the CL-8, the original 788T input 

controls function as input trims, and the CL-8 controls offer 

fader control. 

To ensure accurate and clear marking of tracks, the CL-8 

is able to manage the 788T’s built-in slate mic. For rapid 

setups in the field, the CL-8 allows users to quickly assign 

inputs to the main left and right record tracks. With a push 

of the input knob, users also have the ability to solo an 

input in headphones so they can concentrate on a specific 

track within their recording. 

With the CL-8 users now have access to two additional 

recording tracks (Aux 1 and Aux 2) through the CL-8’s 

associated firmware, for total of 10 record tracks. 

These new tracks can be used to provide auxiliary sends for 

more comprehensive setups. Inputs can be assigned to Aux 

tracks pre- or post-fader. LEDs indicate when signals are 

present. The CL-8 can be connected to a keyboard through 

the controller’s USB keyboard pass-through port. 

The new SoundField SPS200 ‘software 

controlled’ microphone generates mono, stereo, 

5.1 and beyond and gives the user complete 

control over all microphone parameters within 

the audio workstation. Designed and built to the 

same exacting high standards as other 

SoundField models, the SPS200 is supplied with 

its own Surround Zone software for both Pro 

® Tools HD and VST platforms. 

By using a single SPS200 microphone and laptop 

computer, making world class surround and 

stereo recordings has never been so easy. 

The NEW SoundField SPS200 Microphone 

SoundField • t: +44 (0) 1924 201089 • e: info@soundfield.com • w: soundfield.com 

SOUNDFIELD ® is a registered trademark of SOUNDFIELD Ltd. 


ALLEN & HEATH ZED R-16 

Analogue Mixer/DAW Interface/Controller 

Things can only get better 

and better for A&H, as this 

welcome return to the studio 

proves. SIMON TILLBROOK 

has his expectations exceeded 

with A&H's new mixer. 

THE REVIEWER 

SIMON TILLBROOK is the Principal 

Music Tutor at Islington Music 

Workshop in London. The rest of 

his time is spent as a freelance 

engineer, mainly in the USA. 

Some of my early ventures into audio recording and 

mixing involved manufacturers that, at the time, 

dominated the home/semi-professional market, but 

have since been absorbed by larger competitors or simply 

vanished without trace. A few seem to have changed the 

direction of their development and, as a result, I have had 

little if any contact with the equipment they have 

subsequently produced. 

Cornwall-based Allen & Heath is such a manufacturer 

for me. I have fond memories of using the Saber, System 

8, and GL2800 mixing consoles on many projects, but 

that seemed to be the end of the line for its studio mixers. 

So, some ten years later Allen & Heath has re-entered this 

field with the ZED R-16, and I have been looking forward 

to checking one out. 

T h e A&H ZED R-16 is a 16x2 analogue mixer 

with integrated MIDI based DAW 

control and 18x18 digital 

connectivity via Firewire 

and ADAT optical. 

You 

also 

have a 

section 

with a 

variety 

of 

MIDI 

controllers (linear, 

rotary encoders, and 

switches) that can be mapped to 

your system requirements. Supplied 

along with the Allen & Heath ZED R-16 is a 

full working copy of Sonar LE (PC-based DAW) 

and drivers for both Windows and Apple computers, 

based on standard device drivers from TC Applied 

Technologies. 

The ZED R-16 occupies a compact 704x470mm 

footprint, and weighs a solid 13kg. 

Channel Strip 

From the top down we start with a balanced XLR mic 

input and balanced TRS line input. These two connectors 

are summed together at different levels (using 

attenuating resistors and coupling capacitors), so you 

cannot have plugs in both at the same time. Below these 

is an unbalanced TRS insert socket, and a 48v phantom 

power switch. 

The gain rotary control works the preamplifier that 

is based on those used by Allen & Heath’s GL2800 and 

GL3800 console preamps. 

A dual scale indicates a range of +6 to +60dB for 

mic, and -14dB to +40dB for line signals. The input 

type is selected when a plug is inserted into the 

appropriate socket. 

A high pass filter switch with a turnover frequency set 

to 100Hz and 12dB per octave slope sits immediately after 

the input preamp. 

Next we have the equaliser with high and low 

frequency shelving featuring +/-15dB at 12kHz, and 

+/-15dB at 80Hz respectively. High and low mid sections 

are fully parametric. Both have +/-15dB cut and boost and 

a Q range from 0.8 to 6. High mid sweeps from 400Hz to 

18kHz and low mid from 18Hz to 1kHz. 

The entire equaliser can be switched in and out of 

signal flow with the EQ in button. 

There are four auxiliary sends on the ZED R-16 channels 

strip. Sends 1 and 2 are set pre fader, and sends 3 and 4 

post fader, but all sends are pre the fader mute switch. 

It is possible to change the pre/post configuration in 

pairs using jumpers on the circuit boards, but not easy 

to access. 

The channel pan and mute controls sit above the PFL 

switch. This feeds the signal to the ZED R-16 PFL bus. 

There are LED indicators for signal present 

triggered at a threshold of -14dB, and another when 

within 5dB of clipping. These LED indicators come after 

the EQ in switch. 

The ZED R-16 channel strip 60mm fader can be used 

to either feed the analogue L-R bus outputs using the L-R 

routing button, or switched to act as a continuous MIDI 

controller via Firewire to your DAW when Fader=MIDI is 

depressed. When in MIDI mode the audio is bypassed at 

unity gain. 

Three switches next to the fader determine the mode 

of operation and digital routing for the ZED R-16, which 

I will address shortly. 

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Allen & Heath | ZED R-16 

Stereo Channels/Returns 

If you need to add any external stereo sources 

to your analogue stereo output bus, or just to be 

used as analogue fx returns, then the ZED R-16 

provides four stereo channels to allow for this. 

The first pair, stereo 1 and 2, can accept input 

sources through either unbalanced TS jack or RCA 

phono sockets. You have control over the input 

gain from -30 to +10dB. High and low frequency 

shelving equalisation with the same specification 

as those on the ZED R-16 channel strips as well as 

auxiliary sends 1 and 2, again set pre as with those 

on the main strips. 

Rotary controls for both stereo balance and 

level follow with the latter having the range -30 

to +10dB. 

PFL and L-R routing buttons complete the 

feature set for the first two stereo channels. 

Stereo 3 and 4 are much more limited. 

Unbalanced input is accessed via TS jacks only, 

and your only controls for this pair of stereo 

channels is a rotary level control, PFL, and L-R 

routing buttons. 

Studio/Artist Monitors 

Two studio/artist monitor feeds are catered 

for with the ZED R-16. Both are identical and 

independently controlled. You can choose either 

the main L-R stereo bus, or any of the four auxiliary 

sends as your source. 

Selecting more than one source results in 

them getting mixed together. A master rotary 

level control and AFL button complete this 

section. Output to your studio/artists is through 

TRS jack sockets. 

Control Room/Master Section 

The four master auxiliary sends with AFL buttons 

control the signal leaving the ZED R-16 through 

the balanced TRS jack sockets for each. 

Up to two pairs of control room monitor 

speakers can be connected via balanced TRS 

output sockets. Selection between them, volume, 

and mono summing into the monitors are 

controlled alongside an associated headphone 

socket and volume control. 

The source feeding both your control room 

monitors and headphones are controlled with 

three buttons. The default selection is the 

main analogue L-R output bus, but this can be 

overridden to monitor one of two 2-track external 

sources plugged into the unbalanced TS or RCA 

phono sockets, or 2-channel DAW digital feed. 

There is a built in talkback microphone, with 

level control and momentary routing switches for 

both artist headphone or artist stage monitors if 

the ZED R-16 is used in a live scenario. 

Twelve-segment LED peak response meters 

follow the control room monitor selection switches 

(showing output pre level control) unless a PFL or 

AFL switch is depressed elsewhere. This selection 

will override the control room setting. 

The main L-R output bus feeds both balanced 

XLR and TRS sockets. These can also be utilised to 

copy between the two 2-track sources connected 

to your ZED R-16 by buttons located next to your 

meters. A quick and easy way to copy things 

between external machines without any fiddly 

re-patching. There are also unbalanced TRS 

insert point jacks for both the left and right main 

output buses. 

Digital/MIDI Connection 

There are four ADAT optical connectors to cover 

the 16 inputs and 16 outputs, two Firewire sockets, 

and a single MIDI output. 

Two switches next to the Firewire ports 

determine which digital interface is principally 

used, and in the case of that being the 

ADAT option, provide a sample rate of either 44.1 

or 48kHz. 

With either of those two rates the Firewire 

connection can run 18 input/output feeds, as well 

as eight ADAT input/outputs, giving a total of 26 

possible simultaneous inputs and outputs. 

The A&H ZED R-16 provides a MIDI control 

section that feeds both the MIDI output and 

Firewire connections. 

Transport controls, along with four linear, 12 

rotary, and 12 switches, can be mapped as required 

with your preferred system setup. 

In Use 

At this point the only DAW system that the Allen & 

Heath ZED R-16 has a set-up template for is Sonar, 

and as it is the supplied DAW system, I used this 

for the basis of my testing. 

A&H says it will be providing more templates 

for other applications very soon, and these will be 

available for download from its website. 

Installation of both the Sonar LE application 

and drivers for the ZED R-16 are explained with 

some detail in the well written accompanying 

manual, and all went exactly as described. 

Getting Sonar to recognise the ZED R-16 Input/ 

output and MIDI systems was straightforward. 

I was expecting this to be a little trickier than it 

46 


was, but given the development with Sonar, I 

should have had more confidence. 

Pulling up the MIDI controller page within 

the ZED R-16 driver software, a grid system for 

the mapping of controllers to functions makes for 

a simple user-friendly approach. I have not used 

a Windows-based system for a while, but I had 

no problems interpreting the interface laid out 

before me, and all learned function associations 

worked fine. 

First, simply taking the ZED R-16 and using 

it as a basic analogue mixer with a couple of 

microphone and line signals on a few channels. 

When setting up, the first thing that struck me 

was the overall build quality. Every switch, fader, 

and rotary control felt very solid indeed, and I 

have no doubt would be able to withstand heavy 

use with little problem. The other immediate 

observation was just how quiet the ZED R-16 was. 

Opening up and routing in a few other channels 

just to see how much these rogue channels would 

add to the distortion had no real impact at all. 

This is a very quiet console. 

The mic preamps are very clean and 

transparent. I have memories of the GL2800 

and GL3800, and the ZED R-16 preamps are a 

certain improvement on what was already a very 

usable design. As you would expect, things are 

much quieter now. 

Now let’s have a look at the digital routing 

of the ZED R-16 using those additional 

buttons next to each of the 16 channel faders 

mentioned earlier. 

The manual has a page for each of the modes 

that can be achieved with these based on a 

popular application. 

With all the switches not depressed the 

incoming analogue signal goes through the ADC 

into the Firewire and ADAT outputs to your DAW 

immediately after the preamp and HPF, so taking 

the signal at the earliest opportunity. 

Pushing the first button labelled Dig Send=Post 

EQ sends the signal out after the onboard 

analogue equaliser section. 

The next button, Dig Return=Pre Insert, uses 

your DAW as an insert through the Firewire. 

The signal leaves the ZED R-16 after the preamp 

and HPF, through your DAW, then back into 

the console pre EQ. Here you can add a plug-in 

processor within your DAW, and then continue to 

mix through the analogue path to the L-R bus. 

You could also just use this mode to use the 

ZED R-16 as an analogue summing mixer for 

the digital outputs of your DAW for mixing. 

The third button, Dig Return=Post EQ, takes the 

signal from the ZED R-16 to your DAW as before, 

then returns it after the EQ to continue to the L-R 

bus using either Firewire or ADAT connections. 

This would allow for monitoring in your DAW 

during recording as per an in-line channel/ 

monitor routing scenario. 

Allen & Heath | ZED R-16 

Finally if the first two buttons are pressed 

simultaneously then you can use the equaliser of 

the ZED R-16 as an analogue insert on your DAW 

controlled mix. 

There are quite a few possibilities here, all very 

flexible, and these are just a few simple examples 

of their use. I tried all of these out as described, 

and all worked perfectly. With the session running 

at 44.1 I did not experience any real latency issues. 

Of course this will be affected by your system, but 

I would not expect this to be an issue for most 

with reasonable buffer management. 

With the faders in MIDI mode to act as a 

controller with the DAW, I can only really comment 

on its use with Sonar, and once again all were 

very smooth. The faders in general work in a very 

refined way for what are fairly short 60mm travel 

faders/controllers. 

Conclusion 

The Allen & Heath ZED R-16 was much better than 

I was expecting it to be. That sounds a bit unfair, 

but you do have to keep expectations reasonable 

when reviewing sometimes. I was somewhat out 

on this occasion. 

As an analogue mixer it is robust, quiet, and 

transparent and, as a controller, straightforward. 

The digital routing is very flexible and marries the 

analogue and digital worlds together very well. 

The majority of users will have most configurations 

covered with the ZED R-16. 

I hope that Allen & Heath continue to 

develop templates for other DAW systems to aid 

installation, and I have no reason to doubt that 

this will be with us sooner rather than later. 

This is both a welcome and, for me, successful 

return to the studio world for Allen & Heath and, 

with the refinements and support resources 

promised, can only get better. ∫ 

.................................... 

INFORMATION 

£ GB£1,819.00 (inc.VAT), US$2,999.00 

A Allen & Heath Ltd., Kernick Industrial Estate, 

Penryn, Cornwall, TR10 9LU 

T +44 (0) 1326 372070 

W www.allen-heath.com 


POWER 

FACT AND FICTION, PART 2 

More Pulling of Fluff from Fact… 

Last month we tried the 

subjective approach. This 

month, ANDREW GRAEME puts 

some theories to the test and 

more myths to rest with a more 

technical approach. 

Last month, David Helping took a very subjective look 

at the various products that claim to clean or somehow 

alter studio power supplies, and their effects on the 

final sound. He told us that he will not ‘go into engineer 

geekiness’, so I thought I would. 

The issues raised in the first article were voltage 

regulation, balanced power, power conditioners, and 

esoteric power cables. I decided to actually see, or rather 

hear, what exactly is going on when people claim to have 

vastly improved audio, as the result of some change in the 

power is delivered. 

Testing, One, Two… 

To do this, I had to first create a poor mains supply. 

The voltage had to vary by 10%, radio frequency 

interference (RFI) and switching noise had to be carried 

on the mains supply, and connection to earth (ground) 

had to be less than absolute. I then compared the 

effects of adding esoteric screened power cable, power 

conditioners, and the effects of RFI under both these and 

normal conditions. 

I also created a poor earth by rigging up a 20m length 

of wire with a 10Ω resistor at the end, connecting to the 

studio earth. This simulated the typical situation one 

finds in older buildings, where lengths of old wiring are 

often linked to ageing junction boxes with less than 

perfect connections. I found that this acted as a splendid 

antenna for signals coming from flat screens and energy 

saving light bulbs, and also led to a marked increase in 

clicks and pops from switches and outside relays from air 

> 

48 


conditioning and heating plant. 

No connections were made with other pieces 

of equipment, so as to prevent any RFI entering 

from any other source than the mains cable or 

the earth wire. 

A significant transmitter of unwanted RF that 

is sometimes used in a studio is the compact 

fluorescent lamp (known to its friends as the 

energy saving light bulb). By wrapping an open 

ended cable around the lamp, I could get up to 

half a volt of RFI, but only 2mV in a power cable 

that connected to the mains but not earthed. I 

got no RFI in the mains cable at all when the cable 

was properly earthed. 

Lighting dimmers can also cause problems, 

and if your studio is near unsuppressed dimmers, 

such as in a block of flats, the RFI they cause can 

bleed into the mains. To test the levels of RFI 

carried in the mains, I set up 16 stage dimmers, 

each cutting the phase to its own 500W PAR 

lamp at exactly 50%. The result was less than 

expected at about 20mV when not earthed. With 

a poor earth, this increased to between 50mV and 

100mV, depending on equipment used, and the 

effects of the dimmers could be clearly heard. 

I also tested the effects of multiple flat screens 

and CRT monitors, but these did not produce 

any mains-born RFI that I could measure, except 

when using the poor earth and then, the mains 

cable had to be lying right next to the source of 

interference, just to get 1mV of interference. 

The studio analogue mixing desk with its large 

PSUs showed no sign of mains-born RFI, and I 

could not test it with the poor earth or with earth 

lifted, as this would mean unplugging several 

hundred cables, just to isolate the effects of the 

mains interference. 

The Lexicon 960L did not seem to mind 

whether it had a good earth, a poor earth, or 

no earth at all – it remained serenely quiet at all 

times. Other than that, nearly every other piece of 

equipment increased its noise floor significantly, 

when the poor earth was used. This varied from 

piece to piece, and there seemed to be a tendency 

for the digital stuff to suffer most. 

Adding a power conditioner to the above tests 

had no effect on any units that were properly 

earthed. When the poor earth was used, some 

improvement could be measured in most units 

that were of an earthed design. This was far from 

massive, but the effect was there. The earth-free 

designs varied, with one unit, a small desk-top 

mixer that used the dreaded wall-wart, having 

slightly more thyristor buzz from the dimmers 

when the power conditioner was used. 

Off Balance 

Again and again, the topic of balanced power 

is brought up and often hailed as the one thing 

you can do to your studio that will improve 

signal to noise ratios more than any other. 

Subjective statements are sometimes added, like, 

“After installing balanced power, we got clearer 

highs and better defined lows.” Sometimes, almost 

magical properties are ascribed to it. 

Let’s see what balanced power is – and what 

it is not. 

Balanced power is created by installing a 

simple 1:1 separation transformer, the difference 

being that, instead of ground or earth being 

linked to the neutral wire, it is linked to a central 

tap that has 115 volts difference (i.e., half the 

mains voltage) from either of the two live ‘legs.’ 

The idea of this arrangement is the same as for 

POWER FACT & FICTION 

balanced lines for microphones or line feeds, that 

it rejects interference from outside and causes 

less induction in neighbouring cables, as the 

opposing voltages cancel one another out. 

All power supplies in Europe are either single 

phase AC and about 230 volts, or they are threephase, 

each phase being out of step with the 

other phases to provide a voltage of about 400 

volts AC. All studio equipment is single phase. 

European law on mains supplies is complex 

and has to take into account such things as 

current and application, so as to make such 

uses as electric cattle fencing and high voltage 

industrial DC motors possible. But as far as 

studios, commercial or domestic, are concerned, 

any voltage above 50 volts is deemed to be a 

mains supply and must adhere to the strict laws 

governing their installation. 

Because each leg of a balanced supply is 

independent of the other, should the chassis 

become live as the result of a fault, the fuse to 

that leg may be triggered, but the chassis will 

now have a potential of 115 volts to both ground 

and any neutral wires not within the system. 

For this reason, both sides of the balance 

have to be fused at the wall socket or within 

the equipment, and the fuses have to be linked, 

so that, if one side is tripped, the other side is 

switched off as well. An alternative is to use a 

power relay or contactor that switches off the 

entire system. 

In the EU and in the US, balanced power 

may only be installed by a qualified electrician. 

A DIY installation of balanced power is definitely 

dangerous to both people and equipment. 

Laying Out The Ground Rules 

It sometimes happens that one sees the 

uninformed disconnecting the earth or 

ground wire in an attempt to interrupt a mains 

hum loop. 

In a word – don’t! The law requires all equipment 

to be either earthed, or to be of an earth-free 

design and, in a commercial environment, lifting 

the earth is a breech of health and safety laws in 

every European country. 

Also, nearly all audio equipment has circuitry 

that suppresses interference by bleeding HF 

to earth via the chassis. If the earth is lifted by 

disconnecting the green and yellow earth wire (or 

even using a dedicated earth-lift switch) under the 

right circumstances, this circuitry acts as a voltage 

divider and part of the mains supply is sent to the 

now earth-free, disconnected chassis. 

People have died, sometimes live on stage, 

because some idiot decided it would be a good 

idea to lift an earth to get rid of a mains hum loop. 

Disconnect the screen on the offending audio 

lead instead! 

Contacting Planet Earth 

I am often asked, “How do I know if the earth for 

electrical supply is OK” 

The simplest test is to take a multimeter and 

measure the resistance between the earth lead on 

any electrical socket and a metal structural part of 

your building. This should read zero Ω. You may 

of course get something like 0.001Ω, but if you 

get the same value by holding the leads to the 

multimeter together, then recalibrate your meter 

(or just make allowance for that value) and test 

again. If you get any value other than zero, call 

an electrician and get it fixed. 

Rather like modern cars, accessing the metal > 

 

 

 

 

 

 

AUDIO MEDIA OCTOBER 2008 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

>

POWER FACT & FICTION 

structure of your building can be difficult. By law, 

any metal pipes installed have to be electrically 

connected to the structure of the building and to 

Mother Earth herself – but do not rely on this, as 

the water and other pipes coming into a building 

are more often than not plastic, and only become 

copper piping after the water meter and main 

stop-cock. 

Another tell-tale sign of a poor earth is a 

reading of anything other than zero volts AC 

between neutral and earth, or between neutral 

and the structure of the building. 

If in doubt, get an electrician to test your supply 

and install a unified earth that connects all metal 

pipes, metal supports, walls, and anything else 

structural that can conduct electricity. 

Voltage Levels 

Your multimeter will also be able to tell you what 

your mains supply voltage really is. In the EU 

it is supposed to be 230 volts, but your supply 

company is allowed to vary that by up to 10%. 

If the supply voltage falls outside the permitted 

values, state this in writing to your supply 

company, as they are legally obliged to keep well 

within those boundaries. 

Although all equipment is supposed to be 

able to cope with voltages up to 253 (in Europe) 

it is definitely not good for them, and if you are 

suffering from mains supply well in excess of 240 

volts, it is best to use either a voltage regulator, 

or a UPS. 

When testing your mains, remember that most 

multimeters are pretty accurate, but the same 

cannot be said for some of the read-outs on power 

conditioners and surge protectors, and it is not 

unusual for these to be five or more volts out. 

Low voltages at the other end of the scale lead 

to higher s/n ratios in some (usually cheaper) 

types of studio equipment and instability in some 

digital boxes. Voltages had to drop to 210 or lower 

for this to become a problem. 

UPS Delivery 

If you are having brown-outs (periods of lowvoltage 

supply) or worse still, your supply is 

subject to interruptions, you may need to look 

at feeding your audio equipment through an 

uninterrupted power supply (UPS). The three basic 

types are off-line, line-interactive, and in-line. 

The off-line variety does not interfere with the 

power supply and only takes over if the supply 

voltage falls below a certain value or fails 

altogether. Because this type can lead to computer 

crashes and even cause damage during the 

take-over phase, they are not suitable for 

recording studios. 

The line-interactive type of UPS is rather like 

a large variac with inverter back-up, powered 

by battery. These take care of over- and undervoltages, 

and the inverter springs to life if the 

power fails altogether. If all you worry about 

is power fluctuations and black-outs, then this 

is the type for you. 

The on-line UPS is a DC to AC converter 

running constantly from a set of batteries that are 

kept topped up from the mains supply. This is the 

type to have if working in very critical conditions, 

such as an operating theater, where perfectly 

regulated supply, free of any RFI, is needed. 

They are, however, far more expensive than 

line-interactive. 

THE SYMPHONY SYSTEM 

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The Symphony System combines Apogee’s legendary X-Series and Rosetta Series converters with 

Apple’s revolutionary Mac Pro and Logic Pro audio workstation using the 32-channel Symphony 

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Symphony PCIE Card 

32-Channels of I/O per 

card & up to 96 channels 

per system. 

Magic Cable 

The addition of screened power cable made no 

difference in any of the cases tested. It made 

no difference whether the earth was good or bad 

and it made no difference whether the amount 

of RFI in the power supply was high or low. 

The addition of screened power cable had no 

effect on RFI levels, switching noise, or any 

equipment’s noise floor or mains hum levels. 

I called the supplier of these power cables and 

pointed out my results and a salesman told me, 

“We find that people with a technical background 

have greater difficulty hearing the benefits of 

our cables.” …I’ll leave it at that! 

Conclusions 

When testing equipment that was of good 

standard and properly earthed for the effects 

of RFI, we did get RFI levels in μV range in the 

power cable. When this happens in a working 

environment, far greater amounts of RFI are 

transmitted into the connected cables and the 

body of the equipment. Quantifying and trying 

to suppress such low levels of interference, when 

most unwanted noise is entering from just about 

everywhere else, would indeed be fool’s errand! 

Balanced power is extremely expensive when 

done properly and within the law. It does have 

specific applications, such as scientific laboratories 

and some operating theatres, and all connections 

and the continued usage have to be overseen by 

a qualified electrician, both in the US and within 

the EU. In some EU and US states, a government 

accredited certificate of safety is required annually. 

This is because balanced power, especially when 

used together with unbalanced power, or just 

incorrectly installed, can be very dangerous. 

Interference carried within the mains electrical 

supply does not seem to be the big problem that 

some would have us believe. Poor earthing and 

RFI carried as radio waves, entering either that 

poor earth or all the cables and equipment in your 

studio will always be a problem, easily solved the 

old fashioned way, with good earthing and good 

cabling. 

And if in any doubt about your earthing, call 

an electrician. ∫ 

50 


New PD Series Location Recorders 

Audio acquisition that’s 

as versatile as you are. 

www.fostex.jp 

Fostex Company, 3-2-35 Musashino, 

Akishima, Tokyo, Japan 196-0021 

Email: info_sales@fostex.jp 

Designed from the ground up to excel in ‘real-world’ applications, wherever you 

happen to be in the world. The new PD606 (8-track) and PD204 (2-track) 

location recorders both offer spectacular audio quality, flexible recording 

to 12cm DVD-RAM, hard disc or a combination of both, rock solid timecode 

implementation, extended battery life, loads of ‘instant access’ knobs, buttons 

and switches plus a whole battery of interface options. 

But impressive features are only part of the script. Fostex’s unrivalled pedigree 

in designing and manufacturing world class location recorders for over 16 years 

and our unique understanding of the broadcast, film, tv and audio acquisition 

environments means that these new recorders aren’t just the best PD recorders 

ever, they’re simply the best professional location recorders available today.

PRODUCT SAMPLER 

Effects Plug-Ins 

Some sceptical soothsayers might argue that the days of space- and power-hungry studios are numbered in an age of increasingly 

powerful portable computers. Couple one to a high-quality audio interface, connect some equally high-quality monitors... and 

voila – one high-quality portable recording setup. Add some plug-in effects to run within your recording software of choice and 

you can kiss goodbye to those cumbersome 19-inch racks. One thing remains constant, however: ‘virtual rack filling’ can be just 

as addictive (and expensive), as this month’s roundup shows... 

Abbey Road Plug-ins’ Brilliance Pack provides 

authentic emulations of the EMI RS127 and 

RS135 ‘presence boxes’ of the early '60s to 

supplement the EQ on Abbey Road Studios’ 

REDD mixing consoles, and used on countless 

seminal recordings. The RS127 Rack is modelled 

on the original rack-mount 

Brilliance Control, while the 

RS135 recreates the 8kHz 

boost unit; the RS127 Box 

plug-in models the standalone 

Brilliance Control with an EMI 

transformer used to connect it 

to modern consoles. 

www.abbeyroadplugins.com 

Digidesign’s specially-priced MassivePack 7 

(£710) and MassivePack Pro 7 (£1,920) mixing 

and sound processing plug-in bundles for 

Pro Tools|HD owners, offer 

significant savings on eight 

i n - d e m a n d D i g i d e s i g n 

Development Partner’s plugins, 

plus a choice of eight more 

Digidesign plug-ins. Moreover, 

the upgraded MassivePack 

Pro 7 also includes an HD 

Accel card (in PCI or PCIe 

format), plus two additional TC 

Electronic plug-ins. 

www.digidesign.com 

Earlier this year iZotope updated its Spectron 

64-Bit Spectral Effect Processor plug-in for 

Digidesign Pro Tools 6.4+ (RTAS/AudioSuite/ 

HTDM), VST, MAS, Audio Unit, and DirectX 

to version 1.14. The result of a collaboration 

between iZotope and Alexey Lukin from Moscow 

University, Spectron offers a complete spectral 

effect toolbox, allowing users to spectral morph, 

filter, pan, delay, smear, 

warp, twist, and shape 

their synths and samples, 

manipulating individual 

frequencies from its 

easy-to-use GUI. 

www.izotope.com 

Audio Ease recently released Altiverb 6.2.0, 

the latest free update for its convolution reverb 

plug-in, offering enhanced overall reliability, 

plus full compatibility with Digidesign Pro 

Tools 7.4.2. Latest additions to the Altiverb 

impulse responses library include the Teatru 

Manoel theatre in 

Malta; three Maltese 

underground caves; 

Fox Scoring Stage 

in Los Angeles, Gol 

Stave Wood Chapel 

in Oslo, Norway; and The Cistern, a two million 

gallon underground water storage tank in Fort 

Worden State Park, Port Townsend, WA, USA. 

www.audioease.com 

Barcelona-based software plug-in specialist 

DUY’s recently introduced Silence is a new noise 

reduction tool for Mac OS X (RTAS, VST, AU, MAS) 

t h a t s i m p l y 

analyses the 

n o i s e o n a 

given part of 

a track for a 

few seconds, 

then lets the 

user adjust the attack, release, and threshold 

values; alternatively, an Advanced mode lets 

users change the noise gate settings of over 

1,000 frequency bands for greater control of 

unwanted noise. 

www.duy.com/plugins 

Celebrating its ten-year anniversary as a creator 

of professional audio plug-ins, McDSP’s ML4000 

is a high-resolution limiter and multi-band 

compressor, designed for music, mastering, 

and the ML4 multi-band dynamics processor 

featuring a four-band gate, expander, and 

compressor, fed into the same algorithm found 

in the ML1. 

www.mcdsp.com 

One of the technological highlights of the 

Frankfurt MusikMesse earlier this year was 

the upcoming version of 

Celemony’s M e l o d y n e 

software, which incorporates 

D i r e c t N o t e A c c e s s 

technology, allowing users to 

edit individual notes within 

polyphonic audio material, 

change the pitch of those 

notes, change the key, and 

so on. Anyone buying the 

Melodyne plug-in after March 12 automatically 

qualifies for a free upgrade when available. 

www.celemony.com 

Modena, Italy’s IK Multimedia Production calls 

its Total Studio Bundle 2 “The most complete 

solution for any DAW available on the market 

today, covering ever y 

guitar, bass, mix, and 

m a s t e r i n g n e e d . . .” I t 

includes the five virtual 

instruments found in 

the Total Workstation 2 

Instruments Bundle, plus 

seven essential plugin 

suites (AmpliTube 2, 

Ampeg SVX, AmpliUbe Jimi Hendrix, AmpliTube 

Metal, AmpliTube X-GEAR, T-Racks, and Classik 

Studio Reverb), priced at £771.39, including VAT. 

www.ikmultimedia.com 

New from Nomad Factory is its Analog 

Mastering Tools (A.M.T.), “...a high-resolution 

limiter and multi-band dynamics processor that 

sets a new standard for 

mixing and mastering 

your music with a 

subtlety and musical 

character reminiscent 

of tube systems.” 

Comprises A.M.T. Amp 

Levelling, a highlyoptimised 

look-ahead 

Brickwall Limiter and Level Maximisation plugin; 

A.M.T. Max Warm, and A.M.T. Multi Max. 

www.nomadfactory.com 

52 


COMPROMISE 

IS NOT A VIRTUE 

APx525 and APx520 two channel audio analyzers, new 

from Audio Precision, the recognized standard in audio test. 

One-click measurements, automated sequences, and the 

intuitive UI of the award-winning APx Series, with −108 dB 

typical THD+N and new tests for two channel applications. 

No other audio analyzer is faster or easier to use. 

There’s no need to compromise: pricing starts under 

$10,000 in the US. 

Learn more about two channel audio test made easy 

at http://ap.com/apx525

Overloud Audio Tools recently released 

version 1.5 of its BREVERB high-end algorithmic 

re ve r b e ration p l u g - i n 

(Mac OS X/PC) designed 

to recreate the sound of 

revered hardware reverbs 

while retaining a low CPU 

load. Features include a 

new set of dynamic, leveldriven 

parameters, plus 

new additional presets, all 

accessible via its tasteful GUI, featuring six fullyassignable 

hardware-like faders, full automation 

capability, and much more besides. 

www.overloud.com 

PRODUCT SAMPLER | EFFECTS PLUG-INS 

Oxfordshire-headquartered Sonnox Plugins’ 

Oxford SuprEsser is a high-featured professional 

de-esser-cum-dynamic EQ featuring a so-called 

Basic mode for quick fixes and Advanced mode 

for increased functionality and fine-tuning. 

According to 

Sonnox Sales and 

Marketing Manager 

Nathan Eames, 

“[This] fully-spec’d, 

high-quality plugin... 

has actually evolved in the development 

process to become a whole lot more than a 

simple de-esser.” 

www.sonnoxplugins.com 

Universal Audio has begun shipping its new 

Moog Multimode Filter plug-in for its UAD DSP 

platform; V5.1 software includes the Moog 

Multimode Filter 

plug-in, exclusively 

endorsed and 

officially licensed 

by Moog Music, 

employing UA’s cutting-edge, proprietary 

analogue filter modelling to purportedly deliver 

the first truly analogue-sounding VCF (Voltage- 

Controlled Filter) emulation, combining the 

best of Bob Moog’s legendary Moog Modular, 

Minimoog, and Moogerfooger designs. 

www.uaudio.com 

Based on the company’s Finis Brick-Wall Peak 

Limiter and FIR Filter Band-Splitting Technology 

to provide excellent separation of the three 

bands without phase 

shift on the crossover 

frequencies, FINIS 3 

is a new three-band 

peak limiter from 

RNDigital (formerly 

R o g e r N i c h o l s 

Digital) comprising three independent peak 

filters operating separately on each of the bands, 

as well as one central peak limiter controlling the 

sum of all the bands. 

www.rndigital.org 

TC-Helicon’s June 2008-announced new 

version of its Harmony4 plug-in for Digidesign’s 

Pro Tools|HD and TC Electronic’s PowerCore 

platforms is Universal 

Binary compatible, and 

adds an array of doubling 

presets, including some 

that emulate overdubbing, 

as well as octave doubling. According to Simon 

Tilbrook’s May 2007 Audio Media review, “...[it] is an 

extremely versatile vocal harmony plug-in; if you 

are looking to create thicker natural harmony 

tracks or extreme alien-like sounds the Harmony 

will not disappoint.” 

www.tc-helicon.com 

The Native-supporting URS Saturation Plugin 

represents the latest release from Unique 

Recording Software, the US-based developer of 

high quality digital EQs, compressors, and classic 

console strips; as such, it digitally recreates four 

different and distinct 

Class A pre-amps, each 

featuring a different type 

of input stage saturation, 

even- and odd-ordered 

harmonics, and soft clipping – namely, two tube 

mic pre-amps (Vintage Motorcity and German), 

a discrete pre-amp (British), and a JFet pre-amp 

(modern). 

www.ursplugins.com 

Softube’s Tube Delay plug-in for VST, AU, 

and RTAS combines the warmth and natural 

compression characteristics of tubes with the 

features and versatility 

o f d i gital d e l ay – 

i n c l u d i n g 1 0 0 0 m s 

delay, sync tempo to 

host, vintage -style 

passive EQ, ‘gritty’ 

feedback, and tube 

pre-amp simulation. According to its creator, 

“The effect is perfect for fattening vocal tracks, 

adding slapback echo to drums, or getting a 

gritty delay for guitars!” 

www.softube.com 

TC Electronic’s Tap Factory is the latest addition 

to the pro audio company’s proprietary 

PowerCore platform. It is a hybrid delay/reverb 

plug-in that combines 

multi-tap delay effects 

with early reflection 

reverb effects, offering 

nine seconds of delay 

time, three ways of 

w o r k i n g w i t h t a p 

tempo, and features a tap pad, which can be 

used either for tapping the tempo or for tapping 

a specific rhythm into the plug-in. It also includes 

a bonus LE version. 

www.tcelectronic.com 

Wave Arts recently updated its Master 

Restoration Suite – a comprehensive set 

of restoration plug-ins for cleaning up tape, 

vinyl, and acoustic 

recordings, comprising 

MR Noise (broadband 

noise reduction); MR 

Click (click and crackle 

filter for vinyl or digital 

sources); MR Hum (hum 

and buzz removal); MR Gate (expander/gate for 

quick and simple background attenuation); and 

Master Restoration (all-in-one cleanup tool) – to 

version 5.46, with notable improvements. 

www.wavearts.com 

Sonalksis’ TBK3 Über Compressor is the third 

plug-in in its Creative Elements range. It has 

the same simple one knob interface as its TBK1 

Creative Filter and 

TBK2 Digital Grimebox 

siblings, and comes 

fully loaded with 

e x p l o d i n g s o u n d 

mangling processing 

and features, such as 

an extreme analogue-modelled compression 

algorithm; ‘true analogue noise’ colouration; four 

selectable, fully-adaptive attack/release modes; 

and modifiable side-chain filter. 

www.sonalksis.com 

Tube-Tech, in collaboration with Softube 

and TC Electronic, has turned its four-figurepriced 

CL 1B all-tube mono compressor into its 

plug-in namesake. Based on patented 

component emulation technology, the result 

runs on TC Electronic’s PowerCore platform 

together with a VST-/AU-compatible host. RTAS 

support is via the VST to RTAS adaptor from 

FXpansion (optional). 

www.tube-tech.com 

Waves calls itself ‘The World’s Leading Developer 

of Audio Signal Processing Software’. Who are we 

to argue Among the prolific company’s recent 

releases is a new addition to its SSL 

4000 Collection: SSL G-Channel is 

the fourth meticulously modelled 

p l u g - i n d e v e l o p e d u n d e r 

license from Solid State Logic, 

consolidating the EQ (including 

pre-boost dip, pre-cut rise, and 

broad Q) and dynamics (including soft-knee 

compression/limiting, a gate/expander, and 

automatic makeup gain) control of SSL G-Series 

consoles into one convenient tool. 

www.waves.com 

54 


video guide 

A Sound Pro’s Guide To Video 

KEVIN HILTON takes a final look 

at the inroads into film-making 

that digital processes are 

creating, with ever-speedily 

evolving technologies. 

SOUND PRO'S VIDEO GLOSSARY 

MTF 

Modulated transfer function 

is essentially the frequency 

response of an optical system. 

It is also a method of testing 

the optical frequency response 

of a scanner or other lensbased 

system, and is taken as 

a measure of the sharpness of 

a picture. Both are based on 

transfer function, which is the 

ability of an optical device to 

transmit frequencies. In this way 

the capacity of a lens to hold 

the diminishing details of an 

image can be measured and 

quantified. An electronic means 

of performing this important 

function is preferred because 

it does away with the vagaries 

and possible inaccuracies of 

human sight and perception. 

This also allows measurements 

to be taken on a regular basis 

and the new findings crosschecked 

with previous readings. 

MTF additionally enables a full 

and accurate evaluation to be 

made by pulling together all 

that information together in 

just one, quick appraisal. 

HD Acquisition: Part 4 

A 

sign that technology is changing ever more rapidly, 

especially in new areas of development, is when 

innovative products begin to appear in second 

generation versions. This is already happening with digital 

cinema cameras, five or so years since the originals first 

appeared as viable products. The ARRI Arriflex D-20 has 

moved on not once but twice, with the D-21 and the D-21 HD. 

Introduced earlier this year at the NAB Show in Las Vegas, the 

D-21 is based on ARRI Imaging Technology (AIT) and, like its 

predecessor, is designed as a replacement for film cameras. 

This ambition is shown even more clearly with these 

cameras, both of which incorporate ARRI’s new Mscope 

technique, designed to create a widescreen cinema image 

within the camera. This is done by producing an anamorphic 

output that, after post-production, can be projected on to 

a screen as a CinemaScope-style picture. A specialised lens 

is used to compress 2:40:1 widescreen images through a 4:3 

aspect ratio film frame, or an electronic sensor, which is then 

re-formed for projection (anamorphic is from the Greek for 

‘form anew’). 

The D-21 has one CMOS chip that is the same size as a 

Super 35 frame, and can be fitted with corresponding 35mm 

lenses. ARRI claims the same depth of field as film cameras 

and has provided an optical viewfinder that works with both 

variable frame rates and the manufacturer’s film camera 

accessories. Improvements on the D-20 include better colour 

saturation and a sharper picture. 

The MTF (see glossary) has been enhanced through 

the use of a re-designed down-sampling algorithm and 

recalibrating how it works with the optical low pass filter. 

Another new feature is the ARRIRAW output, producing raw 

sensor data that can be used at up to 30 frames per second 

(fps). The D-21 and D-21 HD share many of the same features, 

including variable speed and the optical viewfinder, but 

there are differences in output formats. The D-21 

produces anamorphic footage as ARRIRAW or Mscope, 

while the HD version offers only Mscope. Similarly the 

D-21’s main outputs are ARRIRAW, Mscope, or HD, while 

its relative has only either Mscope or HD. 

ARRI has moved into digital cinema cameras from film. 

Other challengers in this field have gone straight into 

the new technology without any experience of celluloid. 

Like ARRI, Dalsa now has two cameras in its range and 

is regarded as a leader in 4k (4096 horizontal pixels) 

cinematography. The company was founded in 1980 by 

scientist Dr. Savvas Chamberlain, whose career has included 

research into CCD, MOSFET, and semiconductor devices; and 

a professorship at the University of Waterloo in Ontario. 

Dalsa has used its experience in imaging chips to produce 

digital cameras, with the Origin being its debut in the field. 

Using a frame-transfer CCD the Origin has a sensitivity rating 

of 250 ASA and is fitted with standard 35mm lenses, again to 

underline its role as a digital film-style camera rather than a 

video-like recorder. As is now common the viewfinder is an 

optical model, and a live DVI output allows a monitor screen 

to be connected. 

The camera’s main output is 4096x2048 pixels (2:1 aspect 

ratio), of which 4000x2048 are optically active (1.96:1). 

The sensor has optically dark columns to create dark 

references for signal processing, with data sent over four 

optical fibre strands contained within a 1/4-inch cable, 

controlled by the Infiniband protocol. Footage is stored 

on a digital film recorder, such as the Codex Digital unit, 

after which it can pass through the digital intermediate 

post-production process that has now replaced the optical 

film procedure. 

The smaller, lighter Evolution, which was due on the 

market during the third quarter of this year, uses the same 

CCD chip as the Origin but is more able to be mounted on the 

shoulder than its bigger brother. The first full-length feature 

film to be shot using the Origin is Tempting Hyenas, directed 

by LeVar Burton, who has worked his way to the Director’s 

chair from the engineering deck of the USS Enterprise 

through helming episodes of the Star Trek TV franchise, and 

shot by Director of Photography Kris Krosskove. The next 

instalment in the James Bond saga, Quantum of Solace, will 

feature visual effects photographed using eight 4k Origins. 

There is always a maverick in any market, and in the 

digital cinema camera world that role is taken by Red Digital 

Camera. Its Red One has been a fixture at exhibitions over the 

last couple of years, but the cinematography business has 

been rife with rumours about whether it works or is actually a 

real product. That speculation has subsided as Directors and 

Directors of Photography have been using the camera on 

productions, although none has yet been in the top-flight. 

The Arriflex D-21. 

Peter Jackson, the technologically discerning Director 

of The Lord of the Rings trilogy, shot a short film, Crossing 

the Line, to test two Red prototypes, and the commercially 

savvy manufacturer has used this endorsement to publicise 

its digital cinema offering. The Red One is based on the 12 

megapixel Mysterium CMOS sensor, which produces a Super 

35 size frame with 2,540 progressive running at up to 30fps. 

Pictures are 4520x2540 pixels, and can be down-sampled to 

1080p and 720p. 

Red has broken with the style followed by ARRI and Dalsa 

and not tried to make its offering look like a film camera. 

The Red One weighs 10lbs and looks more like a video 

surveillance camera than something a feature film would 

> 

56 


video guide A Sound Pro’s Guide To Video 

> 

HD Acquisition: Part 4 

news 

Digital may be making inroads into the filmmaking process, but film itself is still there, and there is still a need 

to record from it. To further push on this market, French camera and location audio recorder manufacturer Aaton 

and FilmLight, the British developer of image scanning and colour management systems for filmmaking, 

have formed a partnership to promote a new film recording system, which, they say, is markedly faster than 

conventional laser recorders. 

The Aaton K uses a telecentric lens and sensor, which its designers says makes it able to record film quicker and at 

higher resolutions than the laser equivalent. There are no moving parts in the system for the frame exposure process 

and the device is able to records at twice the speed of a laser recorder at 2k, and can produce a 15-40% increase in 

speed at 4k. MTF is claimed to be doubled at 4K for both colour inter-negative and positive films. 

The new product is seen as particularly suited to producing material for RGB archives on black and white 

separation film. Aaton K has a 16k CCD reflex analyser that automatically self-calibrates, doing away with the need 

for wedge shoot-outs and densitometer sessions. It also guarantees a consistent result from one project to another 

and one machine to the next. The device is able to work with intermediate, camera negative, print, colour reversal, 

and black and white. 

FilmLight is looking after sales, marketing, service, and support for the Aaton K, which is manufactured by Aaton. 

Under the agreement the Aaton K can be sold as a package with FilmLight’s Northlight scanner and Baselight 8 colour 

grading system to create a full 4k production chain. 

“The potential market for this system is huge,” said Wolfgang Lempp, founder of FilmLight. “The Aaton K sets a 

new benchmark in film recording that totally outperforms current laser recording technology. So good is the Aaton 

K that the resolution it achieves on film with a 2k source file is comparable to what a laser recorder achieves with 

a 4k source file. And at 4K there is simply no comparison.” 

“Aaton K establishes a new standard for performance in digital film recorders,” added Jean-Pierre Beauviala, 

founder of Aaton. “This system brings both higher speed and exceptionally high image resolution with extremely 

stable densitometric characteristics. Even when upgraded with the latest technology, laser recorders yield only half 

the speed of the Aaton K. For archiving film on black and white separations – an important business for years to 

come – the Aaton K is nine times as fast as current laser recorders.” 

be shot on, even with the necessary accessories 

attached. Featuring a 35mm PL lens mount, the 

camera is able to take a variety of cinematography 

lenses, as well as the manufacturer’s own RED 

18-50mm F2.8 CF optical. Outputs are in Red raw 

form, recorded on to the Red- 

Drive, a 329GB RAID array, the 

solid state Red-Ram or, the 

preferred method, CompactFlash 

cards through the Redflash 

module. 

Another newcomer to the 

camera market in this brave digital 

age is Weisscam, founded by 

German Director of Photography 

Stefan Weiss. His HS-1 is designed for very specific 

shoots, being a high-speed camera that can be used 

on commercials, music promos, action sequences, 

and scientific films. The camera works at frame rates 

of up to 1.150fps in720x576 pixel SD PAL 4:3 aspect 

ratio mode; 950fps 1280x720 pixel for 720p 16:9 HD; 

and 650fps 1280x1024 pixel MAX. It has a 15x12mm 

progressive scan CMOS Imager, 24-bit colour depth, 

160 ASA sensitivity and an internal memory of 4GB. 

The external control system runs using Windows XP Pro. 

During IBC, Weisscam previewed the HS-2 in 

prototype form. This model operates at 1.500 fps 

for 2k, 2.000 fps at 1080p, and has RAW output for 

HD and SDI production. 

This year is turning out to be a significant one in 

the development of digital cameras, with a further 

new model coming from an early pioneer, Sony. 

The manufacturer’s CineAlta range has been 

expanded with the F35, which is being hailed as 

the new flagship. The camera has a Super 35mm 

size CCD sensor, producing 4:4:4 picture quality 

with variable film speeds of up to 50fps. 

The Red One. 

Sony sees the F35 as complementing the 

established F23, and the two offering specific 

qualities for different kinds of shoot. The 2/3-inch 

chip of the F23 is regarded as suiting long depths 

of field and low light conditions, while the Super 

35mm sensor of the F35 would be 

a main cinematography camera 

because of its full resolution 

1920x1080 RGB capability. 

The F35 also has a PL mount for 

a range of 35mm film lenses and 

their accessories. 

Both the F35 and F23 have 

the same housing, but the new 

camera has the one CCD array, as 

well as different lens mount. The Super 35mm size 

CCD employs a RGB stripe method of operation, 

rather than the interpolated bayer pattern approach 

used by CMOS chips found on other cameras. 

This delivers full resolution 1920x1080 RGB 

outputs to be produced, and does not involve any 

sub-sampling. The chip is able to handle a wide 

dynamic range, with good definition between 

highlights and shadows, and particularly good 

quality definition in the blacks. As with the F23, 

recording is on to a HDCAM SR VT deck, which is 

connected on the back or top of the camera, or 

used as a standalone recorder linked by a cable. 

Prototypes of the F35 have been used in Japan to 

get responses from DoPs, and the camera is now 

scheduled for a full release at the end of this year. 

This concludes Video Guide's comprehensive 

appraisal of cameras and camera technology. 

Next month, the crucial business of camera 

movement, looking at the hardware and techniques 

that have been responsible for some of the most 

thrilling and moving sequences in film. ∫ 

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to deliver. The Exposé E8B and VXT 

series take studio monitoring to a whole 

new level. With an attention to detail 

and design expertise unmatched in the 

industry today KRK has truly raised the 

bar. Key design elements such as a sleek 

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airflow and minimal port turbulence, 

and finely tuned custom components, all 

ensure that the new Exposeé E8B and VXT 

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TOURING • INSTALLATION • THEATRE • SYSTEMS INTEGRATION • PRODUCTION 

AUDIO MEDIA 

Sound Reinforcement 

AMSR News 60 

Technology, application, and installation news from 

the global sound reinforcement community. 

PLASA ‘08 Review 62 

AUDIO MEDIA reports from the highly 

successful Plasa08 exhibition. 

Audio Technica M3 IEM 64 

Audio Technica’s in ear monitors could save the 

day for front of house engineers. BEN BURNS explains how. 

Live Mixing Techniques: Bruce Johnston 66 

ANDY STEWART takes a masterclass in live mixing techniques 

with Australian sound engineer Bruce Johnston. 

Drawmer 4X4 KickBox 70 

MARK WOODS does the splits for your eyes only, with 

Drawmer’s new Bond-esque active audio splitter. 

AMSR is the regular AUDIO MEDIA Sound Reinforcement section, aimed squarely at 

SR professionals across Europe. Following the Audio Media ethos, the emphasis 

will be on the product reviews and technical features written by working 

industry professionals that anybody in SR will find relevant and useful.


EAW, currently celebrating its 

30th anniversary, has announced 

that March-June were each 

record sales months for EAW and 

EAW Commercial in the Europe, 

Middle East, and Africa region 

(EMEA). Sean Martin, Director of 

EAW European Operations, notes, 

“These particularly fruitful four 

months set the tone for 2008, and 

we look forward to continued 

success in the remaining months 

of the 2008. Our new products and 

new personnel will continue to 

provide us the opportunity to set 

new benchmarks as we exercise 

our passion for sound and our 

dedication to our customer base.” 

w www.eaw.com 

The first annual Regeneration Tour 

has been filling amphitheatres 

and arenas across North America, 

as fans turned out in droves for 

a jam-packed evening of ‘80s 

artists including The Human 

League, A Flock of Seagulls, Naked 

Eyes, Belinda Carlisle, and ABC. 

Delivering the musical variety is a 

Meyer Sound system featuring the 

Milo line array loudspeaker. FOH 

engineer Wayne Pauley says, “It’s a 

lot of fun hearing what it does for 

that classic 1980s drum machine 

kick and snare. It’s as powerful as 

it is nuanced, and the amount of 

headroom is amazing.” 

w www.meyersound.com 

Sound Technology is now offering 

free BSS Soundweb training at 

its Letchworth Garden City head 

office. The courses are designed for 

installers interested in integrating 

Soundweb audio networking 

solutions into their projects. Two 

courses are available, one for each 

of the two BSS Soundweb series – 

Soundweb Original and Soundweb 

London. Both are one-day courses 

and each runs once a month. 

w www.soundtech.co.uk 

Commercial 

audio specialist 

Ateis UK has 

confirmed the 

appointment of 

HD Pro Audio 

as a main UK 

distributor for its range. Ateis 

MD Neil Voce commented: “I am 

personally really delighted to 

welcome HD Pro Audio on board 

as a main distributor of Ateis 

products. Both companies are new 

ventures in the UK and this means 

fresh thinking and the positive 

attitude we need to succeed.” 

w www.ateis.co.uk 

60 

Polar Audio Is Born 

A new name and new face for beyerdynamic GB 

The PLASA08 exhibition last month saw the official unveiling 

of Polar Audio – a new name to the audio industry, but the 

exclusive UK distributor for some of the best known names 

in the professional audio market. 

A statement issued by the company said, “Polar Audio 

is the exciting new face of beyerdynamic GB, and brings 

to the market an innovative approach to distribution. 

beyerdynamic GB has always been an independent 

company, but as such it has conducted its operation as a 

distributor in the image of beyerdynamic Germany. This of 

course has had huge advantages, but in many ways it has 

coloured our image and led to some inaccurate perceptions 

of who we are as a company today.” 

SSE And Brit Row Add More Midas 

Midas confirmed at PLASA08 that the first UK clients for its 

new PRO6 Live Audio System are SSE and Britannia Row, 

who have each purchased six PRO6 systems. Each company 

also owns two XL8 Live Performance Systems, making them 

the UK’s only XL8 rental suppliers, together with EFX Audio 

in Scotland. 

“We already have our XL8s lined up for a busy autumn,” 

says Britannia Row’s Mike Lowe. “Oasis are taking the first 

XL8 out for the autumn touring season for their UK arena 

tour, from late September until early November. They have 

been using an XL8 in rehearsals since June. They are now on 

the first shows of their world tour in the US and Canada, and 

have been getting great results with the XL8. We now have 

three tours that are keen to take out our first production 

PRO6s, so watch out for further details very soon.” 


beyerdynamic GB Managing Director John Midgely 

said, “Perception is not always reality, we are no longer a 

distributor of microphones and headphones only, we are a 

supplier of Intelligent Audio Solutions adding value to the 

products which we supply.” 

Polar Audio is the exclusive 

UK distributor for ASL, Aviom, 

beyerdynamic, Biamp, Blue Sky, 

Cue, Dynacord, Gallien Krueger, 

MC2 Audio, Novasonar, Renkus- 

Heinz, WHD, and XTA. 

Polar Audio 

+44 (0) 1444 258258 

www.polaraudio.co.uk 

_____________________________________________________________________________________________________________ 

Adds SSE’s John Penn, 

“Since the XL8 launch, Midas 

has been developing the 

software and improving the 

features in response to user 

requests. The unanimous 

message that SSE got back 

from every engineer to try XL8 was how great it sounded. 

In the US, a veritable who’s who of audio professionals 

from across the States flew in to Minneapolis, Minnesota, 

to attend the two-day U.S. launch of the new Midas PRO6 

digital console. 

Midas 

+44 (0) 1562 741515 

www.midasconsoles.com 

_____________________________________________________________________________________________________________ 

Meyer Power The Beatles 

On September 25, Paul McCartney delivered a historic 

performance in the Israeli city of Tel Aviv, nearly 43 years 

after the Israeli government banned The Beatles’ show in 

1965 for being too subversive. 

Slovenia-based Festival Novo Mesto and Israel’s Kilim 

Electronics provided a powerful Meyer Sound system for 

the event. The main system comprised two hangs of 14 

MILO line array loudspeakers, augmented by two sidefill 

arrays of ten more MILO boxes each, and several UPA-1P 

loudspeakers for frontfill. Forty-eight 700-HP subwoofers 

covered the low frequency and two towers of ten MICA 

line array loudspeakers served as delays. 

McCartney’s long-time FOH Engineer Paul ‘Pab’ 

Boothroyd is under pressure from McCartney's fans. He 

explains, “People have an attachment to these songs, and 

it’s my job to reproduce them faithfully, with the vocals 

and the hooks as they expect to hear them. The MILO array 

does a great job of delivering that degree of accuracy, with 

a focus that will cover every seat in the house. And the 

MILO handles the full dynamic range, from the intimacy 

of Paul playing solo with an acoustic guitar, to the whole 

band rocking full on.”


Stadius Wins 

Gottelier Award 

Prestigious award for distinguished designer 

John Stadius, Technical Director of Soundtracs/DiGiCo, 

was confirmed as the second winner of the prestigious 

Gottelier Award. Presented during the PLASA Awards for 

Innovation on the second night of PLASA08. Voted for by 

the industry, the Award was presented to John Stadius by 

Tony’s wife Susie. 

Stadius is a distinguished audio designer: in 1978, he 

joined Soundtracs PLC, designing disco consoles, mixers, 

power amplifiers, and speakers. As Technical Director 

between 1980-1994, he continued to design a wide range of 

analogue mixing consoles for live, broadcast, and recording 

uses – from the 

company’s 

first digitallycontrolled 

analogue 

console in 

1982, to its first 

fully digital 

console – the 

Electro-Voice Boom 

Shuttlesound reports an impressive boom in Electro-Voice 

line array system sales in the UK, catalysed by new compact 

cabinets introduced to the market in the last 12 months. 

In addition to the recent sale of EV’s XLD and XLE 

modules to APR Audio, Shuttlesound has added five 

rental companies into the EV family: Clear Sound, based 

in Stratford-upon-Avon; CWS, based in Peterborough; 

Ethix, based in London; Leisure Tech, based in Wigan; and 

OneBigStar, based in Nottingham. 

CWS, Clear Sound, and Ethix have all invested in EV’s 

XLC system that has been revitalised by the recent DVX 

upgrade, which brings EV’s new 12-inch low-frequency/ 

mid-bass woofers into the XLC127 cabinets. Colin Smith, 

proprietor of CWS, comments, “What appealed to us about 

the XLC was that it is incredibly well-priced for what you 

get – the size of the box in ratio to the amount of audience 

coverage you can get with it.” 

Shuttlesound 

+44 (0) 208 254 5660 

www.shuttlesound.com 

Virtua – in 1996. 

He was also 

instrumental 

in designing 

Soundtracs’ first 

large-format 

digital console, 

the DPC-II. 

In 2002 the 

company was bought by DiGiCo, and Stadius created the 

D5 – the company’s first truly live digital console – then the 

DS00 for post and broadcast, the D5T for theatres, and the 

D1 for the live arena. 

The latest development from Stadius and his team is the 

creation of ‘Stealth Digital Processing’ – a departure from 

the DSP approach in favour of a single large-scale FPGA. The 

first product to use this technology is DiGiCo’s SD7 console, 

followed by the company’s latest product, the SD8. 

DiGiCo 

+44 (0) 1372 845600 

www.digico.org 

_____________________________________________________________________________________________________________ 

Renkus-Heinz Versys VLX3 

Renkus-Heinz unveiled its all new VerSys VLX3 line array at 

the annual Buffalo Chip Music Festival last month. The VLX3 

line arrays were showcased by Sure Sound and Lighting, 

and powered by Lab.gruppen PLM 10000Q amps with 

built-in Dolby Lake processing. "I was extremely happy 

with the new Renkus-Heinz VLX3 systems, which offered 

outstanding vocal clarity," commented Alice Cooper's FOH 

mixer Randy Meullier. "Our audience know Alice's lyrics 

very well; we had no trouble putting the vocals where 

we wanted them." The VLX3, which is acoustically the 

same as the TXLA/9, now 

features an updated 

compression driver 

with a titanium-nitrate 

diaphragm, and 12" drivers 

with neodymium rather 

than ceramic magnets for 

reduced weight. 

Renkus-Heinz (US) 

+1 949 588 9997 

www.rh.com 

A total of four iLive digital systems 

were used across three stages 

at the recent Surfstock festival 

in Cornwall. The event included 

headline 

performances 

from Santogold, 

The Go! Team, 

Alphabeat, and 

The Gossip. 

SPS Systems 

managed the PA 

requirements 

for the event, 

with support 

from fellow hire 

companies APR Audio, Evosound, 

and Fearless Audio. Two iDR10 

stage racks with iLive-144 control 

surfaces were selected for the 

FOH and monitors on the main 

stage, with an iDR10 and iLive-112 

surface on the second Local Heroes 

stage. 

w www.allen-heath.com 

Last month saw the first show with 

the new Soundcraft Vi Series V3.0 

software in use as Norwegian band 

Secret Garden finished off this 

year’s tour with a special concert 

including a symphony orchestra. 

Secret Garden has been touring 

China, Korea, and Norway since 

April with two Soundcraft Vi6 

consoles and AKG microphones. 

The last concert of the tour 

was a special outdoor show 

incorporating a 27-piece symphony 

orchestra in the band’s hometown 

of Kristiansand, Norway. With the 

orchestra and nine musicians/ 

singers on stage, the availability of 

64 channels came in useful. 

w www.soundcraft.com 

A party for Yamaha motorcycle fans 

was amplified by Outline Butterfly. 

The eleventh edition of the Yamaha 

Fest, staged at Misano Adriatico, 

featured 24 Outline Butterfly CDH 

483 Hi-Pack (12 aside) backed up 

by 6+6 Victor Live subwoofers 

flown at the side of the stage. All 

were powered and controlled by 

Outline Series T power amps and 

Genius 26 processors. 

w www.outline.it 


Plasa ‘08 Review 

The PLASA08 exhibition has bucked the general exhibition industry trend in 

spectacular style with an 11% growth in visitor figures across the event’s four days 

IBC Review 

compared to 2007. The 13,000+ attendance figure (subject to ABC audit) reflects 

an exceptional level of visitor pre-registration as well as a growth in new and 

returning exhibitors to an expanded show floor, say organisers PLASA Events. 

“The show’s success was due to a combination of factors,” said Director of Events 

Nicola Rowland, “in particular a targeted marketing campaign combined with special online registration offers; a growth in exhibitor numbers; 

even more new product launches than in 2007; a greatly expanded educational programme; and improved visitor and exhibitor facilities.” 

The show witnessed the simultaneous international launches of four major new live sound consoles, from DiGiCo, Innovason, Midas, and 

Soundcraft, while a host of new audio installation products reflected the huge growth of the integrated systems market. 

Adamson presented the Metrix 

Ultra Compact Line Array Enclosure, 

an enclosure designed for small to 

medium permanent installations in 

houses of worship, theatres, and 

nightclubs, as well for the main 

system in small to medium touring 

applications. A newly designed 

Adamson ND8-ML 8.5” Kevlar neodymium 

mid-low frequency driver 

is optimised for this two-way 

enclosure, and is paired with a 1.4” 

HF (3” diaphragm) compression 

driver, mounted on Adamson’s HF 

wave-shaping chamber. 

www.adamsonproaudio.com 

AKG Acoustics introduced the 

wireless WMS 4500 microphone 

system. Like its predecessor, the 

WMS 4000, the WMS 4500 offers 

a wide range of available components 

for operational versatility, 

but has been modified for more 

durable use and greater flexibility 

with wireless applications, says 

the company. 

www.akg.com 

Alcons Audio introduced the LR7, 

the latest and smallest member of 

Alcons’ pro-ribbon line-arrays. Billed 

as ‘micro pro-ribbon line-array’, the 

system features a single 6.5” woofer, 

next to a 4” pro-ribbon driver, 

in a 15-degree vertical projection 

configuration. The 16Ω impedance, 

and a choice of 90-degree or 

120-degree horizontal projection, 

makes the LR7 suitable for A/V projects, 

where compact form factor 

with perfect line-array throw and 

imaging are required. 

www.alconsaudio.com 

Allen & Heath highlighted the 

latest developments in its iLive digital 

mixing system, including the 

new iLive Editor offline editing software. 

Consoles from the entry-level 

ZED range, including the new ZED- 

R16 dedicated Firewire recording 

mixer, were also on display, as well 

as the Xone range of DJ products, 

including the Xone:S2 club installation 

mixer, the new Xone:4D mixer/ 

controller with a high spec USB 

2.0 soundcard, and the Xone:02 DJ 

scratch mixer sporting a new face 

plate and crossfader. 

www.allen-heath.com 

BSS Audio has added four new 

members to its Soundweb London 

family of digital signal processors. 

The new BLU-800, BLU-320, BLU- 

160, and BLU-120 join the BLU-80, 

BLU-32 and BLU-16 devices in the 

series. HiQnet London Architect, 

v2.00, provides support for the 

four new devices and several significant 

feature additions. A dedicated 

and comprehensively featured 

Room Combine Processing 

Object abstracts the complexity of 

room combining applications and 

reduces programming time for 

such applications. The addition of 

Dynamic Metering allows efficient 

troubleshooting of Soundweb 

London systems through the use of 

simple signal presence monitoring. 

www.bssaudio.com 

DPA Microphones unveiled the 

first microphones from a new range 

geared towards the MI market. DPA 

believes “that musicians deserve to 

get the best sound possible from 

their precious instruments when 

playing live. To this end, they 

have taken their groundbreaking 

technology and created a range 

of cost-effective mics tailored for 

a wide array of musical instruments, 

complete with robust carrying 

cases and gentle, discreet 

mounting solutions”. 

www.dpamicrophones.com 

One of the hidden highlights of this year’s 

PLASA Show was the presence of Martin 

Audio’s new ASX floor-mounted active 

installation subwoofer, facing out into the 

aisles at the astonished passers-by. 

Aside from the sheer size of a cabinet 

designed to house a 21” (530mm) 

transducer, Class D amplifier, and full 

DSP, the ASX subwoofer “revolutionises 

ultra-efficient, low frequency sound 

reproduction – achieving the highest ever 

SPL from a single low frequency enclosure 

housing a single drive unit.” 

The combination of transducer, 

amplifier, and DSP provide double the 

output capability of a conventionally 

driven loudspeaker driver of the same 

size. When incorporated into a Martin 

Audio Hybrid horn design, the complete 

system can deliver a 152dB peak output 

(measured) from a single enclosure. 

It is designed for premium club 

installations, stadium installations, and 

for special effects in theme parks. 

www.martin-audio.com 

Funktion One’s RM18 tri-axial stage 

monitor is a radical departure from 

the standard 15” and compressiondriver 

configuration, delivering a 

significant performance advantage 

over conventional monitors, says 

the company. 

www.funktion-one.com 

JBL Professional is extending its 

Control Contractor Series loudspeakers 

to an even wider variety of 

applications with the new Control 

Contractor 40 Series premium inceiling 

specialty loudspeakers. 

Shown for the first time in the UK, 

several of the models incorporate 

JBL’s conical Radiation Boundary 

Integrator (RBI) technology, 

providing “broad and consistent 

pattern control with superior 

sonic performance”. 

www.jblpro.com 

Kling & Freitag debuted a newly 

developed line array system – 

K&F Sequenza 10. With three 

built-in patents, this system is billed 

as “an innovative sound amplification 

tool”. 

www.kling-freitag.com 

MC2 Audio’s T3500 two-channel 

amplifier is the latest addition to 

the established T Series, and is 

aimed at the market demand for 

a more powerful T Series amplifier 

geared to fixed installations, says 

the company. With its 1750W of 

power per channel, the T3500 will 

give users access to an even wider 

62 


There were four major digital console 

launches at the show – which made things 

very interesting. One was the Midas Pro6, 

based on the flagship XL8 architecture but 

in a more compact package, starting at 80 

input channels and 32 (+3) discrete mix 

channels with a 12-fader input channel 

section and ten VCA fader section. 

Another was the new Soundcraft SI3 

integrated digital console, with all I/O 

on the back, and no racks to reply on. 

The console takes advantage of the 

EMMA technology (single board console) 

and Vistonics control surface technology 

developed by Studer. 

Innovason showed its new Eclipse 

digital console, which sports a maximum 

of 104 inputs and 48 mix busses, tough 

with a 320 input/output capability, with 

five I/O racks. 

While we didn't have much information 

last month, the Digico SD8 was a prominent 

member of the quartet. 

The SD8 has a fixed architecture and 

employs a smaller Super FPGA than the 

SD7, yet it benefits from all the major 

features and versatility of the DiGiCo D 

Series, plus the advances already made 

in the SD7. 

The SD8 incorporates the Stealth 

Digital Processing, based on the single 

Super FPGA, and combined with Analogue 

Devices Tiger SHARCS, creates the Tiger 

SHARC FX engine. This provides audio 

quality, precision, and processing power 

with an extensive range of built-in reverbs, 

dynamics, output matrix, and more. 

www.digico.org 

IBC Review 

range of projects that use T Series 

amplifiers. MC2 T Series amps are 

currently specified into installations 

ranging from the Madrid-based 

Iberojet Cruises Grand Celebration 

ship, to the Hyundai-Daimos and 

Rolling Hills Resort in Korea. 

www.mc2-audio.co.uk 

Meyer Sound’s self-powered UPQ- 

2P narrow coverage loudspeaker 

debuted at Earls Court. The latest 

addition to the company’s UltraSeries 

family of loudspeakers, the UPQ-2P 

features “exceptionally high power 

output and low distortion, combined 

with its tightly focused beamwidth”, 

making it a suitable solution for small 

to mid-sized auditoriums, houses of 

worship, theatres, and nightclubs, 

offering flexible functionality as a 

stand-alone loudspeaker or as a part 

of an array. 

www.meyersound.com 

Neutrik showed the world’s first unisex 

XLR cable connector. “Whether 

mating to a female or male chassis 

connector, convertCON fits 

it. The gender is easily selectable 

without tools – conversion takes 

place by sliding the housing back 

and forth, meaning adapters are 

no longer required,” says Neutrik. 

The convertCON is also branded 

with Neutrik’s recently launched 

hologram, designed to help fight 

counterfeiting. 

www.neutrik.com 

Out Board featured the next generation 

evolution of its TiMax Audio 

Delay Matrix, TiMax2 SoundHub 

– a range of audio showcontrol 

and installation processors. In 

its ShowHub ‘S’ guise, the TiMax2 

control software is configured 

specifically for programming 

and running shows and events, 

whilst the RoomHub ‘R’ version is 

optimised for more mainstream 

AV installations needing similar 

comprehensive audio processing 

resources, but with less focus 

on real-time showcontrol or audio 

animation. 

www.outboard. 

co.uk 

RCF introduced a 

selection of new 

products. The NX 

series is a complete 

range of active loudspeakers. 

Designed 

for both for installation 

and touring, 

they are billed as 

“equally at home 

on stage or in a 

high energy club”. 

The ART7 Series is 

the latest version 

of the established 

ART active speaker 

range. Joining the 

Acustica range are 

the C8015 subwoofer 

and C4128 twoway 

reflex speakers. 

Both of these compact 

speakers are 

designed for clubs 

and small installations 

where space is 

at a premium. In RCF 

Commercial, the 

company is showing 

products from 

DXT 7000 Voice 

Alarm and Monitor 

Q Business Music. 

www.rcfaudio.com 

PLASA08 was the setting for the 

landmark launch of the Mayor of 

London’s Green Theatre: Taking 

Action on Climate Change 

initiative. 

Matthew Griffiths, CEO of 

PLASA, said, “We’re very proud 

to be able to host the launch 

of the Mayor’s Green Theatre 

Plan at PLASA08. Many of the 

manufacturers represented 

here on the show floor are 

already playing an active role in 

developing new equipment and 

technologies to help theatres 

achieve the goals set by the 

Mayor’s Plan, and the lighting 

and sound industry still has a 

great contribution to make. 

“PLASA and its members are 

very keen to work with theatres 

and other industry bodies, not 

only to help improve the power 

efficiency of lighting and sound 

systems themselves, but also 

to support and encourage the 

adoption of the many small, 

common-sense, and practical 

steps which together will make 

a huge contribution to reducing 

the theatre industry’s carbon 

emissions.” 

www.plasa.org 

Tannoy returned 

to the PLASA show 

after being absent for a couple of 

years. The company used the Earls’ 

Court event as the platform for a first 

UK demonstration of its latest proaudio 

product lines, VQ and QFlex, 

as well as exhibiting some of the 

existing V-Series loudspeaker range. 

www.tannoy.com 

Norwegian theatre specialists TTA 

unveiled Stagetracker FX, the latest 

generation of its awardwinning 

Stagetracker 

performer tracking 

and audio localisation 

system Version 

1 of Stagetracker was 

released in July 2007, 

and the system has 

evolved swiftly and 

dynamically since 

that date. TTA has also 

recently been installed 

at the National Opera 

House in Oslo, at 

the Royal Danish 

Theatre in Copenhagen, 

and the Svenska Teater 

in Helsinki. 

www.tta-sound.com 

Vieta Pro showed new 

and improved control 

software to extend an 

installer’s control over 

a sound system constructed 

from Vieta’s 

Ti Line suite of DIN 

rail-mounting products. 

Vieta-Net Control 

(VNC) Software Version 

2, which includes new 

features, a better user 

interface and an easier 

automatic set-up, allows 

a two-way communication 

between a variety 

of local control options 

and a PC-based master 

control of the media 

player and amplifiers, 

which can be connected directly, 

connected via a wireless network, 

or connected remotely using the 

internet. 

www.vietapro.com 


63

10|08 

AMSR 

BEN BURNS points out why 

Audio-Technica’s new M3 

system may well save your 

health, your job – and even 

save the day! Yes, these little 

IEMs might well be the 

saviour to a lot of sound’s 

little hazards. 

In ear monitors are all the rage, but it’s not because of 

good looks. For the right application, IEM systems can 

bring a whole heap of benefits that may not be that 

obvious. Audio-Technica has taken the plunge into the IEM 

market after some careful planning, as there are some 

innovative features unique to the M3 system. After being 

impressed with the recent range of Artist series microphones, 

I hope the M3 in ear system is a perfect complement to the 

vocal microphones. 

Monitors 

Gigs are meant to be loud, but not dangerous to people’s 

health. Local councils in the UK like to send ‘noise police’ 

to keep things under control. Engineers often play cat 

and mouse with the noise police, who holster devices to 

measure the sound levels. I can remember a gig where the 

stage noise was way over the permitted level – without 

the FOH PA running – I think a politician lived near by. 

Anyway, the point is that if you reduce the level of any 

stage monitors, the FOH mix will sound better when the 

overall gig level has to be quiet. 

Front of house engineers usually like the stage to be 

as quiet as possible – none of that fancy Perspex screen 

over the drum kit or anything, but guitar amps and side 

fills can easily kill any chance of a balanced mix in a small 

room. Most of the small rooms in England have some of 

the worst monitoring systems on the planet anyway, so 

bringing in your own monitoring system can really save 

the day – and possibly your job. 

The M3T transmitter is the heart of the system, M3R is 

a small receiver (like a cigarette packet) that contains 

a battery powered headphone amplifier. Included extras 

include the antennae, a rack mounting kit and very light 

power transformer for the transmitter (like a modern 

phone charger), headphones with three rubber cup sizes, 

and the well written multi-lingual manual. 

The system can operate on over 1,250 frequencies, with 

a range of 100m in clear space. Any number of receivers 

can be run from one transmitter – like a television set they 

will all get the same signal of course. Up to 16 transmitter 

systems can be used simultaneously within each 

frequency group – it is possible to have more channels 

running, but a special frequency plan will be required for 

correct operation. Inter modulation of radio frequency 

bands will cause drop outs all over the place, so a good 

frequency plan is as essential as using the correct antenna 

cable (50Ω antenna cable, not 75Ω video BNC!). 

M3T Transmitter 

With a weight of 930g, this transmitter is not super-light, 

a good thing as it feels solid and able to withstand any 

abuse. The transformer is very small and light, like a 

phone charger. Under full transmitting power the whole 

unit draws about 600mA. The transmitter is factory 

set to 10mW (in line with UK national regulations) but 

can be switched up to 50mW for special operations. 

Between 863MHz and 865MHz, the unit is limited to 

10Mw only. 

AUDIO TECHNICA M3 IEM 

In Ear Monitors 

Typically when using stage monitors, the sound for 

a given performer will change massively if they want to 

jump about and run around a lot. If the performer wishes 

to hear a consistent monitor sound whilst moving about 

or on moving staging, then wireless IEMs are a god send. 

IEM 101 

The basic concept of the in ear monitor is for a 

musician to insert posh earphones into one or both 

ears. These act as earplugs, reducing dangerous 

sound levels entering the ear whilst at the same time 

providing a monitor mix at a reduced volume. There are a 

large number of benefits from using IEMs, reduced stage 

level, reduced level for the wearer, freedom of movement 

when using wireless systems, consistent monitoring from 

venue to venue, etc. 

With any radio transmitters there are regulations that 

should always be adhered to, but at least in the UK there 

is some confusion about licensing radio frequencies 

for entertainment use. The JFMG is a government body 

that works alongside OFCOM in the UK to manage radio 

frequency licensing, check out the website for more 

information. Depending which country you are in, the 

television broadcasters will be using some of the same 

frequencies available to the M3 system, so it is important 

to choose the correct group. 

The front panel is clear and uncluttered, with a green 

backlit LCD. The information you should be worried 

about is all clear and easy to read, including battery 

level (usually eight hours on fresh ones), input level, and 

frequency display. 

To change the setting on the transmitter a three button 

interface lets you move through a basic menu system 

which any engineer should be able to quickly work out. 

There are options including naming the unit, tuning the 

UHF, pilot tone, and squelch control. The pilot tone is there 

to avoid RF interference when the transmitter is turned 

off. To listen to the audio signal going into the transmitter 

there is a ¼” headphone socket with independent volume 

control (120mW @ 32Ω) on the front panel. 

The rear panel includes the IEC power input socket, 

two XLR/1/4” combi inputs, two XLR outputs and the 

antenna connection. For factory use only there is a data 

port for re-programming and updating the transmitter 

software. There are currently no plans for any remote PC 

software. The XLR outputs are a direct copy of 

the input signal, which remains un-affected 

by the software in the transmitter. This is 

useful for ‘looping’ through into a monitor 

amplifier or other device requiring the same 

mix as the IEM system. 

THE REVIEWER 

BEN BURNS is a London-based 

freelance engineer- both live and 

studio- with credits including Blur, 

Dido, Embrace, Happy Mondays, 

and more. 

M3 System 

Audio-Technica’s first IEM system 

embraces these concepts in a feature-rich 

professional package that won’t break 

the bank. The whole system is boxed with 

everything you need to get up and running. 

64 


AMSR 10|08 

By using the supplied rack mount kit, one or 

two units can be put into 1U of space. 

When you power up the unit, it takes a few 

seconds to get ready and then it starts to transmit 

as per the last used settings. The software seems 

smooth whilst navigating through the simple 

menu system, which does what it says on the tin 

efficiently and with simplicity. 

Even when sending quite a low level into the 

transmitter, the sound at the other end was clear 

and detailed. Whatever techniques have been 

employed to send the radio signal work very well, 

as there is never a pop, click, or fuzzy moment to 

be heard – the worst that can happen is the audio 

signal drops out if you go out of range or hit a null 

spot in a room. 

M3R Receiver 

About the size of a packet of cigarettes, the 

transmitter is very, very light – 133g without 

batteries to be precise. It feels a little flimsy to 

me, but I have been assured that the plastic 

case is super modern composite and able to 

withstand abuse. I have been unable to 

test this theory on account of Audio- 

Technica needing the review unit 

back unharmed. 

The receiver is powered from two 

AA cells, which should last up to eight 

hours (almost enough time for The 

Lord of the Rings). On the business 

end of the pack there is a 3.5mm 

headphone jack with a locking ring, 

dual concentric volume/pan control, 

and antenna connector. To one side 

there is another 3.5mm input jack 

socket for aux input signals. 

Designed for use with a 

microphone or line level source, the 

aux input is a great innovative feature 

of the system. The idea is to provide 

the user with control over local sources 

such as a 

click track, 

sequencer, or ambient 

microphone. +5v is 

provided on the ring for 

powered microphones, so 

if you use an iPod or similar 

device it is recommended 

to use a mono adaptor to 

protect the device. There is 

a hardware switch to mute 

this input mounted on one 

side of the pack. 

Scanning for available 

frequencies is always handy 

in a noisy RF environment. 

The M3R can scan all the 

frequencies in a group and 

choose the first channel 

which has no traffic on it, 

you can then choose to use 

this frequency or scan for other options. Once set 

on the receiver you will have to manually set the 

transmitter to match. 

Like many other IEM 

systems, the M3 offers a few 

audio modes – a simple stereo 

mode transmits the left input 

to the left earphone, and 

the right input to the right 

earphone. In personal mix 

mode, the user gets both 

the left and right inputs in 

both ears, with the balance 

between the inputs being 

controlled with the balance 

pot. This is typically used for 

a band mix in mono plus a 

single instrument like a vocal, 

where the performer can set 

the balance between the 

band and the vocal in his/her 

own ears. 

The system comes complete 

with a set of hi-fidelity earphones complete 

with three sizes of rubber ‘caps’ to fit on the 

earphones. These rubber caps have good isolation 

properties and give the bass a deepness when 

inserted firmly into the ear. 

In Use 

Anyone used to hearing radio systems will be 

familiar with those ‘fizzzzzzzzssssshhhhur-pop’ 

moments caused by dropouts in the radio signal. 

Nothing can be done about the laws of physics 

unfortunately, but Audio-Technica has managed 

to reduce these to a minimum, and when 

dropouts do occur, the unit will mute without 

those distracting noises. 

I really noticed this compared to other 

systems – when walking about slightly out of 

range of the transmitter (like being in a dressing 

room before the gig) the audio fades in and out 

without any annoying pops, clicks, or fuzzes, 

which can put performers off. The advanced pilot 

tone and squelch technology employed in the M3 

system works very well, walking down the road 

listening to the system proves the point – audio 

was interrupted in a subtle way with no other 

audible artefacts. 

The dynamic range of the system is very good 

for an IEM product – whatever compression/ 

“Anyone used to hearing radio 

systems will be familiar with 

those ‘fizzzzzzzzssssshhhhur-pop’ 

moments caused by 

dropouts in the radio signal. 

Nothing can be done about the 

laws of physics unfortunately, 

but Audio-Technica has 

managed to reduce these 

to a minimum…” 

expansion technology is employed does a 

transparent job, as music with a wide dynamic 

range still sounds clean and detailed, the 

frequency response is also 

suited to modern digital 

requirements. 

Using the supplied 

earphones while playing 

drums actually allowed 

quite a lot of ambient 

sound to be heard clearly 

– the drums themselves 

and guitar amplifiers were 

very present. Using custom 

moulds produced a more 

isolated sound, and closed 

back headphones just 

looked silly. Choosing the 

right earphones is obviously 

a huge factor in getting the 

right amount of isolation for 

each situation and person. 

Some performers can get 

a feeling of isolation with 

a very tight IEM mix, so often some ambient 

microphones will be slung up to relay the 

atmosphere of a gig to the performer. 

If you are looking to get an IEM system, the 

M3 may well meet your requirements – I found 

the whole system very easy to use, and I like 

the very modern light materials, and low power 

consumption. ∫ 

.................................. 

£ GB£599.95 (inc.VAT) 

INFORMATION 

A Audio-Technica Limited (UK), Technica House, 

Royal London Industrial Estate, Old Lane, Leeds 

LS11 8AG 

T +44 (0) 113 277 1441 

W +44 (0) 113 270 4836 

A Audio-Technica US Inc., 1221 Commerce Drive, 

Stow, Ohio 44224 

T +1 330 686 2600 

W www.audio-technica.com 


65

10|08 

AMSR 

Live Mixing Techniques: Bruce Johnston 

In his interview with Australian 

live sound engineer Bruce 

Johnston, ANDY STEWART 

delves into what makes his 

live shows tick. 

Australian live sound engineer, Bruce Johnston, 

could talk the leg off a floor tom as he recounts a 

mic cabinet’s worth of stories from his illustrious 

mixing career. Here, Bruce delves into his own working 

methods and mix philosophies, to reveal some of his 

famously idiosyncratic and iconoclastic techniques. 

So without further ado, let’s head to front-of-house and 

get it straight from the horse’s mouth. Bruce… take 

it away. 

Leaving Yourself Wide Open 

Bruce Johnston: The very first gig I mix for a band 

tends to be the best sound I ever pull for them – oftentimes 

I don’t know who they are or what type of music 

they play, and as a result my ears tend to be ‘wide open’. 

I don’t have any preconceptions; I don’t know how they’ve 

previously been mixed and I’m generally a little bit 

nervous. Somehow that produces my best work. 

Others tend to be what I call ‘tone guys’. These guys 

(and girls) often create great-sounding mixes, but what 

they sometimes lack – from my perspective at least – is a 

sense of melody and movement. I tend to sit in the audience 

at these gigs going, ‘Well, that sounds great, but 

what’s going to happen now’ But hey, each to their own. 

In reality, my approach is essentially the opposite of 

this. I’m all about the moment of a mix. Consequently, 

I might have the best gig in the world one night and 

the worst gig the next. It’s not necessarily the most 

consistent approach going around, but unfortunately 

some things come at a cost. 

Changing The Formula 

Other than using a lot less effects than I did in the ’80s, 

I’ve essentially never deviated from the formula I’ve used 

since my early mixing days. For example, I still always 

tune the PA with my vocal and a Shure Beta 58a (I used 

an SM58 in the ’80s) – never with a CD. In the end the 

gain and tone of the PA are all about how the vocal 

sounds. I always make sure a PA is balanced somewhere 

between sounding right vocally and managing any little 

> 

66 


10|08 

AMSR 

> 

nasties that present themselves. Funnily enough, 

the curve I usually end up with on a graphic EQ 

looks pretty much the same as it did in 1981. 

It’s a little different in the top end of course, 

thanks to the marked improvement in horn 

technology over the years, but by and large 

my EQ tends to have a ‘V’ around 160Hz, a ‘V’ at 

500Hz, a little bit of a bump at 2kHz and another 

‘V’ at 4kHz. I hate 4k; if anyone sees me mixing 

you’ll always see 4k pulled out. 

One particular trap I often see people falling 

into is over-EQ’ing a PA. When I walk into a festival 

and see a really radical EQ I’ll always flatten it 

and find my own curve. The tendency amongst 

engineers is to think that a system EQ will always 

be different because venues all look different. 

But as a general rule, when a room is full, a 

particular PA will basically sound the same, no 

matter where you install it. Experience has taught 

me over the years that if you walk into a venue 

and it’s all glass windows and doors, you may as 

well wait until 2,000 people show up. 

Balance It 

One thing I prefer to do these days, however, 

is ‘balance’ the PA. When I started with Oasis – 

I’d been mixing for 15 years prior to that – an 

international sound guy said to me: “You need to 

balance stadium PAs, not EQ them.” He showed 

me an analyser and said, “Don’t EQ it, just turn 

the low-mids on and have the PA come up to this 

level on the analyser, then turn the highs on and 

bring them up to about the same level. The same 

then applies to the subs.” 

Using this method, rather than EQ’ing, you’re 

basically turning the horns up and down via 

the crossover till the analyser is effectively flat, 

balancing the components rather than generating 

EQ curves as such. That’s the best way to make 

a big PA work. It gives you much more headroom 

and generally means you use far less graphic EQ 

across the stereo output, and desk EQ as well. 

What this technique showed me back then was 

that when you go from four boxes a side to 100, 

getting the PA to sound good requires a different 

approach. Previously I would have simply gone in 

and done my EQ and said ‘that’ll do’. Either way, 

in the end it’s all about balance. 

Just Part Of The Group 

One thing I’ve always done is mix with groups. 

The reason being that I always mix with a console 

that has onboard group meters. These days the 

console is generally a Midas XL4; back in the day 

it might have been a Soundcraft or a Yamaha 

PM4000. All of these boards have eight groups, 

and eight group meters. To these I’ll individually 

assign my kick, snare, bass, guitars, keyboards, 

and vocals. I might not necessarily run the group 

through to the stereo bus, but I’ll always use the 

meters to monitor the level. 

Whether I’m in a pub or a stadium, mixing a 

band like Oasis or the Hoodoo Gurus, sometimes 

I won’t be able to hear anything from the PA, 

particularly at soundcheck. In that situation, 

mixing on the meters allows me to see what’s 

coming through the PA without needing to necessarily 

hear it. Oasis might start their soundcheck, 

and I’ll be out in front getting blasted by a wall of 

guitar amps – and as you might know, Marshall 

cabs can blow away even a large PA in the right 

circumstances. In that situation I’m there going, ‘I 

can’t believe it, I can’t hear the PA!’ Then, once the 

punters are in, the PA comes to life again. 

Because of these radical shifts in a PA’s perceived 

contribution to the sound, when I’m mixing I 

spend my whole time looking at the meters. I can 

see that everything is there: my kick, snare, bass, 

guitars… and if I’ve got two guitar players I’ll 

generally give them a meter each. If I’ve got them 

panned at 10 and two o’clock, I want to know that 

both guitars are coming out of the PA at exactly 

the same volume. 

Likewise, when you’re in a small room, 

you can’t always hear the left/right balance. 

If you’re mixing off-centre and you want to do 

a bit of stereo work, using this technique gives 

you the confidence that, a) sound is coming out 

both sides of the PA, and b) the stereo signal is 

balanced. This ensures that you never over-cook 

the ‘far’ channel. It also means that over the duration 

of a gig, as you start losing a little bit of the 

top end or things start to get a little bit loud – I 

find my snare drum can wander for instance, it 

starts growing – I can look at the meters, and see 

if it’s getting too hot. 

Compressors 

I always use dbx compressors on drums. 

Any time I try to use anything else, my drum 

sounds disappear. Whether it’s the 160A, 160X, 

903, 166 or even the cheap dbx gear, they’ve all 

got that sound I like; it’s my thing. Anything else 

just takes the life out of my drums and I don’t 

get that ‘crack’. Sometimes I struggle when I walk 

into festivals and they have other gear. In that 

situation I just tend to run without compressors. 

A Bit Graphic 

I’ve always worked with a separate graphic equaliser 

across my vocal group. I could do it with desk 

EQ, but to be honest, I tend not to use it. I don’t 

want to put too much bottom end in the PA when 

I tune it either, simply because I never want to be 

pulling bottom-end off a kick drum if I can help it. 

I always want to be boosting its lows about 6dB 

rather than cutting low frequencies out. To make 

sure of this, I always balance my PAs to ensure 

there’s not too much sub content. That way, if the 

bass is too subby, it doesn’t automatically then 

follow that the PA is too subby. If it did, I’d have 

to start ripping bass out of the system, and the 

results are nowhere near as musical. 

Reverb 

I’ve always used plate reverb on my drums; I 

can’t get away from it, it’s the ’80s in me. I use a 

snare plate from a Yamaha SPX900, set to a onesecond 

decay with full top end. The SPX900 plate 

replaced the one in the old SPX90; it’s also in the 

SPX2000, but you can’t get it in an SPX990 or any 

of the other Yamaha units. If you want a big snare 

verb, set the room plate or vocal plate at 1s, boost 

500-700Hz and 2–3kHz on the channel returns, 

and off you go! 

I’ve always left my toms pretty dry, although 

these days I tend to run them through my snare 

reverb to keep them in the same ‘room’, as it were. 

I also run a big floating reverb on my vocals, but 

it’s got to be high quality. For that I tend to use 

a TC Electronic M5000 with a ‘480’ setting or a 

Lexicon PCM90; something that has a long threesecond 

decay… tonally dark, with no fizz. If you 

went to the Evelyn Hotel and did that, the vocal 

would float there and give the illusion of mixing 

in Rod Laver Arena. If you listened back to the 

desk tape it would sound like it was buried in 

reverb but at the gig you wouldn’t hear it. I learnt 

that a long time ago, and I still use it now with 

Liam Gallagher; you can’t hear it at the gig but it 

gives the vocal massive space. 

Body Image 

The other thing I do when I mix is react to the way 

my body feels. I mess about a lot with phasing 

and always try the kick out of phase, for instance. 

Sometimes the sub of a kick drum might go very 

low and be around your ankles on the floor, or 

alternatively it might hit your chest. If the kick is 

slung around your ankles I’ll always mix the bass 

guitar to hit you in the chest. The bass won’t have 

any sub-low, only low-mids. That way the kick and 

bass drum complement one another; the kick has 

top end and sub-low, while the bass occupies the 

‘hole’ in the low-mids. Then, above the chest, are 

the guitars and vocals. At other times it will be the 

kick drum that hits you in the chest with low-mids 

and the bass that’s down around your ankles. 

In that situation, taking all the low-mids out of the 

bass and making it subby might make the instrument 

a little muddy, but what I lose in bass clarity 

I more than regain in mix clarity. 

Fundamentally, mixing is all about how the 

sound feels travelling through your body. If you 

go to a gig and someone’s got the snare, kick and 

bass all belting you in the chest, it puts too much 

tension on you. You’ll hate a mix like that because 

it feels too loud. 

Live Stereo Mixing 

I’ve always liked mixing in stereo but mono 

mixing can also sound great too. I stopped mixing 

in ‘full-stereo’ as such, in the sense that I never 

have guitars right out to the sides anymore, 

only overheads and reverbs get the full stereo 

> 

68 

audio media october 2008

10|08 

AMSR 

> 

treatment usually. In recent 

years I’ve actually started to 

mono it up more and more 

– you tend to do that as you 

get older, and care more for 

the punter. 

I used to mix in full stereo 

all the time, and not really 

care about people on the 

side. But the more you go to 

gigs and hear other people 

mix, the more you realise 

that everything’s really got 

to be around ten and two 

o’clock on the pans most of 

the time, otherwise the lead 

guitarist’s girlfriend is going 

to be on the wrong side one 

night, and after the gig she’s 

gonna go: “I couldn’t hear you all night!” And then… haha, you’re going to 

get in trouble! 

One trick I do with the guitars when I’m mixing Oasis is mix the verses 

at 10 and two o’clock, and when the chorus hits, I go full left and right. 

The result is a massive sounding chorus and movement in the mix. I hope I’m 

not giving away too much here! 

This text is not part of the advert - No bleed on this edge 

The Fun Never Stops 

As you keep going in this business you never stop learning. I went and 

saw James Blunt the other week and I have to admit, I hadn’t heard drums 

like that in ages. They sounded amazing – completely dry and all running 

through an analogue console; and surprise, surprise… the board was a 

Midas XL4. While I was at the show it suddenly dawned on me that the last 

10 tours I’d heard were all on digital desks. The Blunt mixes were so dry and 

clear that it made me stop and think. That night I made the decision to go 

‘dry’ with Oasis next time we’re out on tour. 

You never stop learning. And just when you think you’ve got your finger 

on the pulse, something else comes along. By the time you’re reading this 

I’ll already be on the road with the new ‘drier’ Oasis, trying a few new tricks. 

I’m going to fly subs – never done that before with Oasis. I’m also going 

back to full analogue – I’m just completely over the sound of digital mixes. 

Sure, they’re convenient, sure the rigs are small and inconspicuous, but they 

just don’t sound as good! And hey, I’m not lugging the PA in any more so 

why should that bother me 

No matter how much you think you know you’ve always got to try new 

things. I’ll write back while I’m on tour and let you know how I go mixing 

Oasis ‘dry’… it could be a challenge! 

Killer Mixes 

Great moments come along when you least expect them live, and they’re 

what make this caper all worthwhile. I mixed The Killers in New York last year 

at a venue that’s a bit like the old Metro Theatre in Melbourne. What started 

out looking like a write-off turned out to be one of the best gigs I’ve done in 

ages. The mixing position was on the second floor and the in-house system 

was a d-VDOSC. 

When I got there, nothing worked. The house guy said; “Our insert loom is 

stuffed, sorry man, I haven’t had time to get it working.” 

So I said, “Right, you’ve got four compressors; I want two dbx 160As on 

the PA, one on the bass, and one on the vocals… do the gates work” 

“A couple of them, yeah.” 

“Okay then, put one on the kick and the other on the snare.” 

It was just one of those gigs. But when the show opened and I pushed up 

the faders it sounded absolutely awesome! After the first song I turned to a 

friend and said, “We’re on! Quick, get me a couple of bourbons!” It was one 

of those classic ‘first time I’ve mixed the band’ moments; one of the best gigs 

I’ve had in my life. 

The dbx 160As were caning the left and right; I had 10 of the red 

lights coming on. I just sent everything flat out through the board and 

compressed the whole band at the stereo output. The pumping sound 

that came through the dbx’s suited The Killers perfectly and everyone was 

talking about it afterwards… but you know I’d never get that back. ∫ 

audio media october 2008

10|08 

AMSR 

To be any good at kickboxing 

you have to be able to do the 

splits. MARK WOODS shows 

Audio Media how it’s done. 

THE REVIEWER 

MARK WOODS has over 30 years 

experience as a Live Sound Mixer 

and Recording Engineer. Live 

credits include front-of-house for 

Men At Work, Tina Turner, Midnight 

Oil, Crowded House, and Concrete 

Blonde. Currently living in Central 

Victoria he owns Bald Hill Music 

Studio, has a live PA, and is the House 

Sound Mixer at the Castlemaine 

Theatre Royal. 

In the early ’80s, Ivor Drawmer was a struggling keyboard 

player in Yorkshire, England. He also designed audio 

circuits at the time, and encouraged by friends to develop 

them further, Ivor went on to build audio devices 

(whether Ivor’s keyboard playing had anything to with this 

is not recorded). In 1982 he introduced the first of these, the 

DS201 Dual Noise Gate – still a top seller today, and still 

standard issue in PA effects racks around the world. 

Over the years Drawmer has released a range of more 

than 30 products all renowned for their clever design, 

ease of use and audio ability. 

The newly released Drawmer 4x4 KickBox is an active 

audio splitter designed for outside broadcasts, live 

recording, press conferences, and other such events. 

Its main features are the take-anywhere case, excellent 

preamps, and the ability to split up to four input 

signals into a maximum of 16 outputs at the highest 

possible audio quality. 

Audio Splitter 

Can You Kick It 

The case is instantly appealing. Like a toolbox or lunchbox, 

it makes you want to look inside. Designed to protect the 

contents from water, dust, and corrosion, the hard exterior 

also allows the KickBox to be stored in a van or cupboard 

without needing another case. Beneath its strong carry 

handle is an air valve that rotates inwards 

to ‘seal’, or outwards to ‘purge’ – which 

has been included to equalise the 

unit during flight. Of course, with 

audio people being what they are, 

this would be easy to forget… 

recent images of the plane with 

a hole in the side spring to mind, 

but it’s probably not that serious. 

Opening the lid of the KickBox 

reveals an operating surface 

dominated by 20 input/output 

sockets, five control knobs, and a 

dozen switches. It’s not cluttered; 

everything looks purposeful and 

rugged. Indeed, if I was making a James 

Bond movie and an audio splitter was 

required in a scene, I’d use this one without 

considering others. The controls all feel great 

and have clear markings. The square buttons 

are firm to the touch with a positive latching 

feel and, even without the LED indicator lights, it’s 

easy to tell if they’re engaged. The lid can be easily 

removed, and if the cabling is routed over the top of the 

box, clear access to the controls is maintained, even if all 

20 sockets are in use. 

The unit has four balanced input channels, each with 

XLR socket and eight-segment LED level meter, ranging 

from –24dB to +18dB. The gain knob has 12 settings in 

pleasingly chunky 6dB steps, from 0dB-66dB of gain. 

Having stepped gain controls on mixers with faders makes 

it hard to set all your faders at the same level, but since 

the KickBox has no faders, being able to reset the exact 

same gain settings time after time is the better option. 

Each channel has 48V phantom power, mic/line, and 

‘Listen’ buttons, all of which have LEDs. When pressed 

into the line position, phantom power is automatically 

removed from that channel, a 20dB pad inserted, and the 

input impedance raised to over 10kΩ. 

The KickBox’s aforementioned ‘Listen’ button sends 

signal from the channel to the headphones for monitoring. 

The headphones have a continuously variable volume 

knob that’s smooth to the touch, yet firm enough to 

resist accidental knocking. The headphone amp itself is a 

beauty; the phones will be jumping up and down on your 

head before they distort. 

The Splits 

Each of the four input channels is actively split into four 

XLR output sockets. Why active splits Direct splitters 

have inherent problems: they lower the overall input 

impedance, which can degrade frequency response in 

long cable runs, and also add interference. The outputs 

are ‘electronically isolated’ (or you can specify the optional 

factory-fitted transformer isolation), which eliminates 

ground loops and RF interference, as well as preventing 

DRAWMER 4X4 KICKBOX 

different loads affecting the signal level. This ensures 

signal integrity over long cable runs. Used in press 

conference situations, it also means multiple devices 

can be connected to the KickBox without interfering 

with each other. 

As well as each channel being split into four balanced 

outputs, Channels 2, 3, and 4 have a ‘Link’ button, 

with LED indication, that (not surprisingly) links their 

outputs to the previous channel’s input. This means 

that the KickBox can operate in various configurations: 

from four groups of one-input/four-output, right up 

to a single input feeding 16 outputs. The switching 

combinations are intuitive and nowhere near as confusing 

to use as they are to describe! 

The result is a flexible splitting system configurable 

to a variety of applications. The KickBox can be used 

for the outside broadcast of a live show, operating as a 

four-channel mixer with, for example, separate splits 

from each channel for front-of-house, monitors, recorder, 

and outside broadcast facility. Or it could be configured 

so that one input gets split to all 16 outputs, making it 

ideal for conferences. It could even be fed from the frontof-house 

mixer for use by annoying camera operators 

who arrive just before the band starts and ask for a feed 

so they can record the sound. Better still, TV reporters 

who arrive halfway through the band’s set can grab a 

couple of songs for the nightly news without affecting 

anyone else’s feed. 

I was particularly impressed with the sound of the 

KickBox. It has outstanding specs, it’s quiet, and there’s 

plenty of headroom. The preamps are studio quality with 

a warm and clear sound. At £680 it’s not cheap, but as a 

comprehensive four-channel, go-anywhere tool, it’s great 

value for money. ∫ 

.................................. 

INFORMATION 

£ GB£680.00 (exc.VAT) 

A Drawmer, Charlotte Street Business Centre, Wakefield, West 

Yorkshire, WF1 1UH 

T +44 (0) 1924 378669 

F +44 (0) 1924 290460 

W www.drawmer.com 

70 


ANALOGUE PASSION 

DIGITAL PRECISION 

iLive 

" I ’ v e a l w a y s b e e n a n a n a l o g u e e n g i n e e r b u t i L i v e h a s c o n v i n c e d 

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To find out why these engineers have conver ted to iLive, visit: www.ilive-digital.com/testimonials 

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Shentonfield Road, Sharston Industrial Estate, 

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FO R QUA L I T Y, PRICE AND SERVICE 

Buying a new 

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72 


THE 

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Solid State Logic 

S O U N D | | V I S I O N 


73

AUCTION 

The UK’s leading Pro Audio 

Equipment Dealers 

present an online 

Studio Auction 

& Sale by Treaty - at 

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London. England. W3 

November 3–5 incl 10a.m.–5p.m. 

Over 2000 lots of pro-audio equipment and studio contents will be 

sold incl: Pro-tools HD Rigs, SSL E and G consoles, Custom API mic 

pre’s & EQ’s, Neve VX console, Euphonix consoles, 250 Mics incl 

Tube mics, classic Outboard, Compressors, Reverb, multitracks, EMT 

reverb plate, 1⁄2” mastering, Pianos, Acoustic Panels, doors, cables 

and 2 on- the-road mobile recording trucks & Vinyl disc cutting. 

REGISTER NOW FOR THE 

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for more information call 

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+44 771 281 7533 or +44 1923 285 266 

email: sales@mjq.co.uk 

Our Conditions of Sale expressly apply and are published on www.mjq.co.uk 

Some equipment will be specially priced at Ebay shop 

http://stores.ebay.co.uk/The-Gear-Garage 

Unparalleled service to the recording Industry for OVER 40 years 

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ADVERTISERS INDEX 

Allen & Heath 71 

Midas 58 

Audio Precision 53 

Millennia 55 

APRS 19 

Prism 23 

Audio-Technica 24 

Audix 67 

Richmond 48 

Berliner 46 

RME 14-15 

Calrec 29 

Sadie 75 

DK Technologies 20 

SBES 69 

DPA 25 

Smart AV 6-7 

Fairlight 12 

Sommer Cable 49 

FAR 74 

Sonic Distribution 2-3, 34, 47, 50 

Focal/SCV London 13 

Focusrite 31 

Sonifex 17 

Fostex 51 

Sonnox 26 

Microtech Geffel 48 

Soundfield 43 

Genelec 35 

Tascam 41 

Glyph 18 

TC Electronic 76 

HHB/Scrub 10-11, 22, 38 

TL Audio 37 

KRK 57 

Lawo 33 

Trinnov 40 

Lexicon 45 

TubeTech 32 

McDSP 21 

Unity 42 

Merging 39 

Zaxcom 27 

Buying a new 

Microphone, 

Monitor, or 

Console this year 

AUDIOMEDIA 






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CONSOLES 

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2008 

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74 


LRX2 audio workstation 

location recorder 

Record... Where you want, 

when you want 

The SADiE LRX2 

is the most flexible 

location recorder 

available, meeting the 

demands of the modern 

recording environment. 

This feature-rich, compact unit 

provides the ultimate solution for 

increasing the productivity of the 

time-conscious professional. 

• Up to 48 tracks of AES/line/phantom powered 

mic inputs or 64 channels MADI I/O 

• Mirrored recording for secure back up 

• User intuitive software for instant multi track recording 

• Stereo mix creation during recording 

• Redbook CD burning on location 

• BWAV recording format for instant transfer into your system 

• Waveforms drawn whilst recording and no rendering 

• Edit whilst recording to ensure fast turnaround of product 

A 

Prism Sound Company 

Contact us now to arrange your demo: 

Email: sales@sadie.com 

www.sadie.com 

+44 (0)1223 424988 +1-973-983-9577

Colourless. Clean. Transparent. Smooth. 

CMS Active Nearfield Monitors from Focal Professional 

Based upon Focal proprietary driver technology, the new CMS 65 and CMS 50 simply offer 

outstanding performance and exceptional versatility. 

We could bore you with the superbly finished aluminium die-cast cabinets which offer 

unconditional rigidity, the internal damping and bracing which banishes unwanted 

colorations, or the unique Al/Mg (aluminium/magnesium) inverted dome tweeter which 

easily extends up to 28kHz at -3dB, with a close to perfection pulse response. 

But you probably just want to know how they perform. And how much they cost. 

Brilliantly. And less than you think. 

Focal Professional Users 

Distributed by SCV London: Call 020 8418 1470 for your nearest dealer 

www.scvlondon.co.uk 

Del Palmer 

Kate Bush 

- uses the Solo 6BE 

Chris Tsangarides 

Judas Priest, Black 

Sabbath, Tom Jones 

- uses the Twin 6BE 

Sean Genockey 

Manic Street Preachers, 

Kula Shaker, Tom McRae 

-uses the Solo 6BE

Lexicon PCM96 A Reverb Masterclass? - Audio Media

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