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The business of professional audio
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www.psneurope.comJuly 2015
Prima performanceThe Strokes headline Barcelona’s première pop festival P38
P54APOLLO LANDING SSE BRINGS L-ACOUSTICS AND KNOW-HOW TO REVAMP
P28EUROVISION DAZZLES MORE THAN A WALTZ AT THE VIENNA SHOW
P42NEXT IN LINE ITALIAN COMPANY THINKS BIG WITH NEW MONITOR
01 PSNE July 2015 FCDR FIN v4 JC.indd 1 22/06/2015 16:03
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Advertising Festival_220x290.indd 1 07/05/2015 14:28:01Full Page Template.indd 1 6/5/2015 2:52:25 PM
www.psneurope.com
Consolidation in the commercial world has become, more or less, an everyday event, be it Kraft buying Cadbury, Volkswagen acquiring Porsche, Coca-Cola grabbing Innocent or Google snaffl ing up… well, nearly everything. Should we surprised it appears to be an accelerating
phenomenon in our pro-audio world?While HHB’s Ian Jones suggests that we are witnessing a logical event, and
that consolidation is “inevitable” within a group of businesses that began as small independents, AV consultant Roland Hemming puts it down, partially, to a lack of “succession strategies” for certain companies. David Davies looks in depth at the bigger picture starting on page 34, while trying to gauge whether or not we will benefi t in the longer term.
An aside at this point: despite numerous requests for interviews, David has so far failed to gain any insight from the actual VC and private equity fi rms dancing around at the peripheries of our business. Just once, I reckon, it would be nice to hear from some of these ‘other’ directors, to fi nd out what they really think, and whether they have any expectations than simply making 20% growth a year. But I won’t hold my breath on that one.
Dave Wiggins has a take on the consolidation story (though he calls it ‘Big Brother’) in his column on p10. Wiggy’s column last month about Uli Behringer’s take-over of TC Group certainly raised a few reactions last month – but, you know, that’s what columnists are supposed to do, aren’t they?! It’s online atwww.psneurope.com/the-empire-strikes-again if you missed it...
There’s lots of other great stuff for you this month: A round-up on the compact console trend from Phil Ward (p48); NEXT-proaudio in the spotlight (p42); and the annual Eurovision tech rundown, of course (p28). PLUS! You saw the shortlists for the Pro Sound Awards already, right (p8)? Have you bought your tickets yet? n
PSNEUROPEP03 JULY2015Welcome
DAVE ROBINSONEditor@PSNEurope
Editor Dave Robinson [email protected]
Deputy editor Jon [email protected]
Managing editor Jo [email protected]
Advertising manager Ryan O’Donnell [email protected]
Account managerRian [email protected]
Commercial director Darrell [email protected]
Head of design Jat Garcha [email protected]
Production executive Jason [email protected]
Contributors: Kevin Hilton, David Davies, Erica Basnicki, Phil Ward, Dave Wiggins, Angela Buenger, Guillaume Schouker, James Manley, David Mathew
PSNEurope NewBay Media, 1st Floor, Suncourt House, 18–26 Essex Road, London N1 8LNEditorial: +44 20 7354 6002 Sales: +44 20 7354 6000
Press releases to: [email protected]
Circulation and subscription: Refunds on cancelled subscriptions will only be provided at the publisher’s discretion, unless specifically guaranteed within the terms of the subscription offer. NewBay Media may pass suitable reader addresses to other relevant suppliers. If you do not wish to receive sales information from other companies, please write to Circulations and Subscriptions, NewBay Media, Curwood CMS Ltd, The Barn, Abbey Mews, Robertsbridge TN32 5AD
Subscribe by email to: [email protected] tel: +44 1580 883 848
PSNEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18–26 Essex Road, London N1 8LN, United Kingdom
ISSN: 0269-4735 (print)2052-238X (digital)
© NewBay Media 2015. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the prior permission of the copyright owners. The contents of PSNEurope are subject to reproduction in information storage and retrieval systems. NewBay Media is now the Data Controller under the Data Protection Act 1998 in respect of your personal data. NewBay Media will only use your data for the purposes originally notified and your rights under the Data Protection Act 1998 are not affected by this change.
The publishers reserve the right to refuse subscription applications considered inappropriate and to restrict the number of free copies sent to a company or organisation.
2015 subscription rates for non-industry/non-European readers are: UK: £39/€62Europe: £54/€86Other countries: £106/$170
Printing by Pensord Press, Tram Road, Pontlanfraith, Blackwood NP12 2YA
Cover image: Julian Casablancas at Primavera Sound 2015 (pic: Louis Austin)
1 Color - 0 Cyan / 100 Magenta / 99 Yellow / 4 Black
03 Welcome/Leader v1 JC.indd 1 23/06/2015 14:18
Business6 21 million Britons see live music in 20147 A&H dLive-rs with new digital desk8 Pro Sound Awards 2015 fi nalists10 Vocal channel: Erica Basnicki and David Wiggins12 Movers and shakers14 PSNTraining18 The strategic position: Gary Stuebing, AVnu Alliance34 Feature: Consolidation in pro audio
Technology16 New products: InfoComm round-up48 Feature: Digital consoles
Studio 20 Bumpy ride ahead for AIR Studios 24 Crowdfunding Q&A with jubilant Flare Audio
Broadcast26 Full Sound: Now and Next wrap-up28 Eurovision welcomes Australia and AoIP
Live38 Twin Cam rides solo at Primavera42 NEXT-proaudio: Rio Tinto revolutionaries44 Pro audio under the apple trees in Normandy 46 Usher FOH Horace Ward says Yeah! to RedNet rig
Installation54 Contract rental for SSE at the Apollo
Back pages57 Hither & dither58 Backtalk: Rick Clarke
In this issue...
www.psneurope.com
P04JULY2015
Contents
P20OFF THE AIR?SIR GEORGE’S STUDIO TAKES ON THE NEIGHBOURS
P28OLD DOG, NEW TRICKSEUROPE (AND AUSTRALIA) SINGS ITS HEART OUT FOR THE 60th TIME
P44SAX APPEALIN THE FRONT ROW AT JAZZ SOUS LES POMMIERS
P38SPRING HAS SPRUNGL-ACOUSTICS EVERYWHERE AT THE 15th PRIMAVERA SOUND
04 Contents v1 JCDR.indd 1 23/06/2015 09:41
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United Kingdom
www.psneurope.com/business
P06JULY2015
Business
Some good news for Britain’s beleaguered live venues as a UK Music study also reveals a 23pc increase in gig attendance
Live music generates £1bn for UK since 2011Total attendance at live music
events in the UK topped 21
million in 2014 – a 23 per cent
increase in three years, newly
released figures have revealed.
Concerts attracted 17.5m fans during
the 12-month period, with a further
3.5m going to festivals, generating £1bn
in direct and indirect spending for the
British economy.
The figures were released exclusively
to PSNEurope stablemate Music Week
by campaigning and lobbying group UK
Music following the release of its latest
report, dedicated to music tourism’s
contribution to the UK’s public purse.
Manchester Arena general manager
James Allen says business at the venue
reflected the national trend, continuing
into 2015, with first quarter ticket sales
of more than 410,000 being the highest
in its 20-year history.
The 2013 arrival of new UK arenas
The SSE Hydro in Glasgow and the
First Direct Arena in Leeds also
boosted the market.
“In our case we’ve seen a game-
changing increase in attendance, which
is directly attributable to our new
arena, which fills a very
necessary gap in the Glasgow event
landscape,” says John Langford,
director of entertainment for the
Hydro’s owner and operator, SEC.
“From a national perspective, I believe
that the increase in demand is fuelled
by the quantity and quality of touring
talent and an improvement in the
general economy.”
The Wish You Were Here 2015 study,
carried out by Oxford Economics on
behalf of UK Music, states that music
tourism numbers increased by 34
per cent between 2011 and 2014,
with 9.5m people travelling to UK
music events in 2014 – 546,000 from
overseas – and contributing £3.1bn to
the economy.
The report counts both overseas
visitors and domestic music fans
that travelled at least three times the
average commuting distance to attend
an event, as “music tourists”.
It will be welcomed by Britain’s live
venue operators – especially those
of smaller, ‘toilet-circuit’ clubs – who
have seen their numbers dwindle in
the past few years as they fight against
encroaching residential property
development and unsympathetic local
authorities.
Last month, following the city’s
decision to curtail its licensed hours, The
Arches in Glasgow became the latest
casualty, joining the 12 Bar Club, Madame
Jojo’s, the Astoria, Sin, Metro and the
Bath House in the UK’s growing venue
graveyard.
The Music Venue Trust, an advocacy
group and charity set up in January 2014
to “protect, secure and develop the future
of grassroots live music venues in the
UK”, shared on its Facebook page the
following message from Jeff Horton of
the 100 Club, another venue that was, at
one time, facing closure:
“How can [artists and arts
organisations] possibly [look beyond
subsidy and be more entrepreneurial]
when our hands are constantly tied by
Dickensian and vindictive conditions on
our licences that have no chance under
current legislation of ever being taken
off, regardless of laws that that get
passed – such as the smoking ban –
that should affect us positively? A lot of
them are there simply to restrict trade,
in my opinion. I strongly sense that there
is a resentment within licensing when it
comes to venues actually making
money.
“It’s 2015. I still have conditions I
have to adhere to that have been on
my licence since we first applied for
a liquor licence in 1964! Perhaps this
world we live in – [one] that has changed
dramatically in every conceivable way
since then – is different to the one in
which licensing authorities exist, and
they’ve been living in a parallel universe
all along…” n
www.musicvenuetrust.com
(With thanks to MW’s James Hanley)
Wireless IEM
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PSN 98x145.qxp_Layout 1 06/05/2015 10:14 Page 2
Glasgow’s Arches in happier times (Photo: Bart Photography)
06 UK Music fin JCDR.indd 1 22/06/2015 16:04
United Kingdom
www.psneurope.com/business
P07 JULY2015
Major update to current mixing portfolio from Allen & Heath
A&H to ‘dLiver’ next-gen digital mixer
Cornwall-based Allen & Heath has announced its
latest digital mixer offering, dLive.
The “next-generation” digital mixing system
features FPGA processing at the core, with an
array of control, expansion and networking options, starting
from a base price of $22,500/ €20,000 (“a small venue
solution”) to $33,500/€30,000 (“a large touring system”).
Like the iLive system launched 10 years ago, dLive
has a distributed system design with separate MixRack
and Surface. The dLive processing brain is housed in the
MixRack, available in three sizes (DM32, DM48 and DM64),
and there are three accompanying control surfaces (S3000,
S5000 and S7000). All MixRacks and Surfaces are mix-and-
match compatible, with common configuration, set-up and
show files.
The 96k/96-bit XCVI Core (“designed from the ground up,”
according to R&D director, Rob Clark) provides capacity for
128 inputs with full processing and 16 dedicated stereo FX
returns, offering 160 inputs to mix, plus a fully configurable
64 mix-bus architecture, with full processing on all 64 mix
channels. dLive incorporates the DEEP processing portfolio
of embedded plugins, including graphic EQs, compressors,
multiband compressors and dynamic EQs, alongside its
16 slot FX racks, featuring Allen & Heath’s proprietary FX
emulations.
When asked to highlight three key advantages of the new
system over iLive, senior product manager Nicola Beretta
suggested:
• It’s twice the speed and power (of iLive Mach2): “We
doubled the input count, buses, FX racks, sample
rate, and number of screens.”
• The networkability: “Now up to five I/O Ports,
128-channels at 96kHz each, independently
assigned, for all major networking protocols
including Dante, MADI, Waves SG.”
• It’s built for the road: “Rock-solid construction,
daylight visibility, dual redundant hot swappable
PSUs common across the range, and dual redundancy
on every audio connection.”
“It really is the ultimate mixing system, with all the
processing tools and power that the most demanding
engineers would expect, and the flexibility and
networkability to cater for any application. This is coupled
with an extremely intuitive user interface and what we
believe is the fastest workflow in the industry,” says Beretta,
senior product manager. “dLive is equally at home in fixed
installations, such as a HOW or theatre, as it is at festivals
and out touring.”
dLive will ship in September and will not “intentionally”
replace iLive: price-wise, it sits “between fixed format and
modular iLive systems”, according to Beretta.
dLive has been in development for two years, some time
before the company became part of the recently dubbed
‘Audiotonix’ group alongside fellow console makers (and
FPGA enthusiasts) DiGiCo and Calrec. n
www.allen-heath.com
dLive S7000 Control Surface with DM64 MixRack
07 Business v1 DR JC fin.indd 1 22/06/2015 10:51
www.psneurope.com/business
P08JULY2015
Pro Sound Awards
The Pro Sound Awards team has chosen the four finalists in each category for this year’s event
Over to the judges…
THE FINALISTSLive/touring soundEngineer of the year• Davide Lombardi (Kate Bush Before the Dawn)• Michael Brennan (Faith No More, Primal Scream)• Tom McShane (The Defiled’s Ice Cold Gig)• Martin Walker (Judas Priest)
Best tour/production sound• SSE/L-Acoustics for Clapham Calling Festival 2014• Powersoft for Caparezza’s 2015 tour• Flare Audio for Node live at the RCM• Meyer Sound for Ed Sheeran’s x Tour (2014–15)
Best theatre sound• Mick Potter for Miss Saigon• Laurence Owen for Golem• Gareth Owen for Memphis• Guido Olischlager for 14–18
studio sound (sponsored by )Engineer of the year• Wes Maebe• Alexis Smith• Matt Wiggins• Dan Cox
Best studio• Parr Street Studios• Strongroom• The Church• The Pool
Best sound in post-production• The Eichmann Show• Poldark• Sherlock• Whiplash
installed soundBest permanent installation project• Marquee AV/Bose for The Forum, Kentish Town• SSE/L-Acoustics for the Hammersmith Apollo• NoiseBoys for Leicester Cathedral• Autograph Sales & Installations for the Barbican Centre
Best temporary installation project• Tannoy for The Wind Tunnel Project• Two Big Ears for Björk’s Songlines at the Museum of Modern Art New York• Merging Technologies for the Imperial War Museum London’s WWI galleries• SNK Studios for Talking Statues
Team of the year• Polar Audio/Renkus-Heinz for Reading University• Sports Technology/d&b audiotechnik for the 2014 Commonwealth Games, Glasgow• NoiseBoys/JBL/VDC Trading for Leicester Cathedral• Genelec/Jutel for Restaurant Nallikari
broadcast soundBest facility• Technicolor Sound Services• Warner Bros De Lane Lea• CTV OB11• Jungle Studios
Broadcast event of the year• EastEnders Live Week (BBC S&PP)• Winston Churchill’s State Funeral – 50 Years On (BBC S&PP)• Volvo Ocean Race (Sunset+Vine)• FIFA World Cup (HBS)
Team of the year• ENO Screen for Pirates of Penzance• Salzbrenner Stagetec Mediagroup POLARIS evolution development team• BBC S&PP for Strictly Come Dancing• BBC for the Scottish independence referendum
marketing initiative of the year• Roland OHRCA launch• Sennheiser for D1 and Only• Martin Audio CDD launch• Powersoft’s 20th anniversary
Can you believe it’s already that time of year
again? After much umm-ing and ahh-ing, the
PSNEurope team has chosen the finalists for
the third Pro Sound Awards, whittling down
the deluge of entries to what we consider the four most
worthy in each category.
Recognising outstanding achievement in professional
audio, PSNEurope’s Pro Sound Awards return to the
Ministry of Sound nightclub in London for the third time
on Thursday 24 September.
The shortlist of finalists for each category will now
be presented to a 50-strong panel of judges from
across the spectrum of the pro-audio industry, who
will ultimately choose the winners of each Pro Sound
Award (with the exception of the grand prix and lifetime
achievement gongs, chosen by the Pro Sound Awards
team, and the rising star award, chosen by our sister
title, Audio Media International).
A range of sponsorship opportunities – from
headline sponsor to category, photobooth, red-carpet
and afterparty sponsorship – are available; contact
PSNEurope ad manager Ryan O’Donnell
([email protected]) or account manager Rian
Zoll-Khan ([email protected]) for more details. For ticket information, email Georgia Blake at
www.prosoundawards.comwww.focusrite.com
Tickets are available now for £49, which includes drinks reception, food, the awards and the afterparty.
And a splendid social occasion! More information at www.prosoundawards.com
2014 lifetime achievement winner John PelloweDarryn de la Soul and SSR London’s Michael Grieg, PSA 2014 The oyster man! PSA 2014
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P10JULY2015
Vocal channel
How to not save a studio
Ahome renovation project in
west London has caused mass
hysteria in the UK.
This is, of course, the famous
basement that would cause a worrisome
excavation to take place right next door to AIR
Studios (see p20 for the full story).
Studio owners say the disruption will force
them to close, possibly for several months.
The reaction to this has been nothing short
of ridiculous, totally useless, and – frankly –
laughable.
“Only in this country would any council
contemplate bringing music-making to a
halt in the interests of private profit and
needless aggrandisement,” said playwright
and director Sir David Hare in a report in the
Camden New Journal.
Hang on a second – I didn’t realise that’s
how this all happened. Camden Council
called a meeting in order to figure out how to
bring music-making to a halt? This is awful.
Deplorable! What kind of country is this?!
Hans Zimmer added his objections in a
report in the Ham & High newspaper: “My
movies have grossed more than $22 billion
dollars worldwide, and in no small part
have the musicians and AIR Studios been a
contributing force in this.”
Congratulations. You’re a wildly successful
composer who has used AIR’s facilities. And?
The only remotely rational response so far
has come from lawyer Jessica Learmond-
Criqui who started a petition in an effort to
put a halt to the project. Rational, but given
the fact that Ms Learmond-Criqui is herself a
lawyer, it’s a bit short-sighted.
Fact: no one sat around plotting the
demise of the UK’s film industry. Fact: you
can have the brightest, most creative, most
celebrated artists from around the globe
voice object to anything, or tens of thousands
of signatures on a petition, but they are no
real competition for the fact that people
don’t just decide to add a basement (at
considerable cost) to their property unless
they really want to.
What might change their minds? Having
a lawyer to deal with. One with the intention
of railroading their plans and who will cost
a pretty penny to fight. Maybe Mr Zimmer
can contribute some of his portion of the
royalties from that $22 billion to hire one?
Maybe instead of signing a petition people
can put their money where their mouth
via a crowdfunding campaign. Maybe Ms
Learmond-Criqui knows someone?
With respect to everyone’s good intentions,
and Ms Learmond-Criqui’s efforts, if saving
AIR Studios is truly important then it will take
a lot more than writing a strongly worded
letter to Camden Council. Objections are just
words. Redesigns, expensive provisions for
a sensitive site, compensation… surely that
would make anyone pause and rethink how
badly they need a subterranean sauna.
That is assuming, of course, the
Hampstead couple aren’t sensible people
and decide to push on with no regard for the
uproar their plans have caused.
Would you look at that: mass hysteria
might be the appropriate reaction after all.
Don’t forget to sign the petition. n
you.38degrees.org.uk/petitions/ save-air-studios
ERICA BASNICKI is a writer and sound designer
End of the beginning II: Big Brother awaits
Apologies to those who have
been waiting breathlessly for
the follow-up to part one, in the
May PSNEurope, as a certain
acquisition snaffled these precious column
inches in June…
Pursuing my somewhat Orwellian vision
of a future live sound industry leads me
into uncharted waters, where things could
look very different to today. The structural,
commercial and operational differences
would be profound, perhaps most notably in
the people who would lead these operations.
If (say) 80 per cent plus of international
concert touring was handled by just four
or five operations globally, each of them
would likely be a sizeable venture in general
industrial terms. Turnover, profit, personnel,
assets, corporate taxation, legislation, capital
funding requirements and even flotation
opportunities would be very different from
almost anyone we know today. Added to
the fact that the first generation of pro-
audio entrepreneurs are leaving us, the
career opportunities for ‘professional’
business people (by whom I mean those
who have trained and qualified for a career
in commerce, as opposed to starting out in
hands-on roles within live sound) could be
attractive. In this future the strategic direction
of the biggest players in pro audio could very
well be determined by bankers, lawyers,
MBAs and accountants who couldn’t tell a DI
box from a hole in the ground.
The business would also become much
less gear-centric; in fact, it is already
becoming so. Any of the major players could
deliver the equipment of choice to engineers
and production managers from enormous
inventories that pay no historical allegiance
to particular manufacturers. The composition
of hire inventories would be based solely
on demand and ROI – this is a very good
thing, because it means that ‘premiership’
providers would compete on level terms, with
their success based on performance and
relationship management rather than on the
kit they own.
This obviously changes things for some
pro-audio manufacturers too, especially those
who specialise in premium concert touring
products, as they would be dealing with a
customer base that is small in numbers
but large in spending power and market
control. The working relationships between
these manufacturers and the major players
would become much closer and the latter
would have a much greater input to product
development. The market would become
polarised, too, as manufacturers would be
divided into those who supply the majors and
those who do not – the latter would have to
make a living selling kit to everyone else.
The good news, though, is that ‘everyone
else’ would actually be better off, because if
the big players own all the major work they
will not need or want to dabble in anything
much below a certain level. That would create
a healthy and potentially more profitable
‘first division’, able to focus on tailoring their
businesses to specific markets.
Scared? Me too. n
DAVE WIGGINS is a freelance marketeer and pro-audio pundit
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P12JULY2015
Movers and shakers
Miles Brooke joins Dean Davoile and Phil Price (L–R) at the former Radio Cine Forniture
RCF boosts British businessRCF has announced a significant expansion
of its UK operation.
Miles Brooke, who brings 20 years’
experience with the D&M Group (Denon,
Marantz), will take up the newly created position of
regional sales manager (south), with Mick Butler
continuing to represent the Italian manufacturer in
Scotland and northern England.
Dean Davoile will become director of sales for RCF’s
UK office, while Phil Price – who originally set up the
RCF UK operation 25 years ago – takes up a new role
in international sales (voice evacuation systems).
“We are delighted to have secured the services of
Miles as part of this carefully considered restructure,”
says Davoile, “which will not only enable us to give
closer support to our customers and sales network,
but consolidate in all our core markets.” n
www.rcf.it
Canford has been appointed sole UK and Republic of Ireland distribution partner for the new Green-Go range of digital intercom-over-Ethernet products. Unlike other digital intercom designs, Green-Go, by Dutch company ELC Lighting, does not employ an expensive central matrix: All interconnection routing data, system set-up and user preferences are stored locally within each user station, including beltpacks, which eliminates the possibility of a disastrous central failure.www.greengodigital.comwww.canford.co.uk
K-array has named Appel Electronique Industrie (AEI) as its exclusive distributor for France. “AEI has a good understanding of the pro-audio market in France and is really enthusiastic about our systems,” says K-array president Alessandro Tatini. “I am happy to welcome them to our team of international distributors so that we can continue to grow the K-array brand globally.”www.k-array.complus.google.com/110919579165715242769
Preco has been announced as exclusive UK distributor for French broadcast equipment manufacturer Rami Audio. Preco’s James Thomas says: “Rami really does have an extensive range, and the product design and build quality is right up there with the best. It’s our job to get the word out about this great brand here in the UK.”www.ramiaudio.comwww.preco.co.uk
DEALER NETWORK
Andy Copeland has joined HHB Communications as technical sales support engineer. A graduate of the University of Huddersfield, Copeland qualified as an Avid certified support representative.www.hhb.co.uk
Mic manufacturer Mojave Audio has named Kevin Parker as director of sales. Parker’s background is in pro-audio/MI “sales, marketing [and] strategic […] development,” says Mojave. www.mojaveaudio.com
The AVnu Alliance elected a new board of directors in April. Gary Steubing (interviewed on p18) joins as president and the Intel Corporation’s Kevin Stanton (pictured) as chairman. www.avnu.org
Marquee AV has expanded its sales team with the appointment of Paul Day as business development manager. Day (right) has spent the last seven years as a regional sales consultant at Bose. www.marqueeav.com
Renkus-Heinz has appointed David Schuster as production manager. A manufacturing veteran, Schuster previously held high-level positions at General Dynamics and Pacific Scientific. www.renkus-heinz.com
Audio Precision (AP) has announced the appointment of Jayant Datta as chief technology officer. Datta was formerly assistant vice-president of audio R&D at THX. www.ap.com
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P14JULY2015
1 JulyShure Academy: Wireless MasteredDublin, Republic of Irelandwww.shure-academy.co.uk/events/wireless-mastered
2 JulyMeyer Sound: The Mixing Workshop session 15Webinarwww.meyersound.com
15 JulyAdlib: Soundcraft Vi trainingLiverpool, United Kingdomwww.adlib.co.uk
18 JulySound Technology: HoW demoLetchworth Garden City, United Kingdomwww.soundtech.co.uk
Audio-Technica, Allen & Heath’s UK distributor, held a free training event for A&H’s Qu-, GLD- and iLive-series digital mixers (pictured) on 29 May.
Held at Wigwam Acoustics, in Heywood, Lancashire, the training was delivered by Rodrigo Thomaz, an Audio-Technica Allen & Heath product specialist (and the star of May 2015’s back page
interview), and also included a brief history of the British console manufacturer.
All attendees left with a working knowledge of Allen & Heath’s digital consoles, and received a certifi cate to confi rm completion of the training. neu.audio-technica.comwww.allen-heath.com
Orbital Sound brings training to ABTTOrbital Sound showcased its comprehensive pro-audio portfolio, including products from Nexo, Clear-Com, CSC, Flare Audio, Nemesis and Yamaha, at the ABTT Theatre Show at the Alexandra Palace, north London, on 24 and 25 June.
The UK dealer/distributor also presented a product demonstration workshop on Thursday (25 June) as part of ABTT’s seminar series and was on hand to advise on theatre sound training, including on its popular Mixing Musicals and Sound Fundamentals for Theatre courses, the latter of which started again in April.
As Nexo’s UK main dealer, service centre and approved rental partner, Orbital spotlighted the French manufacturer’s theatre solutions, including the brand-new ID series of super-compact loudspeaker systems. Other systems on show included the GEO M6 small-format line array system, which had its fi rst install in Europe – in Bled Festival Hall, Slovenia – in January. n
Pictured is Nexo’s Gareth Collyer and Orbital Sound’s Andy Simmons at Prolight + Sound in April.
www.orbitalsound.comwww.abtttheatreshow.co.uk
STO launches subscription serviceSound Training Online (STO), the online arm of Dublin’s Sound Training College, has launched a subscription service for its web-based audio training courses.
For an introductory fee of €19.99 (£14.99/$19.99) per month, €54.99 for three months or €199.99 for a year, students can learn at their own pace on one or more of STO’s Logic Pro X, Ableton Live, Native Instruments Maschine and Pro Tools 11 courses, with more – in FL Studio, digital DJing, songwriting and “advanced Pro Tools” – on the way soon.
In conjunction with the new subscription service
the organisation has also drastically reduced the price its instructor-led premium courses, which off er private, one-to-one tuition with a music/audio industry professional. nwww.soundtraining.com/online
BY JON CHAPPLE
BY JON CHAPPLE
BY JON CHAPPLE
Along with the transducers, these two links in the digital chain are key in determining the overall quality of the sound, writes Audio Precision’s David Mathew
In 2015, there’s not much question about audio storage, transmission or streaming: it’s digital. Apart from rare sightings of vinyl or open-reel tape in boutique sales or creative enclaves, audio is digital. Done right, digital audio is flexible, robust and of very high quality. PCM recording, lossless surround formats and even lossy compression (at least at high bitrates) provide the soundtrack for our lives.
But, of course, sound in air is not digital. n
Read the full article at www.psneurope.com/testing-audio-adcs-dacs
THE ESSENTIALS: TESTING AUDIO ADCS AND DACS
www.psneurope.com/training
A-T, A&H pitch a tent at Wigwam
14 PSNTraining fin JCDR.indd 1 22/06/2015 09:36
The D20 amplifier is the forward thinking choice for realizing mid size solutions. All controlled via the intuitive user interfaces and remote network. Incorporating four truly independent channels, DSP capabilities for comprehensive loudspeaker management, switchable filter functions, two 16-band equalizers and up to 10 seconds of delay. Future ready. Available now.
Reflect on the future: today‘s D20.w
ww
.dba
udio
.com
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P16JULY2015
New products: InfoComm 15
AVIOMD400
AUDIXHT7
What is it?A single-ear, headworn miniaturised condenser microphone for vocal applications.
Details:The modular, omnidirectional mic features an earpiece that can be worn around either the left or right ear, with an adjustable boom for easy positioning.
And another thing…Designed to blend with the skin tone of the wearer, the HT7 is available in three colours: beige, black and coffee.www.audixusa.com
What is it?A distributor of power and digital audio data for Aviom personal mixing systems.
Details:Two versions of the D400 are available: the standard D400, with an A-Net input, and the D400-Dante, with Dante I/O.
And another thing…Up to eight personal mixers can be connected to each D400 or D400-Dante’s A-Net outputs, and an unlimited number of distributors can be used when creating larger systems with more than eight performers.www.aviom.com
BEYERDYNAMICCLASSIS RM 30/31
What is it?The latest incarnation of the Revoluto conference microphone system.
Details:The new vertical-array Revoluto features greater freedom of movement to the left and right, allowing two participants to share one microphone.
And another thing…Due to its vertical lobar polar pattern, the Classis RM 30/31 Revoluto’s gain before feedback is optimised for ceiling systems.www.beyerdynamic.com
ALTO PROFESSIONALTSL115What is it?An evolution of Alto’s 15”, 800W TS115A active loudspeaker which includes built-in interactive LED lighting.
Details:Designed for small- to medium-sized events where both quality sound and celebratory lighting are needed, the TSL115 incorporates a circular LED array with five customisable lighting modes.
And another thing…The TSL115 also features 800W of class-D power, 15” low-frequency transducer with a 1” neodymium driver, counter switch for EQ control and XLR output.www.altoprofessional.com
16–17 New products fin JCDR.indd 1 22/06/2015 14:32
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P17JULY2015
DENON PROFESSIONALDN-105S, DN-106S AND DN-108S
D&B AUDIOTECHNIK10D AND 30D
What are they?Two four-channel, 2RU amplifiers tailored for permanent installation applications.
Details:The 10D and 30D share the same DSP platform and capabilities as d&’s D20 and flagship D80 amplifiers.
And another thing…The 10D is intended for small applications with lower SPL requirements, while the powerful 30D is designed for medium-to-large applications with demanding SPL requirements.www.dbaudio.com
What are they?Three new models of ceiling speaker designed to combine accurate sound with commercial fire-resistance and suitability standards.
Details:The 105S, 106S and 108S feature a metal ‘can’ rear enclosure which provides a fire barrier behind the speaker to meet commercial fire codes.
And another thing…70/100V transformers facilitate multiple unit installations without the level-matching concerns of parallelled transformerless speakers.www.denonpro.com
LAB.GRUPPENLUCIA
What are they?The LUCIA 120/1-70 and LUCIA 240/1-70, two dedicated 70V-output amplifiers.
Details:With power ratings of 120W and 240W, respectively, into a single output, the amps offer installers the option of driving 70V distributed loudspeaker systems while retaining the input flexibility offered by low-impedance LUCIA models.
And another thing…Both amplifiers are Energy Star approved for green building certification.www.labgruppen.com
VUE AUDIOTECHNIKH-CLASS AND V SERIES
TANNOYAMS
What is it?A surface-mount loudspeaker series incorporating Tannoy’s new Dual Concentric (DC) technology.
Details:Comprising a range of seven models, the AMS series is designed for entertainment and hospitality venues, as well as “areas where true sonic clarity and reliability is required”, says Tannoy.
And another thing…The AMS range is engineered to perfectly match Tannoy’s CMS 3.0 ceiling loudspeaker, launched last summer and shown at ISE earlier this year.www.tannoypro.com
What is it?An update which adds Dante networking support for VUE’s h-Class UHD speaker systems and V Series DPS/amplifiers.
Details:The update, set to officially ship in September, will be incorporated in all future products, and upgrades will be available for owners of existing systems.
And another thing…“We’d been waiting for a cost-effective solution for audio over Ethernet, and Dante has clearly become the industry standard for audio networking,” says VUE Audiotechnik CEO Ken Berger.www.vueaudio.com
WAVES AUDIOSOUNDGRID
What’s the news?Waves’ plug-ins and SoundGrid technology will be integrated into Lawo’s mc²-series consoles (mc²66 pictured).
Details:Running the Waves MultiRack plug-in host application on Lawo consoles will offer users Waves processing for live broadcasts, post-production, live mixing and theatre sound.
And another thing…Waves’ Mick Olesh says the partnership realises a “commitment to provid[ing] our customers with the freedom to use Waves plug-ins in all settings”.www.waves.com
16–17 New products fin JCDR.indd 2 22/06/2015 14:33
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P18JULY2015
The strategic position
Despite some enduring perception problems, AVB still has an exciting potential future in pro-audio networking, incoming AVnu Alliance president Gary Stuebing tells David Davies
A new dawn for AVnu?
R eservations about the progress being made
by Audio/Video Bridging (AVB) networking
technology in pro audio are nothing new
– but they were certainly given additional
weight when RH Consulting published The Death of
Analogue and the Rise of Audio Networking earlier this
year. Among other findings, the report documented
the availability of only 61 AVB pro-audio products as
of December 2014 – compared to a whopping 296
for Audinate’s increasingly ubiquitous Dante media
networking technology.
It is within this somewhat challenging context that
Gary Stuebing has assumed the role of president of
AVB-promoting organisation the AVnu Alliance. Now
four decades into a distinguished career, Stuebing’s
background is rich in IT management experience.
His current ‘day job’ is manager of engineering, IoT
standards/architecture, at Cisco, while he has also
fulfilled roles at several other alliances and standards
groups such as IEEE, Wi-Sun and HomePlug.
Speaking to PSNEurope a few days after his
appointment was made public, Stuebing was candid
about the current pro-audio industry status of AVB and
AVnu. “I am a little concerned, and would like to see
AVnu take off more from the perspective of what it is
doing [for the future of audio networking],” he says. “It
does not seem there is a general sense of cohesiveness
in the pro-AV community about using open standards
and trying to form some kind of compatibility and
interoperability scenario. And I think that is to the
detriment of customers.”
AVnu has held steadfast to the open standards
principle, but there is little doubt that the limited
quantities of AVB-supporting product – and in particular,
the small number of currently available dedicated
switches, which are needed to make AVB networks
operate – has inhibited adoption. But Stuebing, who
is more than familiar with the “extended timescales”
involved in getting standards-based technologies to
achieve market traction, believes that, aided by the
forthcoming TSN (Time Sensitive Networking) standard,
AVB could be on the verge of a productive new phase.
Billed as an evolution of AVB, TSN has been
developed to provide users, not least those in the
industrial community, with the ability to use standard
Ethernet “to support highly reliable and precise
synchronised networking appropriate for industrial
control”. Completion of the related standards is predicted
for July, says Stuebing, after which development of
an interoperability certification programme and the
relevant chipsets will mean we should anticipate ratified
TSN product “about a year from now”.
Once introduced into the market, Stuebing expects
the technological and businesses cases behind the
technology to become increasingly apparent. “AVB/
TSN will constitute a really powerful open standard
for networking, with capacity for fast and effective
time-sensitive operation over a real-time network. There
will be scope for very tight synchronisation of an entire
network,” he explains.
Stuebing also thinks AVB/TSN will add momentum
to the development of new products: “Experience tells
Experience tells me that when you start to have commoditisation [around an open standard] a lot of things start to happen quite quickly, and that includes price points being driven downGary Stuebing
18-19 The Strategic position JCDR fin.indd 1 22/06/2015 13:33
www.psneurope.com/business
me that when you start to have commoditisation [around an open standard] a lot of
things start to happen quite quickly, and that includes price points being driven down.
With regard to switches, the Extreme Networks [family of AVB-compliant switches]
is performing well, and I would suggest that we will start to see other manufacturers
jumping into that with TSN standards.”
Pro audio remains an “integral” part of the future vision for pro-audio, confirms
Stuebing, although AVB/TSN is also expected to resonate strongly with automotive,
among other industrial sectors. “I do think it will help to awaken a large segment of the
market,” he says “It is true that we are seeing a great deal of activity in automotive in
Germany, and it seems a lot of [automotive networking] in Korea and Japan is basically
going to be AVB/TSN-based as well.”
The perception of drift around the AVB/AVnu project over the last few years will
take some time to dissipate in even the most favourable conditions, but Stuebing
is refreshingly frank about the challenges that lie ahead and clearly determined to
reassert the value of an open standards-based, fully-certified approach to audio
connectivity. “I am convinced this technology has a great future in pro audio,” he
concludes. n
www.avnu.org
Attendees to April’s Conference on Time Sensitive Networking and Applications (TSNA) in Santa Clara, California, US
Meyer Sound’s AVnu-certified CAL column-array loudspeakers
18-19 The Strategic position JCDR fin.indd 2 22/06/2015 15:44
United Kingdom
www.psneurope.com/studio
P20JULY2015
Studio
Neighbours’ super-basement plans may force AIR Studios’ temporary closure, writes Jon Chapple
Hampstead studios’ future up in the AIR
A IR Studios could be facing up to six
months of disruption from building work
after its neighbours applied for planning
permission for an underground extension
to their property.
Alison Burton, manager of the Hampstead recording
studios, says the facility would not be able to operate for
around six months due to “severe noise pollution and
underground vibration” and has asked the membership
of the Music Producers Guild (MPG) for its support. If
the application is successful, the MPG says the closure
could “directly aff ect MPG members […] and have wider
implications, with loss of income across the music
recording community”.
Speaking to PSNEurope, studio owners Richard
Boote and Paul Woolf confi rmed that AIR is obliged to
follow the planning process but added: “If we were not
successful in stopping the application we could then sue
for nuisance, perhaps.”
In addition to the MPG, the studios have won support
from local preservation group The Heath & Hampstead
Society, which has expressed opposition to the extension
of a grade II-listed house it says is “relatively untouched
by the vulgar excesses of the 21st century”.
The proposed refurbishment is described in the
planning application as the “[e]rection of single storey
extension with single storey plus basement link to
proposed basement and sub-basement extension,
demolition of single storey self-contained studio
and erection of single storey pavilion as ancillary
accommodation to main house, demolition of 2x single
storey outbuildings and additional basement extension to
west of property.” The owners’ names are given as Mr
and Mrs Andrew Jeff reys.
AIR (Associated Independent Recording) was founded
in 1969 by Sir George Martin and moved to its present
location, Lyndhurst Hall in Hampstead, north London, in
1991, and was acquired from Sir George by Strongroom
MD Richard Boote in 2006. It also had a studio in the tiny
Caribbean island of Montserrat until it was destroyed by
Hurricane Hugo in 1989.
The last fi ve years have seen an increasing number
of ‘mega-basements’ or ‘iceberg homes’ built under the
houses of London’s super-rich, increasing the size of the
properties many times over (a 2012 Guardian
article described their “making Swiss cheese of
London’s poshest streets”). They were, however,
outlawed by the affl uent Royal Borough of Kensington
and Chelsea in May.
A ‘Save Air Studios’ petition created on the 38
Degrees campaign website (you.38degrees.org.uk) had
collected over 7,000 email signatures by mid-June, the
date the petition was due to be forwarded to the case
offi cer at Camden London Borough Council.
At the time of writing, Boote and Woolf were both
confi dent the local authority would refuse the Jeff reys’
planning application. But do they have a contingency
plan, just in case?
“We will be successful!” n
www.airstudios.comwww.mpg.org.uk
AIR Studios’ Lyndhurst Hall, a former congregational church
Associated Independent Recording founder Sir George Martin
20 AIR Studiosfin JCDR.indd 1 22/06/2015 16:40
ESD5 NEW ADDITION TO ESD FAMILY
The ESD Range Time AlignedPassive Speakers
www.kv2audio.com
When you need to discreetly deliver the true story
This tiny enclosure produces true and accurate reproduction in a cleverly designed cabinet.
Ideally angled for ceiling or under balcony mounting, installation is quick and easy with the integral mounting bracket.
Suitable for all applications where a robust, high quality compact speaker is required. Like all KV2 speakers, the ESD5 delivers soundperformance beyond expectation!
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United Kingdom
P22JULY2015
Studio
Following a Kickstarter campaign that raised over £177,000 for its new consumer headphones, Flare Audio’s Naomi Roberts reveals the secret to its success and tells Jon Chapple how other manufacturers can get in on the act
Flare’s a crowd
If you’re a reader of our daily and weekly
newsletters or a regular visitor to
PSNEurope.com, you’ll no doubt have heard
about the Kickstarter campaign for Flare Audio’s
Reference R2 in-ear headphones.
Launched on 5 May, it closed 28 days later, having
raised £177,277 (€241,125) with 1260 backers – over
177 per cent of its initial goal of £100,000 – and
established West Sussex-based Flare as a major
player in the consumer headphone market.
So, how did a pro-audio manufacturer best
known for sound reinforcement so successfully
crowdfund its way into the booming headphone
market (a phenomenon we’re officially dubbing ‘the
Canaissance’) – and how can other companies learn
from its experience? Flare’s customer relationship
manager, Naomi Roberts, spills the beans…
PSNEurope: Congratulations!Naomi Roberts: Thank you!
Were you always confident you’d pull it off?I knew we had a great product, and we had some
heavyweight endorsers on our Kickstarter video, so
I was very confident in our offerings, but Kickstarter
was new territory for us – we were entering a new
marketplace with the consumer products, so in that
respect it was a bit of an unknown.
I hoped that people would embrace what we were
doing and see the zest and belief we have in what
we do. When all the positive reviews started coming
in there was a rush of backers; the video reviews
were particularly helpful. I wasn’t content until I
saw that we had reached the £100k mark,
though – don’t count your chickens and
all that!
Why £100,000? It seems a lot...We thought we’d set our sights high! We had some
really good advice and, having researched other
Kickstarter campaigns, we found that if the target is
set too low your project might not be valued quite as
much. Kickstarter backers like to see a strong product
and creativity or a new way of doing things in order to
create real buzz and excitement.
With 11 days to go, the campaign had raised only £35,000 – then there was a big surge in pledges towards the end, and the 100k mark was reached with three days to spare. Was that something you were expecting?We hoped that it might happen, but we weren’t relying
on it. It was a constant push. It seems to be the way
that it goes for quite a lot of Kickstarter campaigns:
people hold off pledging
until they get all the
information they are after. The
reviews and endorsements
helped massively as, after all,
we are selling a product visually
that people will be using aurally.
How did you get the word out there?We found that we had to be very proactive from
all angles – it was a multipronged mission! Social
media was important, as were the endorsements and
reviews. I think you need all those facets to appeal to
everyone. People are tempted by different things, but I
think most Kickstarter backers are very savvy and like
to see in-depth technical reviews from people whose
opinions they respect and value.
It’s also important that all questions and comments
from potential backers are replied to, and that you
dedicate time and courtesy to everyone. We are a very
small but very enthusiastic team at Flare, and the
Kickstarter backers seemed to like and appreciate
the personal touch that we gave. We invited anyone
who was local to us to come to our warehouse and
try out the earphones – from this we ramped up our
presence in forums with some really glowing and
detailed reviews. We wanted to be very transparent in
our approach and I think the backers valued this.
How did you get so many celebrity endorsers on board? How important were they to the overall success?
Naomi Roberts (far left) with the Flare Audio team on Lancing beach in West Sussex
www.psneurope.com/studio
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Studio
Well, I think if the whole approach was likened to
a cake, the tech reviews were the sponge and the
celebrity endorsers were the icing and cherry on top!
It’s difficult to quantify just how important they were
to the overall success, but they definitely bolstered the
campaign and gave us an extra dimension.
Personally, I found I had to lose all self-effacement
and just go for it. For example, we messaged Huey
Morgan on Twitter and he was happy to try out the
R2s and let us know his thoughts. He has since been
showing them to his friends and colleagues because
he likes them so much. Everyone we approached
has been very amiable and, thankfully, all loved the
earphones, so getting a quote from them wasn’t as
hard a task as we might have thought. Jarvis [Cocker]
has been a Flare fan for a few years now and so was
keen to try out the earphones.
We were aware that, as individuals, they all have
a great deal of integrity and didn’t have to give us
quotes, so we were thrilled that they gave us such
wonderful words.
Flare is now officially a successful consumer brand too. Are you moving away from pro audio?No, definitely not! The consumer products are just
another string to our bow – we are fortunate that the
technology we have developed can be easily scaled,
so consumer products was a natural next step for us
and Kickstarter felt like the right platform as a means
in attracting a new audience. I think I can speak for all
of the team when I say that the whole experience has
been very uplifting. The feedback and interaction from
Kickstarter backers has been thoroughly heartening, and
they embraced our different attitude and mindset. It was
wholly refreshing.
Does crowdfunding only work for consumer products, or can you see pro-audio companies being successful on Kickstarter too?I’m not sure… From our experience I’d say that you need
to be able to offer Kickstarter ‘rewards’ at a number of
different price brackets, which might be tricky for the
pro-audio market. That said, I do think that our backstory
in pro audio definitely helped us – I think it gave us some
extra authority and standing in the consumer market.
Pro audio is a really exciting world to be involved
with, but it’s a tough one. It was really interesting to
put our first toe into the consumer market and to be
so warmly received. n
www.kickstarter.comwww.flareaudio.com
• Get a good, solid campaign together for
something that you are passionate about. It
will take up a lot of your time and you need to
genuinely believe wholeheartedly in what you
are promoting.
• Make sure you have a variety of reviews
lined up.
• Work out your rewards and have a diverse
range of price options.
• Dedicate yourself to it. It needs constant
attention and encouragement: you can’t leave it
to run itself.
• Give up on all social engagements for the
length of the campaign!
• Coffee. Plenty of coffee.
Naomi roberts’ crowdfunding secrets
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P26JULY2015
Broadcast
BBC R&D used a new two-day event to put audio technology front and centre at New Broadcasting House in London during May. Kevin Hilton attended and, dodging a lurking Dalek, sends this report from the TARDIS
The future starts here for BBC Sound
BBC’s Sound: Now and Next event was,
according to Frank Melchior, lead audio
technologist with BBC R&D and the driving
force behind the event, designed to get
programme makers, researchers and technologists
together to look at what was being done today and
how that could move on in the near future. (See last
month’s issue.)
Now and Next was presented by LJ Rich from
BBC News Channel’s Click technology programme,
who said the event would show “the nexus between
sound and technology”. This was confirmed by the
showcasing of what Melchior called “almost four
years” of the BBC Audio Research Partnership with
the Universities of Surrey, Salford, Southampton,
York and Queen Mary University of London, plus
displays by DTS, Fairlight, Fraunhofer, Blue Ripple
Sound and Dolby.
Spatial sound in its various forms – Ambisonics,
object-based and binaural – was a pervading
theme, as broadcasters, engineers and producers
contemplate the best way to recreate how the world
sounds for ultra-HD TV, games and virtual reality.
Wildlife sound recordist Chris Watson addressed this
in A Journey South, with his recordings and audio
diary from trips to the Antarctic making natural
history programmes.
He detailed his work with adapted hydrophones to
record inside glaciers and SoundField microphones
for surround. While saying that immersive
technologies put the viewer/listener “in a sense of
space”, Watson bemoaned that his efforts to do this
were often obscured by having “orchestral music
smeared over it”.
Current broadcast transmission systems
constrain new immersive audio production, as do
the requirements of event coverage. In a session on
live broadcast sound freelance OB sound supervisor
Bill Whiston and Olympic Broadcast Services
audio manager Nuno Duarte both commented that
although tests were being made it, could be some
time before spatial technologies were a regular
component.
Andy Rogers, senior producer for live music
with BBC Radio 1 and 1Xtra, commented that there
was “a problem in doing immersive”, even though
programmes had been made in both 5.1 and binaural
in the past. “For a long time we did 5.1 in our trucks
but there isn’t a platform for it apart from HDTV,”
he said. He added that R1 presenter Rob da Bank
had fronted a two-hour binaural special in 2014
and while that was well received “the difficult thing
is explaining to listeners that they have to put their
headphones on and keep them on”.
In a specific session on immersive sound Isabel
Platthaus, commissioning editor and dramaturg
with German public broadcaster WDR, outlined
the production processes behind 39, which is both
a radio play and an interactive game for mobiles.
Working with sound engineer and game designer
Achim Fell, who co-presented the talk, Platthaus
3D audio gives more tools to tell storiesVarun Nair, Two Big Ears
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P27JULY2015
says the production was built up in layers so it
could be both listened to and played with. Fell added
that the sounds were mixed together, with the
interactivity allowing the level of immersion to be
increased.
The potential of immersive sound for virtual and
augmented reality was discussed by Varun Nair, co-
founder of interactive audio specialist Two Big Ears.
Nair said that the three main aspects for 3D sound
in VR/AR are panning, elevation (playing with height)
and externalisation, for the sense of reality. “But
technology is a means to an end,” he concluded. “3D
audio gives more tools to tell stories.”
Earlier in the session Martyn Harries, re-
recording mixer and senior lecturer in audio and
music technology at the University of the West of
England, observed that “object-based surround is
way forward”. This was discussed on the second day
under the heading of Responsive and Interactive
Content. Matthew Brooks, senior engineer with BBC
R&D described how object-based technology was
used to create a version of radio documentary The
Cornish Gardener that allowed listeners to specify its
duration (see PSNEurope April for a full report).
While that had been a re-versioning of an
existing linear production, BR-Klassik in Germany
has created a responsive radio feature about the
beginnings of World War I from scratch. Managing
editor Werner Bleisteiner explained that, working
with the IRT and BBC R&D under an EBU pilot project,
he and his colleagues had assembled a series of
clips and music tracks as objects to create what he
described as “radio beyond radio”.
Different production tools that can make the
creation of responsive and immersive audio material
easier and more efficient were the subjects of the
final session of Now and Next. Musician Tim Exile
shook up the venerable Radio Theatre with his
Flow Machine, a looping system that combines
MIDI, sampling and delay technologies. Mark Boas,
co-founder of Hyperaudio, described the technology
behind his company’s name, which is designed
to integrate audio into the web in the same way
hypertext does for words.
Perhaps most intriguing was the editing and
search software conceived by Professor Jörn
Loviscach of Bielefeld University of Applied Sciences.
Originally designed so that he could easily search
videos of his lectures, the program has potential
for general audio production in giving visualisation of
selected words and the automatic highlighting
of “um”.
The possible future of audio in all its forms was
addressed by composer and sound artist Nick
Ryan, who said the key elements were immersion,
interactivity and sonification. He explained the third
component as “transforming information into
sound”, be it data or from another sense, as in the
case of colour.
As newly appointed controller of BBC R&D Andy
Conroy remarked at the start of the event, the
intention was to identify techniques and technologies
that would “feed the imagination” of audiences.
“Someday all broadcast audio will be made this way,”
he said hopefully. n
www.bbc.co.uk/rd/events/sound2015
The tech fair
Jon Tutcher, BBC senior research technologist, at Sound: Now and Next
Freelance OB sound supervisor Bill Whiston speaks at Sound: Now and Next
26-27 BBC now and next v1 JCDR.indd 2 22/06/2015 09:40
Austria
www.psneurope.com/broadcast
P28JULE2015
Broadcast
Audio signals were routed via a RAVENNA/AES67-based AoIP infrastructure for the first time in the event’s history, writes Angela Buenger
IP begins at 60 for Eurovision
Every year, the Eurovision Song Contest (ESC)
ranks among the top-rated internationally
broadcast TV programmes. On 23 May
2015, almost 200 million viewers from
80 countries watched Sweden’s Måns Zelmerlöw
beat Russia and Italy to the Eurovision trophy at the
Wiener Stadthalle in Vienna.
For the 60th anniversary of the world’s biggest
TV entertainment show, host broadcaster ORF
celebrated two world premières: Not only did the
contest win the Green Events Austria Sonderpreis
award for sustainable cultural and sporting events
at the Green Events Austria Gala 2015, Austria’s
national broadcaster also led the way when it came
to the audio technology used at the Stadthalle.
In the framework of the host broadcaster’s overall
technical concept, all audio signals were routed via
a RAVENNA/AES67-based IP infrastructure. Both the
Lawo Nova 73 audio matrix – including all connected
DALLIS I/O systems used by Belgian company
VideoHouse, ORF’s broadcast supplier – and the
video and audio distribution of the commentary
solution were based on IP networking technology,
which made its ESC debut at this year’s event.
To distribute all the audio signals to the different
suppliers and OB vans while minimising equipment
and cabling required and increasing flexibility, the
signals were collected by a central audio router. The
setup was based on a Lawo Nova 73HD audio routing
core, with 10 DALLIS I/O systems connected using
RAVENNA audio-over-IP technology.
The installation provided for a decentralised
collection and distribution of the signals at the
venue, including 96 Sennheiser Digital 9000
wireless microphone systems, 32 Sennheiser in-ear
monitoring systems for the artists and an Avid Pro
Tools playback system. In addition, all sync and
timecode signals required for the production were
also distributed via the infrastructure.
According to Lawo, the Nova audio routing
infrastructure routed more than 6,600 audio signals
to six OB trucks and to the FOH and monitor consoles
inside the venue. All OB vans provided by either
ORF itself or VideoHouse were equipped with Lawo
m²66 or mc²56 digital mixing consoles. In addition,
the VideoHouse trucks were equipped with V__pro8
video processing systems for audio embedding, de-
embedding and format conversion. To manage and
control the whole setup. a VSM system from L-S-B
was used.
Not only microphones and monitoring but also intercom systems, wireless cameras, LTE base stations and controlling units for light and effects required spectrum Gerhard Vonwald, Grothusen AudioVideo
Måns Zelmerlöw performs winning song Heroes at the Eurovision Song Contest Grand Final (All photos: Ralph Larmann)
A team from host broadcaster ORF mains the Lawo desks
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Broadcast
In addition to the signal routing, the commentary
system used by the host broadcaster was also
resting upon IP networking technology. A team of
14 engineers equipped 45 commentator cabins
with LCU commentary units, which were networked
via RAVENNA/AES67 with the commentary control
room and the commentary equipment room. Here,
the signals were forwarded to the Prodys ISDN and
IP codecs that connected broadcasters around the
world with the event location. The video signals for
the 90 video screens in the Eurovision commentary
boxes which provided additional information to
the commentators on site were streamed to the
commentary boxes via V__link4 Video-over-IP
systems.
The equipment was provided by Audio Broadcast
Services (ABS), a rental partner of German
manufacturer Lawo; the technical concept as well
as its implementation and on-site support was
managed by Lawo as a turnkey solution.
Another German company, Riedel, supported the
radio, intercom and signal distribution systems.
In total, around 600 radio sets were used to
interconnect the around 2,500 crew members.
For the intercom system, around 140 panels were
operated; the intercom matrix comprised nine
Artist mainframes which were distributed across
the venue. In order to integrate the OB vans into
the whole system, around 300 panels and 15
mainframes were used. The signal distribution
system included Riedel’s MediorNet solution for
video, data and audio communication and comprised
45 MediorNet mainframes and a total of 127 HD-SDI
inputs, as well as 148 HD-SDI outputs.
The PA system was provided and designed by
Vienna-based Sound Art Service (SAS) and included
a Meyer Sound LYON linear sound reinforcement
system, 44 LYON linear line-array loudspeakers
and 12 1100-LFC low-frequency control elements,
with a Galileo loudspeaker management system
with four Galileo 616 and six Galileo Callisto 616
array processors for system drive and optimisation.
Onstage foldback was provided by six MJF-210, two
MJF-212A, and 14 UM-1P stage monitors.
The auxiliary fill, delay, and VIP systems included
Sennheiser wireless systems, managed by Grothusen Audio Video
The most difficult requirement was the height of the arrays: 12m above the floor PA designerStephan Schloegel
Meyer Sound M’elodie hang
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Broadcast
24 M’elodie line-array loudspeakers; six JM-1P
arrayable loudspeakers; six CQ-1, six UPQ-1P, eight
UPM-1P, 18 UPA-1P, eight MSL-2, 18 MSL-4 and four
MSL-6 loudspeakers; eight UPJ-1P and six UPJunio
VariO loudspeakers and 10 700-HP subwoofers.
Equipment supply for the LYON and 1100-LFC
systems came from Senec-based Amex Audio, with
coordination by Igor Demčák and Braňo Bèreš.
In addition to the Sennheiser Digital 9000 wireless
systems, the front-end system comprised Midas
PRO6 and PRO9 digital mixing consoles for main and
music mixes. Monitors were mixed on Midas PRO
X consoles, while the broadcast feed was mixed on
four Lawo mc²66 consoles, as mentioned above.
Due to the technical requirements on site the
support staff had several obstacles to overcome, as
Gerhard Vonwald, technical director at Grothusen
Audio Video, Sennheiser’s Austrian distribution
partner – acting as head of wireless audio at ESC
– explains: “As one can imagine, the frequency
spectrum in Vienna was quite densely occupied. In
the hall, not only microphones and monitoring but
also intercom systems, wireless cameras, LTE base
stations and controlling units for light and effects
required spectrum.”
According Vonwald, the metal pipes of the stage
construction also created HF reflections that were
difficult to manage and a challenge when it came
to positioning of the 11 transmit/receive antennae.
Furthermore, interference was also created by
the large LED walls and the LED floor. “Therefore,
it was helpful that Digital 9000 does not create
intermodulation products and, hence, is spectrum-
efficient,” he continues. “We were able to arrange
the microphone frequencies in small intervals of
600kHz, which eased the planning and made this
high number of channels possible.”
SAS’s Stephan Schloegel, the designer of the PA
system, adds: “The most difficult requirement was
the height requirement of the arrays: 12 metres
above the floor. A uniform coverage in front of
the stage was not easy, but the LYON and JM-1Ps
provided a seamless solution.”
Apparently, it was worth the effort: “The final and
all 11 shows with audience before were technically
perfect and an amazing experience for the 60,000
people in the hall, as well as for the TV and online
audience”, says Vonwald. ORF director-general
Alexander Wrabetz, Vienesse mayor Michael Haeupel
and Vienna town councillor Christian Oxonitsch said
in a statement that they were also happy: The costs
for the event were below the estimated budget and
national and international reactions were more than
positive. n
www.eurovision.tvwww.grothusen.prowww.lawo.comwww.meyersound.comwww.midasconsoles.comwww.riedel.netwww.sas.co.atwww.sennheiser.com
Lithuania’s Monika Linkytė and Vaidas Baumilasing the solidly 18th-placed This Time
A flaming piano for Austria, but they still failed to score
28-32 Eurovision v3 JC DR fin.indd 3 22/06/2015 11:47
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Feature: Consolidation in pro audio
Small world…
Even if we datestamp the birth of pro audio
as we know it today to as recently as the
late 1950s and the development of the first
studio consoles, it seems reasonable to
assert that this industry is hardly in the first throes
of youth. But in fact, a current trend towards greater
consolidation of businesses is leading an increasing
number of people to wonder whether it is only now
that pro audio is truly reaching maturity.
Of course, mergers and acquisitions in this
industry are certainly not unheard-of, and there
have been plenty of landmark deals during the past
decade – think of Sun Capital/LOUD Technology’s
buyout of Martin Audio in 2007, or Music Group’s
purchase of Midas and Klark Teknik in 2009, to name
just a few.
It is clear, however, that the pace of change has
accelerated somewhat over the last few years. In
the last 24 months alone, we have seen Yamaha
acquire modelling amplifier and recording software
specialist Line 6; Harman purchase audio directivity
pioneer Duran Audio (hot on the heels, it should
be noted, of acquiring entertainment lighting
giant Martin Professional too); Gibson add music
recording software specialist Cakewalk to its stable;
console brands Calrec, DiGiCo and Allen & Heath
being brought into the same group; and, most
recently of all, Uli Behringer’s Music Group further
strengthening its presence in pro audio through the
acquisition of TC Group, parent of Tannoy,
Lab.gruppen, Lake and TC Electronic.
So, the principal question is not ‘if’ – instead it is
‘why now’ and, more problematically, ‘what are the
long-term implications?’.
Pro audio in transitionWhilst there is a general feeling of economic uplift
at present, the sense of uncertainty prevalent since
the 2008 crash hasn’t completely dissipated, and
at press time the possibility of a Greek exit from
the Euro remains a forbiddingly dark cloud on the
… getting even smaller? Historically an industry dominated by compact, niche-style operations, professional audio is currently experiencing a wave of consolidation through mergers, acquisitions and venture-capital investment. But why now and what are the long-term implications, wonders David Davies
Harman VP Blake Augsburger
HHB Communications’ Ian Jones
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P35JULY2015
horizon. Opinions vary on the extent to which the
broader financial landscape has contributed to the
wave of mergers and acquisitions, but it certainly
seems to be an element in the mix.
Blake Augsburger, executive vice-president
and president, professional division, at Harman
International, comments: “The rate of mergers and
acquisitions taking place within the audio industry
is contingent on variables within the industry such
as maturity, technology and competition, but also on
macro-economic issues as well. This includes but is
not limited to the cost of capital, globalisation and
compliance. There is also a cyclical filter determined
by high-profile successes and failures, market
sentiment and even trends.”
James Gordon, MD of DiGiCo and now also CEO
of the combined DiGiCo/Allen & Heath/Calrec group
christened Audiotonix in April 2015, similarly thinks
the broader economic situation has had an impact,
but highlights too the increased appeal of the sector
as a reason for the influx of venture-capital (VC)
money now enabling many of the changes.
“Post a recession, this kind of new investment
cycle is very common and is occurring in lots of
industries at this time,” says Gordon. “I guess as
the dust starts to clear companies look at new
opportunities and that generates new investment. We
have certainly seen this trend in our industry before.
I do think, though, that as our industry becomes
more professional with a worldwide footprint it
becomes a more attractive proposition for external
investment.”
For RH Consulting founder and keen industry
observer Roland Hemming, the explanation resides
more in a cyclical change slowly taking place. “Our
industry has been regarded as very young with
many companies that are still owner-managed,
but it is now transitioning,” he says. “However, as
an increasing number approach retirement, if they
have no succession strategy, then this makes them
look to sell. Secondly, you have companies wanting
to diversify or supply a more complete package,
so again M&As [mergers and acquisitions] help
companies achieve this.”
Ian Jones, managing director of stalwart
independent AV technology supplier HHB
Communications, also thinks we are witnessing a
logical development in the industry. “Pro audio has
traditionally comprised a large number of relatively
small businesses operating independently, so I’d
suggest that consolidation is somewhat inevitable,”
he says.
In an increasingly integrated world, it makes sense
on multiple levels for larger firms to look to deliver a
wider cross-section of complementary technologies.
But it also stands to reason that consolidation
isn’t always going to be straightforward, or even
immediately beneficial. To put it mildly, ‘growing
pains’ are surely to be expected.
Practicalities of consolidation It would obviously have been preferable to assess
the practicalities with the architects of the most
prominent deal of recent times: the Music Group
purchase of TC. Unfortunately, TC and Music Group
declined to be interviewed at this early stage of
the process. Meanwhile, private equity firm Electra
Partners – which acquired latterday Audiotonix group
bands Allen & Heath in 2013 and DiGiCo and Calrec
in 2014 – accepted PSNEurope’s questions but was
unable to provide any comments by the time of going
to press.
Fortunately, there are plenty of others to whom
we can turn to analyse consolidation mechanics.
Surveying Harman’s purchase of Martin Pro and
Duran Audio (regarding the latter, “we saw an
excellent opportunity to acquire great technology
and great talent”), Augsburger confirms that “there
were many practical/logistical elements in getting
onto a shared ERP [enterprise resource planning]
system and to a single procurement plan, but the
most important aspects were ensuring customers
experienced nothing but improvement in choice,
service and support, and that the employees of all
three groups were culturally engaged in making the
acquisitions work. They were and so the acquisitions
have worked. It typically takes a year or so to
complete the integration.”
For Audiotonix – which features a combination of
ownership ranging from Electra and fellow private-
equity firm Living Bridge through to the managers
and staff of the group – the consolidation of three
leading mixing console brands into one group was
the result of a period of careful reflection. “We
looked at many options and could have taken the
more traditional route of investing into a speaker
or amplifier company, but in reality the skill of the
team is that we know mixing consoles,” says Gordon.
Selecting the companies was not particularly
challenging since “all three brands have great
reputations and loyal clients. When you look a little
deeper into the businesses, although all three design
and manufacture consoles, we address a different
market or client base with them. This means the
combined mixing console knowledge and experience
across the group adds real value and expertise.”
In terms of the practicalities, Gordon was aware
from day one that encouraging dialogue between
the three R&D firms was going to be instrumental
Andy Huffer, sales director at pro-audio trade
sales and distribution company HD Pro Audio,
believes that analysis of M&As needs to be
undertaken very carefully:“When the word gets
out about another much loved independent pro-
audio brand being merged, acquired or injected
with VC money, the kneejerk reaction of the
pro-audio community tends towards clutching
our pearls to our chest and exclaiming our horror
and outrage. Like most things, it’s never that cut
and dried. I’ve seen many brands evolve over the
years, and there’s enormous potential for it to
be a positive thing if managed correctly. Access
to enhanced R&D and manufacturing capability,
investment in support infrastructure and stock,
increased marketing budget and securing a long-
term future for the brand… all of these can come
from investment by the ‘suits’.
“Having said that, there is also enormous
potential for the brand’s original architects to
leave, unhappy with the new structure, for asset-
stripping, for the ‘suits’ to ignore the qualities
that established and maintained the brand in the
first place that don’t fit neatly on a spreadsheet,
and many other classic errors that have left once
mighty brands chewed up and spat out by their
new owners.”
www.hdproaudio.co.uk
“It’s never that cut and dried…”
As our industry becomes more professional with a worldwide footprint it becomes a more attractive proposition for external investmentJames Gordon, DiGiCo/Audiotonix Group
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P36JULY 2015
Feature: Consolidation in pro audio
in making the new group function effectively. “Three
strong R&D teams with a long history of developing
groundbreaking products all working together
sounded an impossible task,” he admits. “Looking
back I am not sure now why we viewed this as the
biggest challenge, because from their first meeting
they were talking the same language and were
keen to learn from each other. The level of respect
between the teams has meant they willingly share
ideas and want to contribute and share with the
other teams in the group.”
Long-term benefitsOne pleasant upside of the recent wave of M&As is
that they seem to have involved relatively few losses
in terms of personnel – something that can only be
good news in an industry where job opportunities
aren’t always in plentiful supply. But if the current
phase of consolidation has been fairly painless in
the short-term, what are its long-term benefits
likely to be?
Over at Line 6 – which is still run as an independent
company following the Yamaha acquisition – the
benefits have included joint product development with
its new owner (for example, on the Variax Standard
guitar) and the back-up of a “financially powerful
yet music industry-internal partner” that allows the
company to pursue new products and markets.
“The instant benefit is a much larger internal
customer base allowing sales either through under
own-brand or under one [of] the other brands in
the Yamaha group,” says Nils-Peter Keller, director
Yamaha Music Europe’s pro audio division. “A
medium-term benefit is the know-how transfer of
production and design quality methodology, as well
as the development of the businesses processes’
quality – which is also a bidirectional benefit. Last but
not least, the addition of Yamaha’s power has made it
easier for Line 6 to develop new products and enter
more or other business fields.”
For Michael Hoover – president of Cakewalk,
which was officially acquired by Gibson in December
2013 – the primary benefits of the acquisition reside
in enhanced capacity for product development
and increased access to possible new customer
groups. “To start with, we get to focus on what we
do best: designing, developing, testing and delivering
innovative software products for musicians and
producers,” says Hoover. “Our dedicated marketing
team allows us to talk directly to our customers
through online properties we manage on our own.
Our expert staff provide a first-line support while
keeping our development team constantly informed
of any issues. What has really changed is our ability
to reach more customers. Through Gibson’s extensive
sales and distribution network and marketing and
entertainment relations teams we have a much bigger
and stronger voice.”
Continuing consolidation?But while the recent wave of deals has evidently
brought tangible benefits for many of the brands
involved, concerns persist that increased
dominance by a smaller number of very large
players may ultimately inhibit the
entrepreneurial spirit that has traditionally
underpinned pro-audio’s greatest leaps forward.
Gibson CEO Henry Juszkiewicz, however, thinks
that smaller firms will continue to be viable and
influential players.
“Smaller companies can address very specific
needs that would distract larger companies from
their more ambitious goals,” he says. “Gibson can’t
imagine a future where niche companies don’t exist;
if anything, we feel they strengthen the industry,
introduce innovations, and keep raising the bar. We
want the bar to keep rising, because ultimately it
benefits all of us.”
But not everyone is optimistic. Although he
believes that some smaller firms will remain
independent due to “emotional attachment or [being]
a lifestyle choice”, Hemming expects that “small
integration companies will find life increasingly
tough as barriers to market increase. Many small
manufacturers will either die or be bought, primarily
for their IP or for a particular market segment where
they excel.”
It is also important to remember that
consolidation doesn’t always pan out creatively or
commercially. “Many mergers and buyouts don’t
succeed,” says Hemming. “If you want to buy another
company or merge you have to think about what
the overall benefit will be. It’s a cliche, but will the
result be greater than the sum of all the parts? If
your business isn’t efficient and focused then an
M&A probably isn’t going to help. If it is, and you
see another business that can benefit from your
streamlined operation, then that might be worth
consideration.”
So there are no shortage of potential pay-offs,
and pitfalls, from taking the path towards merger
or acquisition. But in an industry which appears to
be nearing the end of a significant cycle – whereby
an increasing number of the figures who have
shaped the modern business will be contemplating
retirement and ultimately passing the baton to a new
generation that will have to find fresh methods of
financing costly R&D – more consolidation seems to
be a certainty. n
www.audiotonix.comeurope.yamaha.comwww.gibson.comwww.harmanpro.comwww.hhb.co.ukwww.music-group.comwww.rhconsulting.eu
KEY POINTS:• Creation of tri-console manufacturer group Audiotonix and acquisition of TC by Music Group are the most prominent recent examples of pro-audio consolidation• The latest economic cycle is generally regarded to be an important agent of change• The desire to diversify and enhance R&D capacity are also contributing to consolidation• Some observers fear that it will become increasingly difficult for very niche brands to operate independently
If you want to buy another company or merge you have to think about what the overall benefit will be […] Will the result be greater than the sum of all the parts?Roland Hemming, RH Consulting
Gibson Brands CEO Henry Juszkiewicz
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Spain
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Live
Twin Cam refl ects on the 15th Primavera Sound festival at Barcelona’s Parc del Fòrum, where the Catalan audio provider went it alone for the fi rsttime with an L-Acoustics-based set-up. JonChapple reports
Strummage to Catalonia
S ince its inception in 2001, Primavera
Sound has drawn some of the biggest
names in indie pop, rock and dance music
to Barcelona, outgrown its original venue,
been named “artists’ favourite festival” at the European
Festival Awards and spawned a spin-off event, NOS
Primavera Sound, in Oporto in neighbouring Portugal.
The 2015 festival, featuring a guitar-heavy line-up that
included The Black Keys, Patti Smith, The Strokes,
Sleater-Kinney, Antony and the Johnsons, Alt-J and
Interpol, marked 15 years of the festival – and, with it, 15
years of a long and fruitful partnership with Barcelona-
based audio provider Twin Cam and its L-Acoustics PA
inventory.
“Although our company was signifi cantly smaller
than [it is] now, we were already the largest company in
[…] Catalonia, known for our high standards of personal
and equipment,” explains Twin Cam owner and director
Rafael Campos, refl ecting on the inaugural festival –
headlined by Armand Van Helden – in April 2001. “At
the time of Primavera’s conception, Twin Cam was
in the process of a huge leap forward. We were still
using Meyer Sound, and we actually did the fi rst edition
using our MSL-5 system, even though we were already
starting the transition to V-DOSC and L-Acoustics.
“The fi rst festival was only one stage, in a far smaller
and less demanding location than now. Then, Twin Cam
had only a fraction of the capacity that we have today.
We could say that the festival and us grew in parallel
since then.
Fucked Up (the band, not the KARAs) (All photos: Louis Austin)
Ride are back on the festival circuit
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“This year the festival comprised seven stages – of
far greater scope than that single stage 15 years
ago – and we were able to supply […] first-generation
L-Acoustics sound systems for the entire festival.” (Twin
Cam supplied five of seven stages in 2014.)
With Twin Cam newly responsible for sound for the
entire festival, the 15th outing of Primavera, held from
28 to 30 May with an attendance over 190,000, was
no ordinary event for Campos and his team. “Not only
was this a significant increase – because it included the
addition of the second principal stage [the Heineken
stage], which last year was done by PRG with Adamson
– even more important for us was the fact that they
deposited their faith 100 per cent in us and stopped
looking elsewhere,” says Campos.
Twin Cam’s relationship with L-Acoustics dates back
to 1999, when it purchased its first V-DOSC system.
As in 2014, system designer Juan Cid – also a
certified level-1 L-Acoustics trainer – specified for the
main Primavera stage a combination of L-Acoustics K1,
K2 and KARA, with an identical set-up on the Heineken
stage. The core system comprised left/right arrays of 12
K1s and four K1-SBs per side, with two hangs of eight
K1s and two K1-SBs providing outfill, four KARAs for
frontfill, two stacks of eight K2s on L/R delays and 24
SB28s subs for low-end reinforcement.
Four ARCS II with a pair of SB28s were used for stage
sidefill, and the entire system was powered using LA8
amplifiers. “I believe that we presented [the festival
organisers] with a solid, reliable coherent package
L-Acoustics K1 hang on the Primavera stage
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P40JULY2015
Live
for the whole festival, maintaining the L-Acoustics
sonic signature throughout the seven stages,” Campos
comments.
Twin Cam is also providing sound for four other major
Spanish festivals this summer (Sonar, Barcelona Beach
Festival, Hard Rock Rising Barcelona and Cap Roig), as
well as “12–15 large gigs” in the same period (“Murphy’s
law never fails when it comes to dates,” laughs Campos.
“We had Andrea Bocelli at the Sagrada Familia the
second night of Primavera!”) It is also “constantly
re-renting gear” to and from the rest of L-Acoustics’
network in Spain – “There is a fantastic relationship
between all […] L-Acoustics users,” says Campos – and is
involved in two Spanish-language TV programmes.
How does Primavera compare to, say, Sonar? “Unlike
many other Spanish festivals, where volume is the
[primary] requirement, [at Primavera] we have a very strict
102dB limit,” explains Campos. “This said, our client demands
this level – no more and no less. Everywhere there [are]
spectators – on each and every one of the stages – they expect
a very similar sonic experience as well…”
This consistency in sound was helped, says Campos, by Twin
Cam being the only audio provider on site, “as opposed to other
years where, for better or for worse, there were significant
differences where different companies were working. I believe
Primavera came out ahead by having one technical standard
controlled by one design and production team.
“Additionally I must add that this year we came much closer
to having all our technical needs satisfied – ie tower heights,
choice of materials to cover PAs, etc. – which helps the end
result tremendously…”
But enough audio geekery – with 15 years of Primavera
experience under his belt, Campos must have some tales of
debauchery from festivals past? “Sorry to say that every day
there are less juicy stories: The kit works better than ever
before, trucks show up on time and our venues are modern and
very well built. The crew rest, eat well and don’t have the same
[bad] habits as before.
“So, things sound great, the team works well, the shows
finish flawlessly day after day… there just aren’t any surprises –
or disasters – any more!” n
www.twincamaudio.comwww.l-acoustics.comwww.primaverasound.com
Tori Amos channels her inner Wakeman
Sleater-Kinney’s Corin Tucker
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Portugal
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P42JULY2015
Live
Jon Chapple meets the man behind Portugal’s leading loudspeakers, NEXT-proaudio CEO Antonio Correia
NEXT appeal
Why aren’t there more 14” stage
monitors?
While the above question may
sound like the set-up for the least
exciting joke you’ve ever heard, it’s a conundrum
Portuguese loudspeaker and amp manufacturer
NEXT-proaudio saw fi t to tackle head on with the launch
at Prolight + Sound of its active LAm114xA monitor –
reportedly the very fi rst of its kind.
“We wanted to develop a stage monitor combining
perfectly the voice reproduction clarity associated
with 12” speakers with the bass extension typically
reproduced by 15” speakers,” explains NEXT-proaudio
CEO Antonio Correia, speaking to PSNEurope from the
company’s headquarters in Rio Tinto, near Oporto. “A 14”
monitor was perfect for our demands.”
“We have had a very close relationship with B&C
Speakers for almost 25 years, which allows us to test
all its new products. Thanks to that, we are using a new
model from them, a 14” coaxial. At the moment we don’t
know of any company doing the same. So far, sales-
wise, it’s been a huge success.”
While the LAm114xA may not be as fl ashy as, say, the
latest digital desks or designer nightclub speakers, it is
something new – no mean feat for a company owned by
a man who’s been designing loudspeakers for 29 years.
Founded in its current iteration in 2004, NEXT-
proaudio is the brainchild of Correia, a former live
sound engineer. “I started my involvement in the
pro-audio business in 1979 as a sound engineer while
I was studying at university,” he explains. “I had the
opportunity to work with some of the most important
Portuguese artists and bands for seven years, until
1986.”
Like many manufacturers, the company that became
NEXT-proaudio started life as a one-man operation, with
Correia building his own PA system after graduating
with a degree in electronic engineering. “The system
proved to be a very successful solution even among
other sound engineers,” he says. “Buoyed by its
unexpected success, I started building other PA systems
for other rental companies, as well as for some artists.
That was the beginning of my career in professional
audio manufacturing.”
Soon after, Correia founded NEXT-proaudio parent
group the CVA Electronic Company, producing amplifi ers
and loudspeakers for 18 years under the CVA brand
name. “We were the market leader [in Portugal],” he
says, “with almost 85 per cent of rental companies and
artists using our systems. By the mid-90s we were
exporting to Spain, China, Germany, France…
“Based on our knowledge and on market changes,
in early 2004 we decided to develop a new technical
philosophy, together with new facilities […], under a new
brand name. NEXT-proaudio was born.”
NEXT’s sound reinforcement systems are used in
both live and installed sound, with Correia estimating
a rough breakdown of 40 per cent marketshare
for touring, 25 per cent portable and 35 per cent
installation. Recent major installs include the Les Vôutes
Antonio Correia (left) with assistant manager André Correia
James with Technosound’s NEXT PX System
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P43 JULY2015
nightclub in France (X-Line, MA series, LMS series and
DP series) and Word of Life church in Russia (LA212x
line array), while its touring systems have been used
by Joe Cocker, Macy Gray, The Prodigy, Pendulum and,
most recently, James, with NEXT’s stackable PX System
and LA12 line array supplied by Technosound for two
shows in Oporto.
For new product development, Correia says NEXT’s
focus now is on “small lines, such as small line arrays,
as well as small portable and installation systems”
and on expanding its existing HFA-series, X-Line and
LA-series lines. He also reveals that it is developing
“specific solutions” for the Chinese, Brazilian and Dutch
markets “in order to fulfil the special requirements of
our customers”.
NEXT-proaudio has a presence in 26 countries
worldwide, but hopes to make it 30 “in the next three
months”, Correia says, and is continually investing in
staff, resources and infrastructure – a new factory is
planned for the end of 2015 – despite trading conditions
only just beginning to improve at home in Portugal.
Still, as a small-ish fish in a very big pond, NEXT-
proaudio must be keenly aware of the competition?
“It’s always a challenge,” comments Correia, “but,
internationally, the competition is not a problem.
“We have good relations with all the professional
brands, and even a friendship with some of the big
brands, [which] is healthy because we share distributors
and we need to be present on the same physical space,
such as exhibitions, where we must support [the
distributors] together.
“The market is huge and there is space for
everybody.” n
www.next-proaudio.com
5 0 0 S E R I E S
N e v e - N o Q u e s t i o nwww.ams-neve.com
Les Vôutes nightclub, Paris
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France
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Live
Guillaume Schouker reports from Jazz Under the Apple Trees 2015, the 34th annual Norman pomme-fest
And all that jazz
C reated in 1982 by Thierry Giard and Gérard
Houssin, the Jazz Sous Les Pommiers (‘Jazz
Under the Apple Trees’) festival takes
place every year in the city of Coutances in
southern Normandy.
An audience of 75,000 attended the 34th festival,
from 8–16 May, which comprised no less than nine
different concert venues of various sizes throughout
the city. Performers included new talents and jazz
greats such as Manu Katché, Richard Bona, Stefano
Di Battista, Eric Legnini, Pharoah Sanders, Didier
Lockwood, Jacky Terrasson, Kenny Garrett, Lizz
Wright, Kyle Eastwood and Ester Rada.
Denis Le Bas, who has been managing director
of Coutances Municipal Theatre since 1985 and
director of Jazz Sous Les Pommiers (JSLP) for the
past 30 years, explains the festival’s choice of audio
equipment: “The [programme of music] can not
stand vague approximation.
“[Our audio providers enter into a] partnership
with the festival […] and not [just] a simple financial
[one]: “We have a trustworthy relationship with Jean-
Marie Roussel, sound and technical manager, high-
tech, at Atech, and Gérard Marie, technical director of
the festival, for the [choice of] equipment and crew…”
Roussel reveals: “The audio equipment is
provided by Atech SARL, based in Verson, near the
city of Caen. [Our] partners help us to discover new
products by supplying us throughout the festival:
Sennheiser digital microphones, a Yamaha QL-series
console and DBR-series powered loudspeakers,
Coda Audio three-way active ultra-low-profile stage
monitors, a Roland M-5000 console, Nexo STM S118
sub-bass modules, Freevox Audio preamps…”
During this year’s nine-day event, concerts
unfolded in three main concert venues: Salle Marcel
Hélie, a gymnasium converted into a 1,350-seat
concert hall; the 600-seat Théâtre Municipal de
Coutances; and Magic Mirrors, a 1920s-styled
marquee-like circus tent with a capacity of 350 in the
square around Coutances Cathedral.
Audio constraints consist mostly of “respecting
legislation regarding sound levels”, says Le Bas,
and the scalability and configuration of the three
different set-ups. He also stresses the importance of
“offering state-of-the art equipment where and when
it’s imperative. Work on sound and on the technical
environment in general is a big component of the
success of a festival.”
The Salle Marcel Hélie was equipped with a
Manu Katche (drums), Richard Bona (bass), Stefano Di Battista (saxophone) and Eric Legnini (piano) on stage in the Salle Marcel Hélie (Photo: Pierre-Yves Le Meur)
The Soundcraft Vi6 at front of house
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P45 JULY2015
Soundcraft Vi6 64/24 FOH console with a Yamaha
PM5D-RH console for monitoring, while the Municipal
Theatre was serviced by a 48-channel Soundcraft Vi4
at FOH and Soundcraft Vi3000 for monitoring.
Magic Mirrors deployed a 40-channel Yamaha
CL5 board and Rio3224-D rack at FOH and
Yamaha M7CL on monitoring.
Roussel says: “The choice of which console mostly
depends on the specification sheets from artists.
Vi series are the most in-demand, considering the
countries from where the productions come: The UK,
USA, Netherlands, Brazil, Asia…
“The PM5D [still] offers great versatility for
controlling live sound monitoring on large stages,
and it’s more ergonomic than the Vi.
The Soundcraft Vi3000 handled the stage
monitoring in Coutances Municipal Theater. “This
control surface is a compromise between the
number of inputs and buses, its size, its ergonomics
and the remote-control iPad app.”
Sound reinforcement in the Salle Marcel Hélie
comprised two line-array clusters consisting of
14 Nexo GEO D10s and six GEO D SUBs with Nexo
NXAMP4x4 amplification, plus six Nexo PS10-R2
for frontfill and sidefill and five Meyer Sound UPM
as nearfield. At Coutances Municipal Theatre, the
usual sound system was replaced for the festival
by two clusters with six Nexo GEO S1210s, two GEO
S1230s and two sub-bass STM118s, four Nexo GEO
S830 frontfills and four PS8 nearfields, while Magic
Mirrors’ d&b audiotechnik system consisted of 12
T10 speakers, six Q-SUBs with four D12 amplifiers,
four E6s and a D6 amplifier for side diffusion.
Regarding microphones, “the demand is steady”,
says Roussel. Most are Shure, Sennheiser, Neumann,
Audio-Technica, AKG, DPA and Schoeps. “The
references are more or less the same ones,” he
continues, “except Audix, which is more and more
requested. We also noticed that certain productions
provide a Yamahiko piano pickup system.”
Jean-Marie Roussel expresses his satisfaction
with the work accomplished by the “tight-knit” sound
crew behind the 34th JSPL: “Yes, the tech team has
got the hang [of it]!” n
www.jazzsouslespommiers.comwww.atech-atl.comwww.audixusa.comwww.dbaudio.comwww.nexo-sa.comwww.soundcraft.comwww.yamahiko.info
A seven-GEO D10-module array hangs in the Salle Marcel Hélie
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World
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P46JULY2015
Live
FOH engineer Horace Ward does it his way on the first leg of Usher’s The UR Experience tour with Clair Global’s 96-channel Focusrite RedNet rig
Red-y for anything
You might not know Horace Ward, but
chances are you’ve heard him in action.
Ward has been a front-of-house sound
engineer for the best part of four decades,
and his wealth of experience and talent has made
him the top choice for some of the world’s premier
R&B artists, including Mary J. Blige, Beyoncé, Prince
and Busta Rhymes. In 1998 he started working with
Usher, during the heady days of the Atlanta artist’s
breakthrough, six times platinum-selling album My Way.
To stay ahead of the game, each of Ward’s tours has
to be bigger and better than the last in every respect,
from sound and visuals to stage performance, so a
constant updating of his touring technology is necessary
to wow the audience – and with Usher’s latest tour, The
UR Experience, he did exactly that.
Pushing the envelopeThe UR Experience project started in summer 2014
when Ward, members of Usher’s tour production crew
and production company Clair Global put together
plans for a 96-channel Dante-based digital audio
system based around a DiGiCo SD5 console feeding a
gargantuan Clair tour PA system. To accompany the
pair, the teams assembled “a wall” of Focusrite RedNet
devices to interface between the stage, FOH, monitor
world and two recording systems.
A total of 12 Focusrite RedNet 4 mic preamps formed
the front end of the system, taking 96 inputs from the
stage at 96kHz and distributing them to FOH, where
three RedNet 6 MADI bridges interfaced to the DiGiCo
digital audio infrastructure. RedNet 1 and RedNet 2
A-D/D-A converters provided analogue connectivity for
Ward’s array of outboard processors, while the main
Pro Tools HD recording system relied on three RedNet
5 HD bridges to provide 96 channels of recording and
playback between the Pro Tools HDX cards and the
Dante network. A redundant recording rig powered by
Reaper running on a MacBook Pro with Thunderbolt
Magma Chassis was equipped with a RedNet PCIe Card,
providing it with direct access to any and all Dante audio
streams.
Going largeAccording to Clair Global system tech Frank
Sgambellone, the flexibility of the Dante network
coupled with RedNet’s “versatility and reliability” won
him over. “We’re moving forward with a different type
of audio transfer technology on this tour: all the audio is
transferred over fibre/Ethernet to the FOH console with
Dante,” he explains, adding that the system has allowed
for a vast audio network that would be impractical to
operate on a protocol “less capable” than Dante. “It’s
a rock-solid system. We haven’t had any issues and it
sounds fantastic. This system is better than what we
traditionally have had on a tour like this.”
But it was Ward who pushed for RedNet, having
demoed a system at Clair Global’s HQ and following
positive experiences using a Focusrite preamp front end
on the road with Lady Gaga. “We tried the RedNet 4 mic
preamp units and were thrilled with the powerful sound
that we heard coming through the Clair PA during a full
system test,” he comments. “The actual sound of the
preamp is phenomenal. I was immediately impressed
and decided on the spot to incorporate the RedNet
system.”
Fast forward/looking backReflecting on the first leg of The UR Experience – which
came to an end some months ago – Ward is happy with
his decision to try something new. “If I don’t try [new
technologies], somebody else will,” he says. “These are
studio preamps that we took on the road. But they’ve
given me exactly what I need: a fullness and richness of
Usher performing at The Warfield Theater in San Francisco on the Here I Stand tour (Photo: Seher Sikandar/Rehes Creative)
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sound, which is wider and deeper than ever before. When I’m in the mix position, the
3D picture of the concert is right in front of me, and I know that I’m getting exactly the
same sound into Pro Tools as I am on stage, with zero signal degradation, and I’m 300
feet from the stage.”
One of Ward’s main reasons for pushing Clair to try something new for The UR
Experience was his belief that he would get more definition by running his rig at
96kHz. But his experiences on the first leg of the tour revealed that the jump in
sampling rate wasn’t completely necessary – he just needed better preamps. “The
saucy end of the stick is the most important, and this means mics and mic preamps,”
concludes Ward. “The Focusrite preamps alone solved half the problems I was
experiencing, so even before I’ve hit the rest of my rig, I’ve already put the icing on the
cake. It’s like being in the studio and using external mic preamps.” n
www.focusrite.comwww.clairglobal.com
If I don’t try new technologies, somebody else will. These are studio preamps that we took on the road, but they’ve given me exactly what I needHorace Ward
The UR Experience FOH engineer Horace Ward
Clair Global’s studio-derived ‘wall of RedNet’
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P48JULY2015
Feature: Digital consoles
Phil Ward greets the digital console class of ’15 – with a magnifying glassPhil Ward greets the digital console class of ’15 – with a magnifying glass
Micro managementThe opposite of networking is NOT working,
says a fridge magnet near you, and pro
audio’s digital consoles won’t argue. But
there’s a lot more going on than AoIP and, it
seems, smaller chassis formats are just the tip of the
iceberg.
The latest off erings from the market leaders illustrate
perfectly the extent to which previous-generation
functionality of the highest order is being funnelled into
smaller packages for smaller budgets. More than that,
in many cases it’s the compact consoles that represent
the real cutting edge in terms of user interface,
networking fl exibility, I/O confi gurability and all-round
grunt-per-square-millimetre – because they have to, in
order to fi t everything in.
Where there is compromise, it’s in fader acreage. But
this, says Cadac brand development manager Richard
Ferriday, is a sign of the iOS times. “The new Cadac
CDC Six is based around a further evolution of Cadac’s
unique ‘high agility’ gesture operating system, developed
for the fl agship CDC eight, accessed via a widescreen
23.5-inch touch screen,” he explains. “This greatly
reduces the fi xed physical control count, allowing for a
smaller physical interface than usual in a console of this
scale and power.”
The CDC six even uses Cadac’s MegaCOMMS
digital audio network, a TDM system capable of 128
channels of 24bit, 96kHz audio, control data and clock
bi-directionally – up to 150m via a pair of RG6 coaxial
cables. “In addition,” points out Ferriday, “MegaCOMMS
Subfrantic’s Yamaha CL5 with The Dunwells
DiGiCo’s new S21, as stocked by SSE
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P49JULY2015
SOUND COMPETENCE
provides for accurate, phase-aligned clock distribution, allowing reliable, ultra-low-
jitter synchronisation of all hardware elements within a network. CDC six also ships
with Cadac’s unique monitor mode – providing the ability to access any of the 48
user-assignable busses and their respective contribution channels in ‘sends on
fader’ mode with a single touch of the screen – and an integrated 64x64 Waves card
for direct multitrack recording to a laptop and connection to any Waves MultiRack
SoundGrid server.”
The X factorAvid’s latest VENUE incarnation, the S3L-X, is the company’s most compact solution
for live sound to date. Derk Hagedorn, senior marketing manager for live systems,
emphasises the mobility required by serious users in modern production.
“Whether you’re at the performance venue, on the tour bus or in a studio or
hotel room, the VENUE S3L-X system’s full-featured power and ultra-compact size
enables users to exercise creativity practically everywhere,” he says. “It’s the most
portable, professional live sound system, off ering the sound quality and features
of Avid’s high-end VENUE live systems in a networked system architecture – a
high-performance HDX-powered processing engine running AAX plug-ins, scalable
remote I/O, award-winning VENUE and Pro Tools software and an ultra-compact
control surface.”
Its modular, ‘open-networked’ architecture is Gigabit Ethernet-based. “With
S3L-X, engineers can share the same VENUE Stage 16 I/O boxes across three S3L-X
systems over Ethernet AVB, eliminating the need for a splitter to share source feeds
between FOH, monitor and broadcast setups,” continues Hagedorn. “This reduces the
I/O and cable requirements, set-up time, and transportation costs, highlighting the true
portability and value of using S3L-X in even the most demanding workfl ows.”
And so it continues at Yamaha and Fairlight. “Yamaha’s CL and QL series digital
mixing consoles have gained wide acceptance around the world as well-equipped, high
quality live mixers suitable for outside broadcast and production use,” reports Andy
Cooper, Yamaha’s manager of PA application engineering. “QL5 is perhaps the most
optimised in terms of channel count and size, while the recent release of V3 software
brings support for 5.1 surround panning and monitoring, mix-minus buses, frame
delays, on-screen RTA and dua oscillator.
“Dante is used to connect with other QL- and CL-series consoles, as well as Yamaha’s
range of R-series remote I/O units, computers for live recording and other Dante-
equipped audio technology. Yamaha has tools to convert Dante to MADI, SDI and other
audio formats, with sample-rate conversion if necessary.”
“Fairlight’s Live Family comes in two table-top – TT – formats,” explains Fairlight CTO
Tino Fibaek. “The compact QUANTUM.Live TT is the entry level into Fairlight’s ‘Live’ line-
up, complemented by the slightly larger EVO.Live TT which off ers additional support for
a second operator and delivers a greater level of tactile control with a second Intellipad,
more switches and more encoders. The QUANTUM.Live TT is ideal for rehearsed and
predictable productions while the EVO.Live TT off ers faster access to more aspects of
Lawo’s mc² platform, which commonly delivers I/O networks measured in
the thousands, latterly gained its most compact addition to date, the mc²36.
Nevertheless, this ‘all-in-one’ console for packs all the connectivity of the
company’s largest off ers, combining MADI and AoIP as if the future depended
upon them – which, of course, it does.
“It all depends on your network model,” says Lawo international sales and
project manager Tobias Kronenwett (pictured). “We’re now using RAVENNA, a
full IP network, which has the advantage of avoiding a lot of the architectural
headaches. It’s not a star confi guration or anything like that: being IP it can
take on any topology. The problem is getting people with classical routing-
and-patching experience to adopt IP networks! That’s something we try to
tackle with the user interface.”
The familiar-looking mc²36 deliberately guides users gently into an IP
future, as all serious models will now do, however small. “A RAVENNA I/O
system behaves exactly like a classic I/O system connected via MADI,”
Kronenwett points out. “There’s no diff erence in software or management.
Furthermore, it doesn’t matter if the signal is IP or MADI: for us that was a
logical way to encourage people to make the step into IP.”
www.lawo.com
Don’t worry, be IP
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Feature: Digital consoles
your mix.
“Much more than a just a mixer, though, Fairlight Live
systems deliver a complete show solution. From the
console you can use the faders for different functions,
like using some for audio, some for lighting and some
for FX machines. The audio processor can playback up
to 128 synchronised, pre-recorded audio channels while
Fairlight’s optional SMART.Cart delivers full sound FX
functionality.”
Push the Buttenheim Even the two great German powerhouses of digital
mixing are getting in on the comp-act (see box for
Lawo). The Salzbrenner Stagetec Mediagroup has the
three brands Stagetec, Salzbrenner and Delec, but it’s
Salzbrenner that markets the new, diminutive POLARIS
Evolution mixer manufactured in Buttenheim. And if
multimedia is emerging as a theme running through
this generation of versatile compacts, this group has
the advantage of Salzbrenner Stagetec AVM – Audio
Video Mediensysteme, a dedicated system integration
department within the company.
“The Polaris was developed as a live sound console,”
points out Bjorn Van Munster, Salzbrenner’s Stagetec
Mediagroup’s international product manager, ”but we
have additional software modules available: one for
theatre, with dynamic automation, cue lists and show
control; and, soon, one for broadcast, with mix-minus
and other dedicated features.”
Polaris takes the leap into almost fader-less,
mostly touch-based territory. This user interface and
workflow emphasises modularity and scalability as
never before, providing just 16 faders to access up to
256 channels – as well as defining a new paradigm,
‘Sprock’ [That’s soul, pop and rock – Language
Ed] princess Anastacia has been on the road
with the Avid VENUE S3L-X at FOH, manned by
FOH engineer and long-time Avid VENUE user
Gerard Albo. Anastacia’s unique mix of styles,
with full backing band, was showcased on her
2015 Resurrection European tour and adds to
Albo’s expert portfolio of strong female artists –
including Amy Winehouse, Patti Smith, Corinne
Bailey-Rae and others.
“The main challenge of mixing Anastacia is to
conserve the dynamics of the band and to contain
her powerful voice,” explains Albo (pictured). “The
S3L-X does such a great job on that; the dynamic
range and the sound are superb.”
When discussing the advantages of using the
S3L-X for production of this particular tour, Albo
emphasises the inverse ratio of size to suitability.
“Its compactness means there’s no longer the
need to take a huge desk out on the road to
achieve a great mix and the perfect sound,” he
says. “An easy and simple set up allows me to
translate the band in the most natural sound
possible. Virtual s-oundcheck is also a great
benefit, letting you get into the finer details of the
show and make the soundcheck process quick
for the artist. The advantages of the S3L-X
really are countless.”
www.avid.com/S3L-x www.avid.com/anastacia
Case study: Left outboard alone
A&H’s Léon Phillips and his Qu-Pacs
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Feature: Digital consoles
according to Van Munster. “It’s a completely different
philosophy of fader management and channel
allocation,” he continues, “with very quick access to
what you actually need. You always get clear visual
feedback as to what’s happening. The new DSP
takes us to what we call ‘audiomix 3.0’. If audiomix
‘1.0’ is analogue, and audiomix ‘2.0’ is conventional
digital mixing with DSP sharing, ‘3.0’ means we can
actually split up the DSP: if you have 640 inputs and
256 output busses available and, let’s say, three
stages and a lobby in the venue, you can assign any
combination of these to each area from the central
pool. You can then change the allocation the next
day; all you need is the resources. It’s just a matter
of re-organising your DSP.”
Arguably, in this way, the compacts are ushering
in the post-analogue mix topology with greater
vorsprung than the mega-networks and their
expansive boards. “Not everybody needs to have
their hands on faders,” agrees Allen & Heath product
manager Léon Phillips, referring to Qu-Pac, the
most portable iteration yet of the manufacturer’s
modular Qu platform. “Many mixing applications can
be preset and perhaps need a tweak here and there
when things are up and running. Qu-Pac does away
with the motorised fader bank of its siblings and
provides easy navigation via soft keys and a 5.5-inch
touchscreen to make any adjustment using the
rotary encoder. The rear panel is essentially a Qu-16,
but all the processing and capability of the Qu-32 are
available in its core.
“It can be set for simple operation with a unique
GUI of icons which can be locked down to specific functions and
labelled to suit, or users can have levels of access to the channel
processing, levels and routing using the panel controls or the
Qu-Pad app over Wi-Fi. A range of I/O expansion options are
provided via the dSNAKE port to the maximum 38 inputs and
28 outputs. Personal monitoring using ME-1 is supported, and
there’s a dedicated Qu-You app for 1-mix use.”
Qu-Pac is being used in a growing range of applications,
according to Phillips. “There’s touring band monitor control,
where total recall using scenes can provide consistency on fly-in
gigs; freedom to mix anywhere using iPad control of DCA and
audio groups armed with GEQ and an RTA; or rackmounting
compact PA shout systems,” he says. “The fan-less operation
means silent running and very low maintenance – ideal for HOW,
venue, and business installed-sound, using custom keys, Qu-
Control and the Ducking feature. Multitrack audio recording and
playback via the built-in USB Qu-Drive, or streaming, means it’s
great for capture and backing tracks.”
Buddy, can you spare a paradigmThe new generation of compact digital consoles is also
guiding the industry into changing business models. As rental
companies consolidate, they can boost their sales activities
with serious propositions that nevertheless fly below the rental
radar: here’s SSE Audio Group founder John Penn in a recent
promotional statement.
“SSE and Wigwam Sales have recently announced Preview
Sessions for the new DiGiCo S21 – sign up for one of these,” he
encourages. “We are also encouraging customers to look at the
whole range of consoles we can offer at very competitive prices
in the sub-£5K bracket.”
Production power continues to be handed down the line in this
way, extending from the rental network into ownership by a new
class of professional user. These are not ‘MI-style’ consumers,
points out Sean Karpowicz, product manager at Soundcraft
Studer, but they are more or less completely independent of the
old music industry paradigms.
“USB functionality comes right out of the box with the Si
Impact,” he says, “because multitrack USB audio is crucial to
so many applications now. We’re even seeing our live consoles
used in studios as recording front ends. So many bands and
musicians produce themselves, so one console for rehearsing,
recording and live is very cost-effective.”
In other words, more than ever, less console is more
functionality. If architect Mies van der Rohe were still with us,
he’d be content. n
Salzbrenner’s Pro Sound Award-nominated POLARIS
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Installation
The Eventim Apollo underwent a major upgrade of its entire house PA system earlier this year. Not only was it a big commitment from AEG Live, it marked a new paradigm for SSE Audio Group as the audio specialist chalked up its first ‘contract rental’. Apollo technical manager Alastair Parley and SSE MD John Penn tell Dave Robinson, in their own words, the story of the installation
Apollo mission and control
A lastair Parley: Several years ago, the
owners of the Eventim Apollo, AEG and
Eventim, decided to investigate the
feasibility of installing a ‘house system’
at the Hammersmith venue. The main purpose of this
installation was to ensure that visitors were given the
highest standard of audio reproduction anywhere in
auditorium.
John Penn: Eventim owners AEG Live had attended
various shows at the Apollo and were concerned that
while some shows sounded great, others were not so,
and that reflected badly on them.
AP: Exhaustive research was carried out to establish
the manufacturer and supplier of all the audio systems
used for every event at Eventim Apollo since May 2010,
together with in-depth discussions with our clients,
leading production managers, engineers and event
promoters. At the end of this process it was clear that
an installed house system would not only be practical,
it was in fact the only way we could ensure consistent
provision of the highest possible audio quality with even
coverage throughout the venue.
JP: The proposal was that the system would be used by
as many visiting acts as possible; also, something that
would deliver the spoken word well, given the amount of
comedy presented at the venue.
AP: It became clear that the system capable of
providing the highest possible standards and likely to
be accepted by the majority of visiting productions was
manufactured by L-Acoustics.
JP: At this time SSE Audio Group was completing beta-
testing of the L-Acoustics K2 and it seemed that this
would be an obvious choice for a venue the size of the
Apollo. Subsequently, SSE Hire were at the venue for
two shows, both using K2, so we were able to provide
instant demonstrations.
AP: Our next step was to identify the company who
could supply, install and operate the system on our
behalf. Our choice was driven by a range of factors. We
required a company with the stock levels and range
of equipment available to support [a] wide variety
of events; a knowledgeable and friendly team of
technicians to operate and maintain the system; and
a dedicated management team who would supervise
the operation. Also the firm had to have the skills and
resources and proven record in order to assist with the
design and installation of the system.
JP: A number of installation companies were invited to
bid for the work – I think they obtained six quotes.
AP: We carried out a full auditorium spectrum analysis
using our audio consultants, Vanguardia, to obtain data
which we could use to show the quality and consistency
of coverage was of the highest possible standard.
JP: To carry out the tests, existing flying points were
used, although SSE recommended that for the final
installation new flying points were needed, wider than
the existing points, and also new balcony flying points.
AP: The organisation that best fulfilled [our]
requirements was SSE Audio Group.
JP: We are not sure how the Vanguardia report
influenced the client, but the contract for the installation
was subsequently awarded to [us] using L-Acoustics K2.
AP: A finalised design and specification was then drawn
up and agreed upon. The manufacture of components
for the system began.
JP: The installation would cover the full PA, but not
monitors or a front of house desk – although a small
house console (DiGiCo SD11) would be provided. It was
therefore important that facilities would be provided
enabling tours to plug their own mixing console and
monitors, whatever protocols they used.
AP: A major factor in choosing SSE Audio Group was
that they offered a complete design, manufacture and
installation service to us.
This included every aspect of the install, from
custom lifting and lifting control gear, the manufacture
of many bespoke elements such as the stage box and
patch panels, the mounting systems for the infills and
delays, as well as finishing of many of the cabinets in
the correct colours to match the auditorium deco. SSE
even designed transport and storage solutions for the
system, for the rare occasion when it does have to be
removed.
JP: The main PA comprises 12 K2 per side, installed
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from new points. By positioning these points further
out from the stage, not only could optimum coverage of
the stalls be achieved, but sight lines of the stage could
be improved. The new points are also clear of any PA
brought in for a specific performance.
Six L-Acoustics SB28 subs are installed on each
side of the stage. ARCS Wide and Focus (WiFo) and 8XT
cabinets supply nearfield coverage.
Five further ARCS WiFo colour matched to the
surrounding décor have been installed under the
balcony, an area often neglected with normal PA
coverage.
ARCS WiFo was chosen both because of its physical
profile and its acoustic qualities. Since these deliver
sound to seats that include the FOH position, it is
important that the mix engineer hears the same tonal
quality as from the main PA. ARCS WiFo uses the same
12” driver and HF driver as the K2 and the HF driver is
mounted on a DOSC waveguide, the same as K2. Tonally
it is as close as it can be to K2.
[Additional] 8XT speakers have been installed in the
foyer and bar. Amplifier racks have been strategically
positioned in the venue so they are both close to the
speakers they drive and interfere with working space as
little as possible.
A discreet custom-built drive rack, accommodating
everything required to control the system, has been
positioned at FOH. The drive rack is equipped with three
Lake controller/processors; output is via a Cisco switch
with Dante and Focusrite Rednet.
AP: The system installation [took place] during January
2015. There was no flexibility in completion date: it had
to be operating for our first event booking of the year.
Thanks to the hard work, knowledge and ingenuity of
all the team involved, the installation was completed in
time.
JP: Ahead of this] during Autumn 2014, SSE proposed to
the Eventim Apollo the option to finance the installation
on a contract hire basis, instead of outright purchase.
As an audio rental company, this is something that
often makes sense both to SSE and the client. The
venue pays upfront for the costs of the installation, as
well as the permanent infrastructure, such as cabling
and bespoke cabinets, etc. The client then pays for the
equipment over a number of years on a contract rental
basis. Not only does this avoid a high capital outlay, but
it means that SSE treats the equipment the same as
the rest of its rental stock, ensuring it operates at its
optimum and if any equipment fails, replacing it at
short notice.
AP: When the audio system was first run up it was
clear straight away that the quality and coverage far
surpassed anything that had previously been heard in
the venue.
JP: The Apollo made the decision to specify a small but fully
featured DiGiCo SD11 console that can be used to mix voice-
only shows (such as stand-up comedy). This is patched
via the drive rack using dedicated ports, so it remains
connected when ‘visiting’ consoles are brought in.
AP: Another significant aspect of the installation is the
high quality and flexibility of the multicore systems that
were designed and installed by SSE Audio. These allow
visiting productions to tie into the house systems with
the minimum of fuss and without having to run out their
own snakes. This saves vital time and crew workload
during load in and load out.
JP: There is a full multicore system between stage and
FOH with a choice of two fibre systems, each with a
full back-up, plus a conventional 2 x 32-pair multicore
(see box).
AP: In the first few months of operation the
feedback we have received from both customers and
visiting production teams has been very positive.
The uptake on usage has risen to a point where
there are very few events that will choose not to use t
he in-house system.
JP: For each show, SSE provides a PA system tech, who
is able to operate from the FOH drive rack position.
AP: There is no point in having the best of systems if
visiting productions are not looked after well by the
house techs! n
Emma Bigg, installations director at SSE, explains
the reasons for turning to VDC Trading for the
new cabling solutions in place at the venue: “It
was really important that a range of options for
tying into the installed fibre optic multicores
was commensurate with the range of optical
connectors in use with digital consoles today and
in the future. Though we have the facility to
terminate our own fibre looms and multicores
in house that only include standard SC and
LC connections.”
To achieve the assembly of further looms
terminated with opticalCON-to-opticalCON and
opticalCON-to-HMA connectors to the required
standard, SSE turned to cable specialist VDC
Trading, whose optical lab is fully equipped
to assemble the rugged HMA connectors and
opticalCON which will allow constant changeovers
while maintaining their integrity.
Bigg continues: “In addition to the extra
assembles, the time available to produce the looms
was quite short so the fact that VDC had the ability
to turn them round in the time frame was a major
benefit from our point of view.”
Keeping cabling option flexible
Up the stairs to the balcony… L-Acoustics K2 hang, 12 per side Downstairs bar and foyer
All photos: James Cumpsty
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The waiting is over! Who is ‘D1 and Only’? The judges have spoken!
Hither & leeSA Please send all contributions for possible publication to [email protected]
Nigel Bayliss on Qu-16, mixing for the
Future band (and the editor!) at a 30th
anniversary in Bath last month
On a bender after a West End Bend It Like Beckham preview: (L–R) Jonathan
from KV2, #2 operator Merlin, ASD Ross, #1 operator Roisin and SD Richard
The spectacular United Vibrations played the Ivy House in
Peckham in May. Catch them live if you can – you’ll be dazzled
Here they are, the ‘one(s) and only’ winners
of the inventive Sennheiser D1 competition,
whereby contestants had to send in their cover of
Chesney Hawkes’ hit. From the top: first place, the
“exceptional and outstanding” leeSA from South
Korea; second, Polish a cappella group AudioFeels;
and third, all-girl group Riggs, from Australia
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P58JULY2015
Backtalk
Dave Robinson talks to the leading West End sound designer
Rick Clarke
You can look right through me/ Walk right by
me/ And never know I’m there...
So go the lyrics to Mr Cellophane in the
musical Chicago. Rick Clarke could call himself
the Mr Cellophane of sound design: his designs have been
used on 17 productions of the hit musical worldwide, while his
‘trick’ has been to ‘localise’ the sound to the actors, as though
the PA system just wasn’t there…
Chicago is only a slice of a portfolio reaching back to
the early 80s, when he left London’s National Theatre to go
freelance; since that time he’s been a part of 42 West End
productions, and around 60 worldwide (mainly ‘traditional’
musicals, if you will, such as West Side Story, Annie, Fiddler
on the Roof and many more). Not afraid to speak his mind,
Clarke is a big fan of d&b speakers – but he’s recently
discovered something new…
How did you earn your stripes?I started out at art college and failed to make a living
as an artist in the early ’70s! With my ‘co-failees’ we
formed a band called Medicine Head. I was the roadie
and mix engineer. They became quite successful, with
hits including One and One is One and Pictures in the Sky,
and we toured for four years!
But we were getting up to nine gigs a week, and it
was killing me. We did one particular three-gig day – in
the afternoon, the evening and the last one late at night
– and after that, I just resigned.
I looked at softer options, and did a few cabaret
things, like [French crooner] Sacha Distel. I did lots and
lots of plays, for people like [leading producer] Michael
Codron. I had a studio near the Shaw Theatre in north
London, just off the Euston Road – at one point I was
doing sound eff ects by mail!
Then I was off ered a job at the National Theatre in
1980, where I worked for four years.
.
What was working at the National like back then?
An actor described it as a like working for the civil
service but with a chance to dress up! Our production of
Guys and Dolls was important for the National Theatre
at the time, and important for the West End because it
‘legitimised’ musicals in theatre. Up to that point there
really has only been Cats, Evita, you know, Lloyd Webber
stuff , but doing Guys and Dolls changed things.
I left there in 1984 with sound design contracts for
The Hired Man and Me and My Girl. The latter was very
successful: it did nine years at the Adelphi.
How did you get the sound design job on Chicago?The show started in New York, and when it came to the
UK to do a taster [in 1997] I did that design. And they
liked that, so I got asked to do it for the UK version.
Now I do sound design for the international and touring
versions of the show.
Where did you fi rst encounter Orbital Sound (who supplied the gear for Chicago)?When I fi rst did Chicago, I’d been talking to Orbital about
using d&b as the speaker system. Up until then I’d been
a bins and horns person; big industrial systems.
.Which didn’t look very theatre! Was there a lot of choice for theatre speakers at the time?Meyer Sound with their UPA, which everyone was
using… but I thought they were overpriced. Plus, I
preferred the sound of d&b.
What is your biggest issue, as a sound designer?I would see shows in the West End – the sound would
be mixed perfectly – and I would be watching mouths
move but the sound was [obviously] coming from
the speakers on the wall. That was annoying! That
disconnect I always found to be confusing.
My ambition was to try and return the amplifi ed
sound back to the performer. Then I discovered the
Haas eff ect. [Google it, I suggest – Tech Ed] I used that –
whereby the fi rst ‘source’ is the actor on the stage, and
the amplifi ed sound comes from the delay speakers.
[Localisation of the source], that was my USP for a bit.
Until everybody realised that’s what you needed to do.
What technology have you been impressed with?The continued improvement in the quality of sound.
There was a moment when digital didn’t sound all that
good compared to analogue, but now, with the latency
problems solved, it’s extraordinary. Clarity is improving
the whole time. With any system, you improve the front
end fi rst and work your way to the back. So better radio
mics, better microphones – DPA mics I use all the time.
Also, the absence of noise in systems – now the only
noise is from the lighting, and that can be terrible!
And more recently?We’re forever striving to improve fi delity in systems.
Like, in Richmond at Christmas I used Flare Audio for
the fi rst time. Not since the ’40s has speaker design
changed. Flare Audio have brought a technology which
seems to be unique and a vastly improved system –
losing the colouration, making it a lot more ‘open’. At the
moment they are very heavy [boxes] but the sound is
great! I look forward to their products improving.
What other kit was being used on the show?A Yamaha CL5 desk – it’s the fi rst time I’ve used one. It’s
a good format for that kind of gig; there’s an iPad app
which you can use with it, but it’s limited.
What other problems nare there in theatreland 2015?Dynamic range is the most important thing. In order to
have loud, you’ve got to have quiet. I go and see shows
these days and it’s so loud. The imaging doesn’t work
any more because it’s just loud! n
Jerry Hall in panto in Richmond, where Clarke used a Flare Audio PA
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