REVIEWS: AEA Nuvo N8 • Aston Starlight • Townsend Sphere • Sontronics Mercury • DPA d:vice • Tracktion Waveform • Grace m900

• Focusrite Red 8Pre

AUDIO FOR BROADCAST,

POST, RECORDING AND
MULTIMEDIA PRODUCTION
V16.5 JULY/AUGUST 2017 • £5

Composer Chance Thomas & HUGEsound studios • Rob Kirwan producing Hozier • Recording on ice in Russia
Jay-Z’s corporate takeover
The Jimmy Douglass interview Microphone Special
calrec.com
 AUDIO FOR BROADCAST,
POST, RECORDING AND
MULTIMEDIA PRODUCTION

V16.5 JULY/AUGUST 2017 • ISSN 1477-4216

News & Analysis Business

4 Leader 54 $hawn Carter —
4 News rap’s first billionaire?
Conventions, installs, appointments and biz bites. Record labels, tie-ins with technology and
corporate deals — Jay-Z has gone from a street
10 Products hustler to a world famous entertainer and
New introductions and announcements. businessman — we lay out the numbers.

58 Broadcast aside 56 Your business

The Soundbites of life — Dennis Baxter Spotify may soon become a public company:
describes the subjective relationship between Dan wonders if this will benefit the majority of
noise and sound. artists on the music streaming service.

Craft Microphone and

28 Jimmy Douglass
Accessories Special
A four-time Grammy-winning engineer, with a 42 Which mic, and where to put it?
career spanning five decades, from Arif Mardin Imagine and listen ... before recording.
and Aretha Franklin to Sean Paul, Kanye West,
Ludacris, John Legend and Pharrell Williams. 46 Microphones — the audio
Jimmy “The Senator” had a long association journey starts here
with Timbaland, and has just mixed Jay-Z’s new A roundup of new and interesting products.
album 4:44.
51 Shotgun shootout
31 Rob Kirwan Two sound recordists benchmark
Starting as an engineer at the famous Windmill nine microphones in realistic production
Lane recording studios in Dublin, Kirwan’s credits sound environments. Test audio at
include U2, PJ Harvey, Depeche Mode, Glasvegas, www.resolutionmag.com
Sneaker Pimps and more. He produced Hozier’s
Take Me to Church, which topped the charts
in 12 countries.
Reviews
15 AEA Nuvo N8 stereo kit
34 Chance Thomas
As a composer he is best known for scoring 16 Aston Starlight mic
blockbuster video games like James Cameron’s
Avatar, DOTA 2 and The Lord of the Rings Online
18 Townsend Sphere L22
— but he’s also garnered a long list of film and mic modelling system
TV credits over a 20 year career. Thomas recently
opened the doors to HUGEsound Post Production,
20 Sontronics Mercury mic
which brings audio, picture and, with it’s sound 22 Kahayan Epsilon 32-500
stage, music scoring under one roof.
summing mixer
38 Artes Mirabiles in Russia 24 Tracktion Waveform DAW
An ambitious DXD field recording project at
Lake Baikal, Siberia, proves modern equipment
25 Focusrite Red 8Pre
can survive the harshest conditions. 26 Grace m900 DAC/
40 Vote now in the headphone amp
Resolution Awards 27 DPA d:vice ADC

EDITORIAL ADVERTISEMENT SALES Home of the

Editor: Nigel Jopson Resolution Awards and Line Up
Email: nigel@resolutionmag.com EUROPE: Jo Gilbert, tel: +44 1293 871961
Email: jogilbert@resolutionmag.com
CONTRIBUTORS
George Shilling, Jon Thornton, Dan Daley, US and INTERNATIONAL:
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London, SE10 1DT, UK Email: dean@resolutionmag.com
 NEWS

3D Audio at ICSA Appointments

Leader Our cover interviewee Jimmy Douglass
was the only mix engineer — a surprising
solo effort, these days — for a US No. 1 album, platinum
Trade body AIM (Association
o f I n d e p e n d e n t M u s i c)
after one week. ‘The most crafty and evasive MC lays bare announced the appointment
his complicated life. This late-career gem is personal and of a Chairperson, who will
The fourth ICSA (International Conference on diamond-sharp’ — Pitchfork waxed eloquent over Jay-Z’s oversee AIM board matters
Spatial Audio) deals with three-dimensional new album 4:44. Produced by just one producer as well — No and work closely with AIM CEO Paul Pacifico
production and playback, this year focusing on I.D. (a.k.a. Ernest Dion Wilson) — a “statement” album, as music on driving the organisation’s strategic
binaural playback on headphones. The Spatial writers from the NME to the LA Times are calling the record. direction. Tim Dellow, of Transgressive
Audio conference (7th to 10th of September) ‘Make no mistake. With very few exceptions, albums are Records, was elected by the Board as AIM’s
will be held at the IEM (Institut für Elektronische edging closer to extinction,’ said BBC Radio 1’s (then) Head of first Chairperson. As part of restructuring the
Musik und Akustik) at the University of Music George Ergatoudis in 2014. He was one of a coterie of roles of CEO and Chair have been split, AIM’s
Music and Performing Arts in Graz, Austria. music experts predicting the death of the album. Ergatoudis governance updated and a new Management
For two and a half days, delegates have the jumped ship in 2015 to join Spotify in the newly-created position of Head of Content Group put in place. The following AIM
opportunity to delve into the technical aspects Programming UK. Leading Spotify’s “in-house music curation strategy” — making playlists. members have been named as the first
of implementing spatial sound. The ICSA is Are playlists the new best-selling albums? Albums mutate: Kanye West constantly amended Management Group: Jane Third, Because
organised in collaboration with the VDT (the The Life Of Pablo, adding vocals and treating it as an evolving production. Meanwhile, David Music; Hannah Overton, Secretly Group;
association of German Tonmeisters), IEM, KUG, Gray released a standard “Best Of” CD and download, but turned it into a dynamic album Martin Mills, Beggars Group; Peter Quicke,
Oktava and the state Steiermark. Ticket prices on Spotify, changing weekly. Gray has over 860,000 monthly listeners and around 200,000 Ninja Tune.
are €340 for members of the VDT and partner followers on his Spotify profile. The idea of an album as an app, constantly evolving based
associations, and €480 for non-members, and on listener feedback and artist input, is a beguiling concept. PMC has appointed
include catering. Students enjoy a substantial Fiscally, streaming suggests albums are still worth artists’ while, despite rights holders Ian Sutton to the
discount. Registrations will be accepted until receiving a modest $0.006-$0.0084 per/stream. Spotify revealed typical 2015 pay-outs (to position of divisional
3rd September, through www.tonmeister.de rights holders, remember) of $0.7m-$1.2m for niche/indie acts (selling 100,000-300,000 director, to head up
and www.vdt-icsa.de. albums a year) and for “heritage artists” between $1.4m-$2.6m. Global superstar Drake’s a newly formed UK
music has been streamed more than 10bn times on Spotify. Assuming Drake receives the distribution business
AES NY Expo events bog-standard stream rate of $0.007, this equates to over $70m for Drake and his music and bring close focus
The Audio Engineering business partners.  to this impor tant
Society has started to Most importantly, albums are artistic statements, as 4:44 proves, and represent a body of area of expansion for the company. Sutton,
announce details for work that musicians can be proud of, and build tours around. The album is dead? There’s an who has spent the past 13 years working for
the upcoming New York app for that. Long live the (new) album! Bowers & Wilkins, will have management
Convention at the Javits Nigel Jopson responsibilities for the UK sales team. It
Center in October (18th-21st). A dedicated is expected that the division will grow in
software@aes pavilion — in partnership with numbers as the company is appointed to
IMSTA (International Music Software Trade Robinson leads evolution at Resolution distribute additional brands in the UK market.
Association) will feature leading software Hello everyone. I’m Dave be, so much more than
manufacturers and developers of DAW’s, plug- Robinson, and I’m the you’ve come to expect. Warner Music Group is
ins, virtual instruments, apps and technology new owner of Resolution. Particularly in the digital re - launching legendar y
through a series of product demonstrations Do you know me? Maybe and social media domain, imprint Sire Records, and
and special presentations. Audio 4 VR Expo you do. I was the editor there’s plenty to do, so the man who co-founded
— the two day Audio 4 VR Expo will focus on of Pro Sound News Europe we can better serve you, the company —  Seymour Stein —  will
product demonstration sessions and updates for over 15 years. Jump our loyal readership. continue to bring his experience to the label
from the 2016 Audio Engineering Society AVAR back to 2002: Zenon I’m very keen to read as its Chairman. Former Arista, RCA and
International Conference on Audio for Virtual Schoepe, ex-executive what you’d like from Island Records exec Rani Hancock has been
and Augmented Reality. The Broadcast Audio editor of respected industry monthly Studio Resolution. Drop me a line if you like, tell me appointed the label’s President. Hancock
Expo sessions — AES will host a special insight Sound, established a new leading title for the what’s good and bad: dave@resolutionmag. has signed or worked with superstars such
panel that will look into the current and future professional audio community, just as I took com. I am genuinely excited about what lies as Miley Cyrus, Kesha, Pitbull, Britney Spears
of AoIP and transport systems, in partnership on the PSNE mantle. Zen launched the first ahead. I’ll see you at IBC, SoundPro and AES! and Demi Lovato. In the last seven years,
with sponsors Yamaha, Neumann/Sennheiser, copy of Resolution as I edited my first AES Daily Dave Robinson Hancock has been closely involved with six
Clear-Com and Calrec. in Munich at the same time. Earlier this year, No. 1 Billboard Hot 100 singles, 15 Top 10
The  AES and Mix with the Masters have a decade and a half after those events, I was I am delighted that the Resolution brand will go Billboard Hot 100 singles and three No. 1
teamed up to bring a program of workshops approached to take on responsibility for Zen’s forward and flourish under Dave’s ownership. Billboard albums.
from the world’s best engineers and producers legacy, Resolution. It took me a very short time Thank you to all the readers, advertisers, sales
for this first-ever AES exhibit floor collaboration. indeed to make up my mind. And so, here we managers, sponsors and friends who have Wol fgang Weyand will
AES NY attendees can meet and learn from Alan are: the magazine I always knew I wanted to supported Resolution during the last 15 years. reinforce the Musikmesse
Meyerson, Andrew Scheps, Tony Maserati, be a part of. Thanks also to those talented contributors and Prolight + Sound Team
Manny Marroquin, Sylvia Massy, Eddie Kramer, What does this mean? While I’m wholly who have each helped to make Resolution at Messe Frankfurt Exhibition
Joe Chiccarelli, Greg Wells, Chris Lord-Alge, Tom embracing Zen’s legacy, I’m very much aware the most authoritative magazine in pro audio, GmbH and take the helm
Lord-Alge, Jacquire King, Michael Brauer, Nick that Nigel, as editor, is doing a fantastic job, most recently under the informed and creative of the Business Relations & Entertainment
Launay, Jack Joseph Puig, Jimmy Douglass and and will continue to do so. Inevitably, in the editorship of Nigel Jopson. I am confident that Department. In this position, he will be
other surprise guests. Mix with the Masters months to come, there will be some changes this collaboration will continue to form the in charge of the entire complementary
Mixing Workshops are held in association with to the mag, while respecting the reputation bedrock for Resolution’s future success. programme of events of Musikmesse
Barefoot Sound, Solid State Logic and Apogee of 15 years’ standing. Resolution can, and will Susan Schoepe and Prolight + Sound —  from special
Electronics.

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4 resolution July/August 2017

 NEWS

Riedel MediorNet powers

information, networking and professional
2 Calrecs for TV2 Hungary Televízia Markíza’s new
development events for trade visitors
— to the entertainment programme at the
OB truck
Exhibition Centre and in the city. Additionally,
he will liaise with the trade associations and
be responsible for communicating with
external cooperation partners.

Based in Tokyo,
Genelec Japan is
being launched
as a joint venture Broadcast Solutions GmbH, one of Europe’s
in partnership foremost providers of broadcast production
with leading studio technology supplier services and solutions, has installed Riedel’s
MI7 Japan. Led by Managing Director Kanji MediorNet real-time media network on board
Murai, Genelec Japan will be responsible for Alphaline A12, an all-new HD outside broadcast
the promotion, distribution and support of A combination of Summa and Artemis Light consoles has future-proofed two studios at TV2, one van commissioned by major Slovakian
Genelec’s products, services and solutions of Hungary’s most popular commercial television channels. ‘Calrec gave us a huge advantage television network Televízia Markíza. Working
throughout the country. Premium education by allowing us to test the equipment for mixing and recording in a live production situation, in tandem with Riedel’s Artist digital matrix
opportunities will also be offered not only running in parallel with our old console, and we saw a large improvement right away’ said Adam intercom solution, MediorNet provides a
to existing customers but the industry as a Somodi, sound engineer, TV2 Hungary. As one of Hungary’s most-watched channels, TV2 offers communications and signal routing backbone
whole. The news also marks a development a large variety of popular programs to viewers throughout Hungary and some areas of Romania. for Televízia Markíza’s lineup of live sports and
in the relationship between Genelec and its The 128-channel Summa and Artemis Light are both installed in TV2’s main broadcast centre in entertainment broadcasts.
long-term Japanese distributor, Otaritec, Budapest. The Summa is used in the news and morning program studio, and the Artemis Light ‘MediorNet’s decentralised routing approach
who will remain part of the Genelec family, supports production of high-visibility musical programs in TV2’s largest studio. ‘Since the Artemis is perfect for live broadcasting. Not only does
working with Genelec Japan Inc as a sub- Light and Summa sit on the same Calrec Hydra2 network, we’re able to share inputs and outputs it reduce the single points of failure, but it also
distributor. between the two studios — a huge plus,’ Somodi said. makes things simpler and more efficient by
A Calrec modular card on the Artemis Light allows integration with SoundGrid’s Waves series placing physical I/O closer to where it’s needed
WSDG ( Walters- of audio plug-ins and gives engineers expanded capabilities for the music productions. This, while also reducing copper,’ said Rainer Kampe,
Stor yk Design combined with the ability to record all channels via MADI and replay audio, provides support Broadcast Solutions CTO. ‘Alphaline A12 is our
Group, based for postproduction. first OB deployment of MediorNet, and we
i n N e w Yo r k , know we’ve made the right choice to deliver
Miami, Brazil, the bulletproof communications capabilities
and Switzerland) Lawo powers Singapore facility Televízia Markíza requires.’ 
and ADA-AMC (Acoustic Design Ahnert
— Acoustics & Media Consultants, based in
Berlin, Germany) have signed an agreement
Kraftwerk in 9.1 Dolby
with the goal to combine their teams, Atmos with PMC
their core competences and their fields of Electro pioneers
business; thus creating a global design and K raf t werk re cently
consulting organization, active in all sectors of upgraded their PMC
acoustical consulting and media technology monitoring system
engineering services. ADA-AMC will remain to a 9.1 Dolby Atmos
at its current Berlin offices while General set-up so that they
Management duties will be shared between could compile 3- D
Wolfgang Ahnert and Dirk Noy. (Pictured left- Kraf t werk Concer t,
to-right: Dr. Wolfgang Ahnert, John Storyk, an audio/video documentary collection that
Dirk Noy). was released at the end of May 2017. Over the
last five years the German band has toured a
JoeCo announced the Singapore-based MediaCorp has completed that is active in television and radio selection of its classic albums in full, putting
appointment of Bluesound its relocation to a major new production broadcasting, interactive media, filmmaking on lavish 3D multimedia art performances in
a s i t s n e w e xc l u s i v e centre, where its technical operation is and media publishing. The MediaCorp leading museums and art galleries around the
distributor in Hungary. served by a completely revised hardware Campus is now its main production facility, and world. Material from these concerts forms the
L aunched in 20 0 4 by and infrastructure, including audio mixing incorporates several TV and radio studios, and basis of the new release, which is available in
Thomas and Annamaria desks, audio routers, and control systems from a number of control rooms. Here, MediaCorp six iterations including a deluxe version in a
Csernus, Bluesound is now considered Lawo. In all, the media company’s new facility has chosen and installed a large amount box with four Blu-Ray discs and a 228-page art
among Hungary’s leading suppliers of houses five Lawo mc²56 audio production of Lawo equipment for two TV Production book, a vinyl collection and a CD set.
high end, professional audio equipment. consoles and an mc²36 audio console, one Studios, three TV News Studios and a Radio As long-term PMC users, Kraftwerk already
Bluesound has built an enviable catalogue of Nova73 HD router, two Nova73 Compact core MCR. Additionally, Lawo’s VSM (Virtual Studio had a 5-channel PMC IB2S monitoring system in
complementary brands from Midas consoles, routers, a large VSM Control System, and other Manager) Control and Monitoring System their Kling Klang Studio in Dusseldorf. To bring
Furman and Lectrosonics through to Biamp hardware. provides the overall control layer across the the system up to 9.1 Atmos specifications, the
Systems and DPA Microphones. MediaCorp is a conglomerate of companies newly built TV and radio facility. band invested in a pair of twotwo.6 & twotwo.8
speakers, plus an active Sub2.

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July/August 2017 resolution 5
 NEWS

PLASA 2017 at Olympia Biz bites

Newtone Studios choose The 2017 UK music

NEVE Genesys G48

market is up by
more than 11%
year-on-year at
the halfway stage,
writes Nigel Jopson. Stonking second quarter
figures boosted the combined Q1 and Q2
Album Equivalent Sales (AES) to 63,867,380
units in H1, up 11.6%. Stream Equivalent
Albums were the star performers, leaping
The Professional Lighting and Sound 53.2% year-on-year. Robust physical albums
Association Show returns to Olympia for performance also helped. The mainstay of Ed
its 40th anniversary, with a wide-ranging Sheeran’s “÷” album success is physical sales:
sele c tion of audio seminar s already almost 1.22m copies shifted, with a further
announced. Sunday has a Pro Audio Panel of 20 371,000 downloads, and 415,000 streaming
members investigating 3D audio, focusing on equivalent sales making up the rest. CD sales
360-immersive experiences from theme parks for releases from Rag’N’Bone Man, Adele
to art galleries. In the afternoon, theatre sound and Take That helped the format decline
designers Gareth Fry and Pete Malkin discuss by just 3.9% year-on-year. Aside from the
their incredible work on the sound design for Oslo’s newest music production reissue of Beatles’ classic Sgt Pepper’s Lonely
“Encounter”. The field recording and post which facility, Newtone Studios, has Hearts Club Band at 16 (109,000), the biggest
went into this multi award-winning theatrical based its main mix room around a album of 2017 to be released in the second
production was revealed in detail when we 24-channel Genesys G48 console. quarter is former One Direction star Harry
interviewed Gareth in Resolution V15.4 (June Established in Januar y 2017, Styles’ eponymous debut (17), with just under
2016, “Dummy Heads and Mosquitos in the and designed as a multipurpose, 109,000 shifted so far.
Amazon”). shared creative workspace with a Downloads continue a serious decline. Digital
On Monday morning John Willet presents a commercial recording studio as the download albums dropped 24.1% and Track
session on microphones, in the afternoon the heart of the operation, Newtone is Equivalent Albums fell 23.5% as the AAC or MP3
Audio & AV Theatre hosts an examination of the the amalgamation of three musical music file seems destined to beat C the CD to the
relationship between audio and architecture, enterprises, combining the knowledge river Styx. With
M
and later in the day Shure’s Tuomo Tolonen and experience of Tom Erik Skram, consumers
explores the implications for our industry of Andrè Viervoll and Aksel Jensen. churning Y

Ofcom’s decision to re-allocate UHF frequencies Viervoll had managed Parachute Studio in Mølleparken for almost a decade, but when their personal
CM
694-790MHz (the 700MHz band) to the mobile the lease expired he and Jensen made the decision to join forces and took the opportunity digital devices
sector, and how to prepare for on-going RF to unite with Skram and his team in Kalbakken. ‘We could find the real estate we needed to on a regular MY

challenges. build a studio and it made perfect sense to have it in the same space as a complete electronics basis, it makes no sense to store files on a phone
CY
The final day’s seminars include Zoe Milton workshop and a software / hardware development environment,’ explains Jensen. ‘Just as in or tablet, when it may be exchanged for a newer
and Alison Dale discussing how to fit radio mics the large studio complexes back in the day, we are able to service our own equipment, modify model in just a few months. Streaming
CMY services
to performers, and some interesting business- it and design and build custom gadgets to tailor the workflow as we want.’ have reaped the benefit of this sea-change
K
oriented Fast Track Sessions. www.newtone.no in listener habits, audio streams surged past
the 30m mark for the half year. Universal lead
Queens of the Stone Age the All Albums AES market shares with 34.2%,
record new album at SSL Duality makes music at the University of York followed by Sony at 23.7%, Warner at 19.8%,
BMG 1.8% and XL Beggars 1.7%. Atlantic, home
United Recording to Ed Sheeran, who has broken countless sales
For their new records over the first six months of 2017, tops
album, V illains, the label shares with 9.6%, ahead of Virgin EMI
Queens of the on 9.1%.
Stone Age returned
to  their stripped-
down roots and
camped out at United Recording in Hollywood
for nearly two months. The Queens worked in
both Studio B with its classic Neve console and
in Studio A with its renowned and rare Focusrite After SoundCloud axed 40% of its workforce,
console. Mark Rankin (interview, Resolution and subsequent leakes about the firm’s
V14.7) engineered the album with fellow Brit financing, there’s recently been a wave of
Mark Ronson producing (pictured centre, right speculation the streaming service could go
& left respectively). offline at any moment within the next few
Queens of the Stone Age was formed in 1996 The University of York has installed a Solid State Logic D24 Duality delta hybrid SuperAnalogue months. There was a scramble amongst those
in Palm Desert, California. The band’s current console in its new “Trevor Jones Studio” as part of an upgrade to the production facilities in producers and artists who have based their
line-up includes founder Josh Homme (lead its Department of Music. The Studio will support the university’s new BA degree in Music and online presence around SoundCloud to make
vocals, guitar, piano), alongside longtime Sound Recording, the existing MA in Music Production, and the recording and research activities backups and look for alternatives. SoundCloud
members Troy Van Leeuwen (guitar, lap steel, of the Department of Music as a whole. The Trevor Jones Studio is named after the famous Film founder Alexander Ljung issued a statement
keyboard, percussion, backing vocals), Michael Composer (Mississippi Burning, The Last of the Mohicans, Brassed Off) who, during his formative in response to reports that the company only
Shuman (bass guitar, keyboard, backing vocals), years, graduated from University of York with a master’s degree in Film and Media Music. has money left for 50 days of business: ‘The
Dean Fertita (keyboards, guitar, percussion, ‘There is a lot of value in having the SSL in a great room,’ explains Ben Eyes, Studio Manager music you love on SoundCloud isn’t going
backing vocals), and recent  addition Jon & Sound Engineer at the facility, and PhD student. ‘It informs your choices on microphone away, the music you shared or uploaded isn’t
Theodore (drums, percussion). For the new positioning, acoustics of a room, quality of an instrument... You can make an accurate judgement. going away, because SoundCloud is not going
album, Queens founder Josh Homme has Without a good signal chain that’s a lot harder. Being able to hear those things and make those away. Not in 50 days, not in 80 days or anytime
promised that fans can expect a collection of judgements opens up a lot for us.’ in the foreseeable future.’ Nevertheless, it seems
songs that ‘aggressively takes risks.’

6 resolution July/August 2017

 NEWS

Film and Video Game

Composer R. Kim Shultz Strange Weather Installs to now be a question of “when” and not “if”.
Canadian producer deadmou5 summed the
adds ADAM
API Legacy AXS
SoundCloud situation up succinctly in a tweet:
‘The only real value to it is the email / Facebook
and twitter account database it has amassed
over the years. That’s a db a record label wants.’

‘I am still in amazement at how well they sound,’

says Shultz about his new ADAM S Series
monitors. ‘Just from an overall sonic spectrum, In Japan, Sony is reported to be in the final
the fidelity is unbelievable. I don’t even have a stages of talks to acquire French distribution
subwoofer and I’m so happy with the overall and label services provider Believe Digital.
sound.’ Sony Music Entertainment is expected to
Working out of his production room in obtain a majority stake for between $355m
downtown Chicago, which is also equipped and $444m before the end of 2017. Founded
with Steinberg’s Cubase DAW and various in 2005, Believe Digital operates in 30 countries
outboard gear, including Universal Audio and owns TuneCore — which provides indie
interfaces, Manley EQ and Compressors, and music to major online distributors including
a variety of other audio toys, Shultz says he Apple — representing 150,000 artists around
will try his hand at any scoring project. ‘But Strange Weather studio has just added a 32-channel, fully automated API Legacy AXS the world, mainly independents, and has annual
fundamentally I write orchestral or hybrid console to their Brooklyn, NY facility. Strange Weather has had an API console at the centre sales of around $250m. Combining Believe and
orchestral — alternative industrial orchestral, of operations for over ten years, adding a 1608 to their studio in 2007, and expanding on the TuneCore with Sony’s recently merged indie
as I call it. I’ve always tried to keep the orchestra console for several years. distribution arms, The Orchard and RED, and
involved. Even if I’m doing EDM, I may have ‘We made hundreds of amazing records on that desk over a decade, but eventually we Sony looks like becoming a global independent
some piece of the orchestra with it.’ found ourselves wanting even more routing options, so we decided to upgrade to the new music powerhouse. With steaming breaking
Shultz’s credits include a long list of horror Legacy AXS,’ said Strange Weather’s Marc Alan Goodman. The Legacy AXS is now the studio’s down geographic barriers, most indie labels
films: D for Doom, Death Fan, The Prey, Bottom primary desk, and provides all the features Goodman and his partner Daniel Schlett were would prefer to sign with one distributor
Feeder, and more. ‘Lately, I’ve been doing a lot seeking from a new console. ‘The API Legacy AXS has the clearest console design I’ve worked globally, and Sony will then be in pole position.
of horror films and thrillers, with soundscapes on yet,’ Schlett adds. ‘The AXS lets the music go where it deserves, and uncompromised.
and orchestra, and a little bit of synthesizer,’ The amount of flexibility, headroom, and on-board parallel processing makes working Showtime
he adds. quickly more inspiring for both myself and the artists. And the console offers all of the BIRTV
amazing API sound I depend on every day!’ (photo: Dan Perrone) Beijing...................................23-26 August
Sennheiser welcomes www.strangeweatherbrooklyn.com INTEGRATE EXPO
Melbourne Australia..........29-31 August
FCC ruling GUITAR SUMMIT
Jamie Mckivitt chooses Mannheim....................... 8-10 September
IBC EXHIBITION
JoeCo Players for Bring Me The Horizon Amsterdam...................15-19 September
PLASA
London..........................17-19 September
SOUNDPRO
A re cent FCC ruling is a vic tor y for London....................................... 7 October
Customers, Manufacturers, and Operators MUSIC CHINA
of wireless microphones. The U.S. Federal Shanghai............................ 11-14 October
Communications Commission (FCC) has ratified BROADCASTINDIA
an Order on Reconsideration and Further Mumbai.............................. 12-14 October
Notice of Proposed Rulemaking concerning PROLIGHT + SOUND MIDDLE EAST
Dubai.................................. 17-19 October
the use of the frequency spectrum that will
AES (+NAB)
impact all wireless microphone users.  New York............................. 18-21 October
Sennheiser filed a Petition of Reconsideration NAB (+AES)
with the FCC in December 2015 following the New York............................. 18-20 October
initial announcement of new regulations, AUDIOVISUAL
timed to coincide with the upcoming Helsinki...........................21-23 November
incentive auction and reallocation of the CABSAT
600 MHz frequency spectrum. Sennheiser’s Dubai.........................14-16 January 2018
filing elucidated practical concerns for NAMM
Los Angeles.........................25-28 January
manufac turers and users of wireless Mckivitt is both a studio engineer and road come into its own.
ISE
microphones in day-to-day applications as warrior of repute. The BBP1B delivers replay ‘We sync the video walls to the JoeCo unit
Amsterdam........................... 6-9 February
well as proposing potential solutions. The FCC of 24 channels (64 when using MADI or Dante by using analogue LTC timecode, which was SOUND & VISION
studied Sennheiser’s proposals and the input versions) of high quality broadcast WAV audio aligned with each song and sent to FOH, where Bristol.................................23-25 February
of others during the intervening year and a half, at up to 24-bit/96kHZ from a compact 1U rack- the “super video and sound man combined”, BVE
and the Order on Reconsideration has made mounted package. As BMTH continued around Oliver Hutchinson, would plug into Resolume London....................27 February-1 March
many of Sennheiser’s proposals a reality.  the globe on tours taking in Europe, North Arena Media Server for video playback’ recalls DSE
The Commission had initially created an out- and South America, Russia, Asia and Australia, Mckivitt. ‘It worked so well and reliably that the Las Vegas................................28-29 March
of-band emission (OOBE) standard that might the BBP1B began to provide a vital function lighting designer, Ben Inskip, decided he would NAB
have resulted in unintended consequences. in supporting the band’s use of video walls. begin using his show to timecode so he could Las Vegas....................................7-12 April,
PROLIGHT+SOUND
With the ratification, the FCC has now adopted Specifically, the BLACKBOX Player’s ability to be pay more attention each night without having
Frankfurt.................................. 10-13 April
the established European Telecommunications triggered using timecode, footswitch, QWERTY to fire off every cue and deliver a better, more
MUSIKMESSE
Standards Institute (ESTI) OOBE standard, which keyboard, or MIDI commands — started to exciting look and add to it each day.’ Frankfurt.................................. 11-14 April
achieves the intended goal.

8 resolution July/August 2017

 Remote Controlled Microphone Preamplifier / ADC

This is simply the finest sounding, most capable mic preamplifier we have ever “It was no surprise that the m108 sounded
created. With 8 channels of beautifully transparent, musical preamplifier and A/D phenomenal, as that is what we have come to
conversion, it delivers unrivaled sonic performance with amazing flexibility. expect from Grace Design. This being my first
experience with the company’s A/D converters, I
Ethernet connectivity allows for remote control with our standalone computer was optimistic, but they may have surpassed my
app, or built-in web browser control from any computer or mobile device. MIDI expectations. The imaging was so accurate, it was
and serial ports provide control from Protools™ or existing m802 hardware remotes. eerie. With the amount of gain available, coupled
Front panel control is made simple by the bright OLED display GUI combined with with the detail and clarity, this has to be one of
dedicated hardware switches and rotary encoders. the finest preamps on the market today.”
—Brandon Hickey, MIX
With incredible reliability and stunning audio performance, the m108 is the ulti-
mate input solution for any modern recording setup. “It has a beautifully airy and detailed top
end, complemented by a solid, extended low
end, and it all sounds completely effortless and
• 8 channel remote controlled microphone preamplifier • 192kHz ADC outputs via AES, transparent. Stereo pairs delivered a very spacious
ADAT and USB • Balanced analog out via DB25 • 8x2 USB I/O interface • Ribbon mic and stable image and the superb analogue
mode • Optional interface module • Reference DAC and headphone amplifier headroom margin combined with high-
for low-latency monitoring • Optional Control Room stereo balanced out • 10 channel resolution converters really delivered the goods.”
digital mixer • Front panel HI-Z inputs • 5 year transferrable warranty • Built in the USA —Hugh Robjohns, SOS

for complete information, visit www.gracedesign.com

 GEAR

Products Spotlight: AudioEase 360pan suite v2.0

Equipment introductions and announcements.

RCF MZ 8060 digital audio matrix

The RCF MZ 8060 is a central management unit for the system

integrator and the complex systems developer. Very easy to
install and setup, the compact device allows the detailed control
of 8x6 audio channels. It features an 8x6 matrix: 8 universal MIC-
LINE inputs and 6 outputs. The DSP processing power extends
the capabilities providing parametric equalisers, compressors,
gates, limiters, delays, duckers, priorities, and 2 independent
auto-mixer algorithms.
An Automatic Level Control facility is also available: a probe
connected to input 8 automatically adjust the volume level
according to the measured environmental noise.
MZ 8060 can receive 10 logic inputs (GPI) and send 6 logic
outputs (GPO), configurable. Two of these outputs are operated
by a relay. A serial port can be set to control the unit from a third
party system (e.g. Crestron and AMX). Moreover, it is possible
to link two MZ 8060 (in master-slave configuration) to create a The Dutch software company famous for developing the Altiverb convolution reverb has introduced a significant update to their
16-input 12-output total access matrix. 360pan suite. The 360pan suite is a plug-in suite for the Mac designed to deliver ambisonics mixes for immersive audio: audio
A slot on the rear panel allows the integration of an optional RCF from all directions, intended for headphone reproduction, that stays where it is even when you turn your head.
RDNet module, to access the MZ 8060 through the RDNet control This free upgrade adds: 2nd order ambisonics (for instance, for Facebook 360 video); 360reverb, ambisonics convolution
network. Up to 12 BM 3003 paging consoles can be daisy-chained reverb; distance automation; headtracking via an optional $40 USB bluetooth headtracking device; “360radar” ehich
to the dedicated RJ 45 input alternative on input 1. The front superimposes onto the video window an indicator of where the ambisonics audio sounds; VST3 for Reaper and Nuendo
panel integrates several LED indicators to allow the supervision compatibility.
of the audio input and output activity. You can do all your panning, distancing and even mixing from within the video window of your DAW (Reaper or Pro Tools
www.rcfaudio.com HD). There is no need to have any plug-in interfaces open while working. The 360pan suite version 2 still costs €249 / $299, and
this upgrade is free for version 1 users. 360pan suite can be activated to a computer or to an iLok key (2nd generation and up).
Sennheiser MobileConnect  www.audioease.com

Pyramix 11

MobileConnect offers listeners — students at school,

churchgoers, theatre patrons and others — the ability to live
stream audio via WiFi to their own iOS or Android OS device,
providing institutions with means to distribute audio. The
MobileConnect system comprises the ConnectStation — a
streaming server providing near latency-free multi-channel audio
streaming via Wi-Fi. As MobileConnect operates over any existing
WiFi infrastructure, it is designed to install and integrate with
existing network infrastructure and audio equipment.
MobileConnect is intended to be convenient to users: without
the need for extra equipment, individuals can use a choice
of smart devices and headphones to listen to audio via the
MobileConnect app, available free of charge for iOS and Android
users via the Apple App Store or Google Play.
Sennheiser’s MobileConnect app provides volume adjustment
as well as intuitive speech intelligibility and sound quality
parameters, including EQ and compression of high and low Pyramix 11 now connects to ANEMAN, Merging’s new Audio Network Manager tool. The aim is to bring all your RAVENNA/AES67 devices
frequency audio content; these adjustments are done with to your fingertips within one interface. Pyramix 11 also heralds further developments of its toolkit for 3D immersive audio. With a new
common touchscreen finger sliders. The features were developed FX Rendering feature for multitrack and multi-effects processing, along with the implementation of plugins series — opening the world
in close collaboration between the Fraunhofer Institute for Digital of HOA panner and binauralizer directly within the Pyramix 11 mixer.
Media Technology and Sennheiser. Pyramix 11 is supported on Windows 7 (64bit) and Windows 10 (64bit) for either MassCore or Native users.
www.sennheiser.com www.merging.com

10 resolution July/August 2017

 GEAR

UA OX Amp Top Box DiGiCo S-Series v2.0 USB key at the same time; a Clear User Partition function allowing
all user sessions to be deleted from the user partition.
DiGiCo has announced the release of its latest V2.0 software DiGiCo’s S-Series consoles have been designed with attention
upgrade for its S-Series consoles, adding key features including to detail, using the same FPGA components as its SD Series
increased channel count for both the S21 and S31 from 40 to 48 consoles, combined with a new ARM QuadCore RISC processor.
input channels. ‘This is what has allowed us to produce an entry level range
This free - of-charge with the same fundamental
upgrade gives S -Series technological values as every
users 48 mono or stereo other DiGiCo console and
switchable flexi-channels, faster processing and lower
the equivalent to 46 busses power consumption than any
at 96kHz, with no processing other console in its class,’ says
limitations. The upgrade also DiGiCo’s general manager
includes: new switching functionality for the order of EQ and Austin Freshwater. ‘It also gives us the ability to unlock more
Dynamics modules; new Stereo Width and Balance controls features as time goes on, so you can be confident your investment
added to the Input Processing View for Stereo Input Channels; is safe and you won’t have to buy a new console to keep up with
a Disable Master Mute function; new Backup User Partition the ever-increasing demands of today’s industry.’
function allowing all user sessions to be copied to an external www.digico.biz

Universal Audio introduced the OX Amp Top Box at Summer

NAMM 2017. This premium reactive load box allows guitarists to
play and record their tube amp in its ideal sweet spots — from the
edge-of-breakup to fully cranked — at any volume level, and with
instant mic, room, and speaker cabinet emulations at the turn of a
knob. Universal Audio EQ, compression, delay, and reverb effects
are built-in. There is selectable 4, 8, and 16-Ohm operation with a
front-panel Headphone out for silent practice with cranked tones.
The OX is equipped with balanced TRS line outs, and S/PDIF
digital output for recording. It may be paired with OX mobile
or desktop app over Wi-Fi for editing and saving of presets. The
OX Amp Top Box is scheduled to ship Q4 2017 with a US street
price of $1299.
www.uaudio.com

Eventide UltraTap & Euro DDL

module for Eurorack blue is the new blue

the new MiniCMIT

UltraTap — A new multi-tap

effect that’s capable of rhythmic
delays, glitchy reverbs, huge
pad-like volume swells, and
extraordinary modulation.
Eventide call it the perfect
tool for creating drum fills,
vocal choruses, swelling guitar
chords, and other evolving
effects. UltraTap will be available
for purchase on August 1st at an
introductory price of $49. (MSRP
$79)
Euro DDL — A digital delay
with an analogue soul, the Euro
DDL features a unique design that strictly limits the amount
SCHOEPS GmbH www.schoeps.de
of digital circuitry to the bare minimum. From short delays
for double tracking, to creating swept delays and tape echo Spitalstr. 20 facebook.com/SchoepsMics
class effects, the Euro DDL brings all these to your Eurorack rig. D-76227 Karlsruhe info@schoeps.de
Available in limited quantities starting in August. (MSRP $473)
www.eventide.com

ResolutionMiniCMIT241116.indd 1 24.11.16 15:23

July/August 2017 resolution 11
 GEAR

IK Multimedia ARC System 2.5

Spotlight: Waves CLA MixDown plugin
The CLA MixDown plugin was developed together
with Grammy-winning mix engineer Chris Lord-
Alge (Green Day, Bruce Springsteen, Keith Urban,
Muse). For over 30 years, Lord-Alge (interviewed
Resolution V8.6) has been the mixer of choice for
rock royalty, from Aerosmith to U2, Foo Fighters
to Muse. One of the secrets to his signature
sound have been his unique punchy, smooth,
in-your-face mix buss chains — and now Waves
have modelled these chains in the CLA MixDown
plugin.
An upgrade to the ARC System 2, as tested for room tuning Chris comments, ‘I perfected my mix buss
and EQ in Resolution V16.3 (May 2017, Monitoring supplement). chains over many years and 20,000 mixes. I’ve
ARC System 2.5 now includes a brand new, ultra-precise MEMS taken my two favourite chains and put them under
(microelectro-mechanical systems) measurement microphone the hood of this simple-to-use, supercharged
with ARC’s correction software (previous ARC mic models champion of a plugin. CLA MixDown features two
will still be supported.) The microphone is built around an flavours of my mix buss compression sound, plus console overdrive and a finishing EQ with perfect bass and treble curves.’ He
omnidirectional, high precision MEMS capsule that ensures adds, ‘You can use CLA MixDown on your master channel, or you can use it the CLA way — on a master aux. You can add it after
maximum response accuracy and stability over time. mixing to secure your mix with that finishing touch, but I recommend you insert it before you start mixing, and then mix through
In contrast to standard condenser measurement microphones, the plugin, which will help you tailor your mix and get the best sound. Either way, it will dramatically enhance your overall mix
which are potentially subject to subtle frequency response and save you precious time toward getting that final mixing touch!’
variations over time, MEMS technology is far more stable. CLA MixDown features include Four faders: Bass fader — Controls the richness of the mix; Treble fader — Increases or
Thanks to the manufacturing process behind them, MEMS decreases high-frequency presence; Glue — Two flavours of compression for holding the mix together; Drive — Analogue
microphones boast extreme resistance to humidity and console overdrive for increasing harmonic distortion.
temperature variations as well as increased durability. This www.waves.com
means that they are much more forgiving to “professional
abuse” and you can carry them around without worrying about included “Virtual Monitoring” feature lets users select templates product of a minimum value of $/€99.99 can take advantage
damaging them. All microphones are manufactured following to intentionally shape the sound of the monitoring setup to of a special cross grade price of only $/€149.99. Current ARC
this procedure, share the same degree of accuracy with near- match devices like LCD TVs, car audio systems, small radios, etc., 2 users can upgrade to software version 2.5 for free, whereas
zero variation in terms of final performance from unit to unit. As and listen to how their mixes will translate on other “virtual” band- ARC 1 and ARC TDM users can upgrade their software for as
a result, IK maintain all measurement processes will always be limited systems to ensure a perfect sound translation. low as $/€49.99. The MEMS measurement microphone may be
spot on, repeatable and reliable even after longer periods of time. The new ARC System 2.5 with MEMS microphone will cost purchased separately at $/€69.99 by any previous ARC users.
Another new feature is Mixing for multiple devices. The $/€199.99. All users that have previously purchased any IK www.ikmultimedia.com
 GEAR

KRK V-Series 4 WHITE NOISE include a high-res colour TFT trans- design, meeting the high demands of engineers when it comes
reflective widescreen with to spectral editing.
five finger touch sensor, Highlights for mixing and broadcast include seamless and
gesture ready. Four optimized integration of Sequoia and Pro Tools | S6 Controller.
G-Touch 120mm faders The DAW and the high-end mixer from Avid work together using
with multifunction position precisely calibrated EUCON protocols — this means that Sequoia
indicators and twelve illuminated sealed can also be controlled using the iOS app developed by Avid
hard keys, installed in a solid aluminium desktop cabinet with SD After the successful acquisition of several Sony Creative
card reader. RRP £4340.00 Ex VAT Software products including Sound Forge and the Acid series,
www.hhb.co.uk this latest release underscores MAGIX’ ambitions in high-end
www.yellowtec.com audio. Sequoia 14 is the fourth audio release in the last six months
following SpectraLayers Pro 4, the free version of Music Maker,
MAGIX Sequoia 14 and SOUND FORGE Pro MAC. Additional versions of SOUND
There are three monitors in the new V-Series 4 White Noise FORGE are planned for later this year. Sequoia 14: $2,975.00
range, with identical 1” kevlar tweeters but differing woofer www.magix-audio.com
sizes, starting at 4” for the V4 S4. These are £399 per speaker and
the V6 S4 (6.5” woofer) comes in at £529 per unit. Finally the V8 Sonoris DDP Creator Pro 4
S4 (8” woofer) is £699 a speaker. The new update to
V-Series 4 includes 49 user selectable EQ settings to ensure Sonoris’ respected
proper setup for room acoustics and placement anomalies, as Red Book master CD
well as taste and individual preference. The KRK design team burning software
has apparently modelled and analysed hundreds of monitor contains several
placement and room acoustic situations to ensure that KRK improvements,
delivers the most useful tools with minimal adjustments. including: True Peak
The V Series 4 build on KRK’s 30 year legacy in developing and With a host of new editing and hardware support features, MAGIX metering emulating
building world class studio monitors, from their custom made has released Sequoia 14, specifically designed for the needs of the effect of DA
amplifiers and proprietary drivers to construction and voicing. mastering and broadcast engineers. This latest version focuses conversion; EBU R
www.krksys.com on strengthening the core area of audio editing. The award- 128 loudness metering; the option to add your studio logo to
www.focusrite.com winning Celemony Melodyne is now directly built into Sequoia the PQ sheet; and the (long-awaited) option of protecting the
via the ARA, while the plug-in is included in the essential version. integrity of your master with DDP encryption.
Yellowtech Intellimix 2 Additional professional functions such as tempo automations, The more basic Sonoris DDP Creator program for Mac and
Intellimix 2 is a further development of Yellowtech’s controller audio-to-MIDI and XYZ direct are now easily accessible to Windows has also had an overhaul, adding features such as:
and audio interface. This stylish G-Touch controller contains both enhance workflow. supporting more checksum formats; supporting the latest CD
a freely configurable touch panel, and permanently integrated Sequoia 14 now comes with SpectraLayers Pro 4, with its burning hardware; adjustment of track start markers; improved
control elements such as touchstrip fader, buttons and a rotary unique layer-based concept for working with frequencies. edit functions; real time peak metering; automatic translation of
control. The remote control is used to control the supplied USB In international film studios, SpectraLayers has long been non ISO 8859-1 CD text characters.
audio interface, equipped with Dante technology. Features considered the standard for audio restoration and sound www.sonorissoftware.com
 GEAR

Audio Precision AECM206

Headphone Test Fixture Spotlight: Avid Pro Tools | HD 12.8
HD 12.8 is a major upgrade of the industry-standard DAW, which
includes all of the new Dolby Atmos Mixing features. The highlights of
the 12.8 release are support for 7.0.2 and 7.1.2 track and stem formats,
one universal panner module for both stem and Dolby metadata
panning, automated routing between stem and objects, and support
for Pro Tools sessions on the Avid NEXIS storage systems.
On-the-fly switching and automation between surround and
object outputs give mixers the ultimate flexibility. This it the feature
re-recording mixers have been waiting for: the ability to assign audio
as an object “on the fly”. For the most fluid re-recording workflows,
Pro Tools also synchronizes audio and automation punches between input and playback modes in
conjunction with the Dolby RMU. Support for ADM BWAV files, containing object metadata, makes
remixing more efficient and economical for repurposing content. You can now import a Dolby Atmos
master that’s been saved as an ADM file, and bring in panning, track labelling and grouping. In this way, a
Dolby Atmos Master file that’s been created using a system other than Pro Tools can also be file imported
into your Pro Tools session. Monitor and route hundreds of audio inputs and outputs through Pro Tools
MTRX, which provides the bandwidth and sonic fidelity preservation required for mixing any large-scale
immersive audio format.
Pro Tools now (finally) supports working from volumes mounted as UNC Paths, specifically tested for
ISIS and NEXIS workspace mounted in such a way. Additionally, Pro Tools now supports linking to MXF
Headphone measurements can be complicated — as Resolution files containing a SMPTE ID, with a new column in the workspace to display the ID.
discovered when we conducted our benchtest in V15.4 — A raft of bugs (including many MIDI anomalies) are now flagged as fixed, and several minor annoyances have been dealt
owing to the close coupling of earphones to the ears and the with — holding shift while using the trim tool no longer fails to affect all selected clips.
corresponding acoustic transmission paths, as well as the www.avid.com
need to properly reproduce the ear’s acoustic impedance. The
AECM206, in conjunction with APx Series analysers, accessories Reverb algorithms range from Room to Tunnel, and users
and software, provides the user with a complete system enabling can control four parameters: decay, predelay, colour, and type.
precise and repeatable electro-acoustic testing of headphones The true analogue saturator section features three switchable
and insert earphones (earbuds).  circuits with GE (Germanium), OA (OpAmp), and JF (J-FET) types
The AECM206 is a dense, robust fixture mounted on a to add harmonics to the signal, plus a gain control. Both sections
resilient base to isolate ambient noise, which can adversely include wet/dry mix controls, so SYNERGY R1 can be used as
affect measurement integrity. Equally capable in both R&D and a 100% digital reverb or a
production test applications, it is well-suited for testing circum- 100% analogue saturator (and
aural, supra-aural and intra-concha headphones and earbuds. anything between those two
The AECM206’s high level of acoustic isolation also enables the worlds).
measurement of noise-reduction performance of ANC (active What sets SYNERGY R1
noise cancelling) headphones, as well as the evaluation of apar t from normal 50 0
hearing protection ear muffs. It is a more cost-effective solution series modules, however, is
for headphone test when compared with a HATS (Head And that each and every one of
Torso Simulator), and is competitively priced with regards to its functions can be remote
comparable fixtures. Professional DAW for Mac and Windows. The app lets you manage controlled via the included SYNERGY R1 plug-in that can be used
Two sets of pinnae (hardness Shore OO-35 and A-25 Studio One’s transport and mixer channel strips, track Macro from within all major DAW host applications on Mac and PC (with
respectively) are provided with the unit. The pinnae are Controls, powerful custom commands, and stock and third-party AAX, AU, VST2, and VST3 support).
symmetric, which offers convenience when testing stereo VST and AU plug-ins. Studio One Remote can control any copy of www.audified.com
headphones and earphones. The AECM206 is also delivered Studio One Professional running on the same network, enabling
with an adapter for the CAL250 sound level calibrator (optional), collaboration or creation of extended workspaces through Plugin Alliance elysia karacter
product documentation and disassembly tools. control of one instance of Studio One from multiple instances of Karacter is actually a bundle of two
The AECM206 retails for $11,024 / £8,546 / €9,756 or $11,232 / Studio One Remote on independent devices. plugins:  karacter mix  and  karacter
£8,707 / €9,940 in an optional hard-shell roller case. QMix-UC, the latest version of PreSonus’ ground-breaking aux master, the former providing a
www.ap.com (monitor) mix control software, provides direct control over the straightforward set of controls for
company’s StudioLive AI consoles, RML-series rack mixers, and treating mono and stereo tracks, while
PreSonus Control Apps for Android Series III mixers and can also control Studio 192-series interfaces the more surgical master lets users
PreSonus is now shipping Android versions of three free via a Mac or Windows computer running UC Surface. With QMix- process full mixes, stereo stems, and
applications that provide wireless control over some of the UC, up to 16 musicians can simultaneously control their monitor subgroups, thanks to its independent
company’s most popular products. All three new Android apps mixes wirelessly from their mobile device. left and right channel controls or, in MS
are based on PreSonus’ UCNET protocol for fast, reliable network www.presonus.com Mode, mid and side channels.
connectivity and remote control. Both the karacter mix and karacter
PreSonus UC Surface provides complete multi-touch control Audified SYNERGY R1 master plugins provide three different
of StudioLive AI consoles, RML-series rack mixers, and Series III The plug-in developer’s first foray into modes with which users can paint
mixers, as well as offering preamp control for Studio 192-series hardware, with a software/hardware project tracks with colourful harmonics. Creatively, the standard
and Quantum-series interfaces. With UC Surface, every control hybrid digital reverb and analogue saturation mode makes for fattening gently while heightening
you need to mix a show or a studio project is under your fingertips saturator processing module for the 500 (odd) harmonics. FET Shred  mode mimics the pleasing
exactly when you need it. The software maintains the same series modular rack format. distortion of a driven tube amp, adding a relative boost to even
workflow with Windows, Mac, Android, and iPad and supports Synergy features seven types of reverb harmonics. Turbo Boost mode hard-clips signal tops.
iPad, Android, and Windows 8/10 multi-touch. algorithm with three kinds of true karacter is available for purchase — as an AAX Native & DSP, AU,
Already available for iPad, Studio One Remote is also now analogue saturation. Users can control VST2, and VST3-supporting plugin for Mac OS X (10.8 through
available for Android tablets. Great as a second screen control the device from their DAW, automate it, 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher)
surface in a workstation setup or as a flexible mobile remote and store session settings, courtesy of an — exclusively from Plugin Alliance for $199.00.
for recording and mixing away from the computer, Studio One easily accessible, front facia-positioned www. plugin-alliance.com
Remote provides wireless control of PreSonus’ Studio One USB connection. www.elysia.com

14 resolution July/August 2017

 REVIEW

AEA Nuvo N8
— but they don’t look quite as secure as they actually
are!
At this point, I have to say that I don’t think I’ve

Stereo Pair
ever felt the need to consult an instruction manual
for a stereo bar before being confronted with this one
— but after a few minutes of head scratching I was
just praying that such a thing existed (and it does,
thankfully). Once you understand what the various
Compact microphones, big ribbons, big sound: JON THORNTON assembles pieces of hardware are for, it’s quite straightforward
some classic stereo using the AEA SMS bar and mic coupler. — the complexity lies in the various permutations it

A
allows. Essentially an open, U-shaped metal bar (with
EA’s Nuvo range comprises transformer adds up to a reasonable, if not supplied foam insert to minimise resonance), you
two models, both designed spectacular sensitivity of 8.3mV/Pa — so can attach what are effectively 5/8” to 3/8” thread
with the intention to bring preamp choice is less critical than with adapters using 3/8” bolts at different points through a
its trademark “Big Ribbon the passive R88. But as I still had access series of holes along the bar. The mic clips then screw
Sound” to a broader market. Price is a to AEA’s own RPQ2, I chose to use that on to the 5/8” side.
key factor here of course — although for the review. It’s straightforward enough to set up a near
the Nuvo range aren’t the cheapest of Initial impressions with speech coincident pair with the mics sitting atop the bar
AEA’s offerings, they are certainly the are of a very thick sound at working — and there are some centre to centre distance
cheapest active designs in the portfolio. distances of about 6 inches way. Get markers and angle lines marked on one side of the
And compared with rest of the range, even closer and the proximity effect bar to help out with ORTF and NOS arrangements.
there’s a much less retro, and altogether is almost overwhelming, although with By using the hole positions at the extreme ends, it’s
more compact feel about the industrial a little filtering would still work nicely also possible to set up a Blumlein arrangement, with
design. The N22 was the first in the in a close mic’d application on some the mics lying head to head, in the same plane as
range, and was aimed squarely at home instrumentation. Backing off the mic, and the bar. A disc shaped plastic coupler (a tight fit!)
studios and self-recording artists. Active things start to balance out nicely from ensures that the tops of the two microphones are held
circuitry meant that it played nicely with about two feet away. What’s appealing together in alignment, and provides extra rigidity
a wide range of pre-amplifiers, and it is the way in which it still preserves to the arrangement. The whole assembly can then
was optimised for close micing of voice enough HF and transient detail at this be mounted to a standard mic stand from either the
and instruments. This effectively meant (and further) distance to not sound at all centre or the end of the bar, with an additional angle
a taming of the typically large proximity “roomy”. A Royer R122 by comparison adapter included for additional positional flexibility.
bump, and enhanced protection for the gives far more emphasis to the voice’s Suitably armed, it was time to try the N8s out as a
ribbon element from wind blasts and mid-range, and sounds more balanced stereo drum overhead. With a little experimentation, I
the like. close up. At a distance, though, it settled on an ORTF pair set just
The N8 model reviewed here is a lacks a little of the immediacy over a metre above the kit
significantly different beast, and that of the N8’s sound. 70cm forward of the kick,
difference is more than skin deep. The Comparing a single N8 angled towards the line of
most visually obvious difference is the against the same R122 on the snare. There’s a really
finish colour — a more discreet and TV an acoustic guitar, and the satisfying weight to the sound
friendly black rather than the nickel of N8 carries a little too much in this position, and if you can
the N22. But the overall form factor is the weight and exaggerated live with the slight dip in the
same — a tall, compact(ish) tubular design “boom” to be useful close middle, a lovely stereo image.
measuring 324mm high and 41mm in up without the addition of With a tiny bit of fill from a kick
diameter at its widest point. The 1.8 a of a high pass (and the mic, it’s a very nice, natural
micron ribbon is clearly visible glinting variable HPF on the RPQ kit sound. What stands out
through a fine nylon mesh wrapped is very useful) — the though is the way in which
tightly around a supporting framework Royer sounds a lot more the N8s smooth out the
of stacked metal discs. The ribbon itself balanced here. Giving cymbal sounds, but without
is identical in size and tuning to the both microphones a sacrificing detail.
ribbon employed in the company’s little more room, stepped At just shy of £2000,
behemoth R44 — but AEA state that back about 80cm with the N8 stereo kit isn’t the
the overall design philosophy in terms a pair of baffles set in the cheapest way to arm yourself
of motor design and construction is rear pickup, and things are a little with a pair of active ribbon
more akin to the AEA’s (passive) R88 closer to call. Both microphones sound microphones. But despite being targeted at far field
stereo microphone. nicely balanced at the low end here, applications, at which they excel, they are actually
That’s to say that it’s really optimised and the Royer seems to emphasise very capable mics in most applications, and a lot
for far field applications, with the mid frequency harmonics a little more more forgiving than large diaphragm capacitors in
return of that proximity bump to help than the N8. But the Nuvo sounds some instances. Add in the comprehensive stereo
maintain weight to sounds at distance, and that little bit more open and distinct at the recording hardware, and they look like a flexible pair
not as much wind protection, leaving the high end — most noticeable on delicately of go-to mics that will cope with the most demanding
ribbon as open as possible. Without access picked playing. of tasks. n
to a R88 to do a direct comparison, a glance The N8 is also available as a stereo
at the published frequency response specs kit, and this is what was supplied for PROS Natural sound with great reach and detail
in the mid and far field; flexible (if complex)
shows some differences between the two. the review. In addition to a matched
stereo mounting hardware; not too fussy
The R88’s response really starts falling pair of microphones, you also get a about mic pre-amp requirements.
gently away from 200Hz onwards, whilst pair “ShockProof” clips, a pair of foam
the N8 stays reasonably flat between windscreens, a stereo bar and a collection CONS Close mic’ing will require an external HPF
500Hz and 5kHz — starting to fall off from of associated hardware, packaged up in a in most cases; doesn’t give quite the same
that point but flattening out a little between nice IP67 rated hard case. The supplied mid-range ‘grunt’ close up as some ribbon
about 15kHz and 18kHz. Whether that’s clips are an unusual design with a heavy alternatives.
down to the ribbon tuning, or perhaps rubber loop providing isolation between
to some interplay with the active side the clip and the mount. They are very Contact
of things. Speaking of which, the J-FET compact, hold the microphone firmly, and AEA, US
Web: www.ribbonmics.com
based amplifier, mated to a custom German do a fair job in supressing handling noise

July/August 2017 resolution 15

 REVIEW

Aston Starlight
than a touch of the Jetsons about it. It’s a subjective
thing, but the laser assembly looks a bit “bolted
on” and ungainly to me. But while it’s tempting to
dismiss it simply as a gimmick, I have to confess to
Star light, star bright ... JON THORNTON lights his lasers. being surprised at just how useful and instructive it

A
is. Having a visual indicator of aim helps immensely
fter the launch of its Spirit and Origin (80Hz and 140Hz) and a pad (-10 and -20dB). A in ensuring repeatability of placement — not as a
large diaphragm designs, British newcomer small criticism here is that the dark grey legending substitute for your ears, but as another tool in the
Aston Microphones hinted that the range against the stainless steel finish does make for very process. This is echoed by stories of early users, who
would expand in due course. The Starlight, hard reading in anything less than ideal lighting seem to have discovered applications and uses, in
announced at NAMM at the start of the year made conditions. conjunction with the ubiquitous camera phone, that
good on that promise in memorable fashion — after The capsule is built into a sintered metal cap Aston never considered. These range from accurately
all, who’s not going to remember a mic with a built assembly, which can be unscrewed and detached recalling mic set-ups in live sound applications, to
in aiming laser? It’s taken a while since then for the from the chassis (although no alternative capsules are illuminating the speaker cones behind the fabric in
microphone to get into manufacturing proper, but it currently planned). For anybody unfamiliar with the guitar amps.
is now shipping in volume. term “sintering”, amongst other things it describes An initial walk around the Starlight with the
Whilst the laser undoubtedly garners much of the process voicing at the Hybrid setting shows that the off-
the initial attention, let’s put it aside for the moment of creating axis frequency response is indeed very
and look at the mic itself. A small diaphragm end- an object by smooth and balanced up to the
fire capacitor design, in pricing terms the Starlight heating up small 90 degree point, after which
seems to be positioning itself somewhat differently particles of a metal it starts getting quite
from its large diaphragm siblings. At £349 for a so that they bind lumpy. Direct
single, or £699 for a stereo pair, it’s priced directly together, but with a comparison with
against some very a KM184 and
well established an AKG C451
competition from reissue with
the likes of AKG, but spoken word on-axis shows that the Starlight is a
with a little clear water little brighter and harder sounding — and remains
between it and the likes so whichever of the three voicings is selected. The
of Neumann’s KM184. difference between these three settings is quite
But it’s the latter that subtle — the Modern setting pushes high-mid
Aston seems to be gunning presence, giving a sound that is best described
for, following the same “jury” as more forward rather than brighter. Vintage
development process for the removes this bump, and lifts the LF response ever
Starlight employed for the Origin so slightly. Hybrid sounds fractionally (and I mean
and Spirit. More than 50 renowned fractionally) brighter than Vintage, and a little
producers and engineers took part tighter in the low mids.
in double blind listening tests to evaluate Moving to acoustic guitar, and again the Starlight
a variety of capsule designs and their sounded the most forward, even on the Vintage
pairing to different electronics. But whilst degree voicing. There’s plenty of harmonic and transient
this process in the development of Origin of porosity in detail there, and some real guts to the low end — but
and Spirit quickly led to a consensus that the structure. The it doesn’t impart quite the same solidity and focus to
was then iterated further, the result obvious advantages of the sound that the KM 184 does here — there’s still
in this case was a split jury. Not strength, a degree of wind a sense that you’re hearing the microphone and not
only that, but the split was bipolar, suppression and an effective the instrument. The C451 sounds perhaps the most
with roughly half preferring a darker, RF shield meant that sintered restrained of the trio — and close-up it’s a question
more “vintage” tonality, and the microphone caps of horses for courses — the Starlight sounds brighter
other half a distinctly brighter, more were commonplace with a little more “edge”, the 451 a touch more
contemporary sounding microphone. at one time — long focused and smoother. Moving further away from
The solution was to mate the discontinued AKG source though, with a pair of Starlights as a kit pair,
selected capsule with its 20mm mics like the D190 and the voicing options come into their own. There’s
diaphragm to active inductor based and D202 / 222 spring a hint more roominess to the sound than either the
filters that sit between the capsule to mind for example. 451s or the KM184s deliver here, but the Vintage
and the main electronics. This gives Variability in particle setting really works well here to tame slightly splashy
three options for voicing — Vintage, size and spacing cymbals.
Modern or a Hybrid that sits could mean that the In short, the Starlight is a capable performer, with
somewhere between the two. To give acoustic performance some flexible voicing options and the added trick up
a little context here, according to the was somewhat its sleeve of the laser. Priced where it is, it offers an
folks at Aston, Vintage is aiming for compromised though alternative to the likes of the C451 or Shure SM87.
an overall tonality somewhat like — but Aston claim I’m not sure I’ll be swapping my KM184s for it
a vintage Neumann KM84, whilst that improvements though — although I might just be investing in a
Modern is something less Germanic in manufacturing laser pointer and some Blu-Tack… n
and more, let’s say, Antipodean in techniques have
nature. And the Hybrid voicing aims all but eliminated PROS Flexible voicing options; smooth off axis
for something in between — for example Nemuann’s these concerns. And a somewhat happy accident response; laser aiming more useful than you
current KM184. Game on then … through the process of experimentation with different might think.
Setting up a KM184 next to the Starlight, you’re thicknesses and shapes for the sintered head was
struck by the fact that the Aston is a seriously also in improving the linearity of the Starlight’s off CONS Looks a little unwieldy; may sound a little too
“forward” for some; legending hard to read
chunky bit of kit in comparison. The visual look of axis frequency response. in low light.
the Starlight is very much in keeping with the rest of A final toggle switch enables the laser, which sits
the product line, featuring the same tumbled stainless in a plastic housing atop the main chassis. Along
steel finish for the chassis. Stubby toggle switches with the sintered head, stainless steel chassis and the Contact
arranged down the side of the microphone allow the angled and curved chamfer in the chassis at the base ASTON MICROPHONES, UK
Web: www.astonmics.com
selection of the required voicing, a two position HPF of the microphone, the whole ensemble has more

16 resolution July/August 2017

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 REVIEW

Townsend Labs
The microphone itself seems solidly built and quite
chunky, with a large, fairly open basket sitting atop a
matt black body. Both capsules need phantom power

Sphere L22
applying independently, and you know when this is
achieved as a small ring of white LEDs in the basket
light up, gently illuminating the capsule assembly.
This isn’t purely for show — Townsend Labs are
keen to point out that precise capsule orientation
Is this the only microphone you’ll ever need? JON THORNTON finds out if a new generation of (rather than mic orientation) is key to ensuring that
hardware and software is capable of modelling a cupboard-full of classics. the Sphere’s output is a close as possible to the real

I
thing in a given placement — and the illumination
n an increasingly DAW-centric of hardware and software, rather helps here.
world populated by a frankly than just a plug-in. Internally, the design aim was to provide as
astonishing range of plug-ins Unlike Slate Digital’s VMS, consistent a response between the two capsules
that model the characteristics the Sphere L22 system consists (and between microphones) as possible, together
of a huge range of analogue pre- of just a microphone and with a low noise figure. As a result, solid-state rules
amps, processors and recording associated plug-ins — there’s under the hood — no tubes or transformers in sight.
media, it’s perhaps unsurprising no reference pre-amplifier Townsend quote gain matching between the two
that the last bastion of the included — on the basis that channels to be within 0.05 dB, and an equivalent
analogue front end should come there’s no modelling of pre- noise figure of 7 dBA. A two stage pad is provided
under scrutiny. The Sphere L22 amps as part of the system. (-10 and -20 dB) via a toggle switch on the rear
is one of a couple of current You will however need a pre of the microphone, and a further toggle switches
offerings that implicitly or with two channels, as a key engages “Cal”, or calibration mode. The reason for
explicitly bill themselves as the difference between the Sphere this is the requirement to maintain that gain matching
only microphone you’ll ever and the VMS is the way it further down the signal path. A two channel pre-
need, catering for those of us deals with the sound field “in amplifier with either precision matched (stepped)
whose mic cupboard aspirations the round”, so to speak. The gain controls or a digitally controlled gain setting is
are somewhat larger than our hardware part of the system recommended (for testing purposes I used a 1073).
wallets. Although a relatively is a large diaphragm, dual If these aren’t available, engaging “Cal” delivers the
new company, the Townsend capsule capacitor design, with same (front capsule) signal to both outputs, allowing
Labs founders have plenty of the outputs from each of the gain matching using a either a console or DAWs
previous form. Erik Papp led (cardioid) capsules available meters, or a useful utility function built into the
Summit Audio for 10 years, separately. The base of the system’s plug-ins.
whilst Chris Townsend spent 13 microphone sports a 5 pin Two different plug-ins are provided, reflecting the
years programming DSP solutions XLR, and the supplied 3m cable two broad approaches to using the microphone, and
for Avid, including guitar and room breaks this out to two XLR-M they are available in AUD, VST2, VST3, AAX Native
modelling with Eleven connectors. Having both and AU formats. The Sphere plug-in generates a mono
and ReVibe. outputs available output from a stereo input — and the basic workflow is
Of course, the allows the modelling to record the two outputs of the microphone to a stereo
notion of microphone to respond to track, with the Sphere plug-in instantiated across it.
modelling isn’t a changes in There’s a choice of monitoring approaches depending
new one — Antares’ both the level on your set-up. The ‘pure’ output of the front facing
Mic Modeler plug-in and direction capsule untouched by digital processing presents a
has been knocking of the source. very acceptable sound, somewhat reminiscent of an
around for ages. The
idea there was that
if you owned any
microphone with a
known response,
and if the plug-
in knew the
response of the
microphone
you wanted
it to sound
like, some
type of digital
alchemy could
transmute a
humble SM57
into a vintage
C12. Of course,
that’s an extreme
example with
obvious limitations,
and Antares’ plug-
in actually does a
reasonable job of
changing the overall
flavour of a decent
large diaphragm
capacitor. But it also
explains why the latest offerings from Townsend
Labs and Slate Digital are promoting a “system”

18 resolution July/August 2017

 REVIEW

Dual Mode combining 2 mic models Stereo via Sphere 180 plug-in Modelling a vintage 251
AT4050 — so for those (like me) working with a moving the microphone. But that’s quite useful for as a comparison, and the model may have been based
digital or analogue console, this is a good choice for just tweaking the HF response of a microphone on a on something more “vintage” — but still I was a little
artist foldback. The plug-in introduces a small amount close vocal with negligible level drop. Proximity effect disheartened. Aware of the stress that Townsend place
of latency in the AAX Native format running on a Pro can also be dialled up and down. Switch to Dual mode on exact placement, I even tried this by re-amping a
Tools 11 HDX rig, so monitoring through the DAW is on the plug-in, and the next level reveals itself. Two DI recording and getting the tape measure out — but
also very do-able. A UAD capable interface such as the things happen now. The first is the realisation that still there was that difference. And so with some
Apollo can also run the plug-in natively, with almost the plug-in is actually capable of delivering two trepidation, I auditioned a U87 Ai against the
zero latency. Of course, as the microphones outputs simultaneous, perfectly phase aligned models modelled equivalent on sung and spoken male
are recorded clean, re-micing after the fact is terrifically to the output, which can be mixed together vocals, and my jaw dropped. Stunningly
easy to achieve. as desired — so if you ever fancied finding good. What’s most impressive is the way the
The Sphere plug-in itself has two levels to it. The out what the love child of a C12 and SM57 model responds to moving around the axis
first level offer the simplest interface. A choice of sounds like, you can. You can also virtually and changing working distance — absolutely
mic models appears graphically on the left hand side move the two models out of perfect phase mirroring the response of the real thing.
— clicking on the image cycles through the choices, alignment to a small degree, which offers My ears may be getting on a bit, but I’d
clicking at the bottom of the image allows you to some good tone shaping possibilities on the challenge anybody to repeatedly and reliably
choose from some contextual menus. The models likes of electric guitars. discriminate between these two.
currently on offer are split into three main categories. Dual mode also reveals the final tweak On reflection, there’s no real surprise
The first are classic large diaphragm condensers, with setting, and arguably the most useful. Off axis there — there has to be a limit on what
all of the obvious contenders represented. Names correction allows a given model (or blend of can be achieved, and modelling a dual-
have obviously been tweaked for legal reasons, but models) the ability to be given a “corrected” diaphragm large diaphragm capacitor from a
it doesn’t take a rocket scientist to work out what the off-axis response that is both different in similar starting point as the source is always
LD-47K, LD-49K, LD-67, LD-87, LD-12, LD-251 pattern, and with a more linear frequency going to give better results — something
and LD-800 are modelled on. And if you’re really response, than the modelled response. As that Townsend do in fact acknowledge in
struggling, the accompanying pictures don’t leave the polar pattern at low frequencies varies the literature. So, is this really the only
much to the imagination. The second category are considerably with distance, you can specify microphone you’ll ever need? Well, yes and
referred to as Hybrid models. The term “hybrid” the distance for the on axis and off axis no. The Sphere L22 is a remarkable, powerful
in this case reflects the fact that the models are of sound components here. Again, this takes and flexible tool. The tonal choices on offer,
microphones with a different operating principle/type some experimentation, but it’s a powerful tool and the ability to tweak the response of a
to the Sphere microphone. On offer are a classic small for minimising bleed or less than pleasant off- microphone to make it work exactly as you
diaphragm condenser (SD-451), dynamic (DN-57) axis room tone. The second of the two plug- need for a given situation make it a compelling
and ribbon (RB-4038). The final category, labelled ins (Sphere 180) has mostly identical options and relatively affordable proposition. But it still
“Custom”, are Townsend’s own models for their L22 — but the key difference here is that it works can’t replace the tactility, gravitas and physical
mic, majoring on ruler flat responses optimised for as a stereo in, stereo out plug-in. This effectively presence of the real things. Much better, I think, to
both free and diffuse fields. outputs the two models separately, and so by turning view it as an outstanding microphone in its own right,
Where things get really interesting is in the ability the microphone through 90 degrees, stereo recordings rather than a universal replacement. And keep hold of
to tweak the original modelling, creating virtual are possible. those SM57s for now. n
microphones that either don’t or can’t really exist. With an initial recording of spoken word, flicking
These tweaks work at a number of levels — perhaps between the available models reveals the differences PROS L22 is a quiet, neutral-sounding and well-
the easiest to begin with being the polar pattern to be quite complex — there’s obviously a lot more built mic in its own right; LDC models are
control. 9 positions are available in total — with than simple EQ or filtering at work here. The 251 stunning; hugely flexible array of tonal
the patterns available on the original microphone and C12 models, from memory at least, capture the adjustment and response tweaking on offer;
highlighted in green. The plug-in can synthesise nuance and character of those mics in the mid-range ability to make (sometimes radical) changes
any intermediate pattern, even if it wasn’t originally particularly, and the 4038 and SM57 models are in post saves time in tracking; stereo
recording capability.
available. A three-position filter switch is also immediately evocative of the broad characters of
available. This will model any HPF settings available those microphones. But what we really need to know CONS Some non-LDC models not quite as
on the original microphone, and also the pad if it is is how they sound in a straight A/B test. convincing as the real thing; can’t match the
deemed to have had some effect on the tonal quality, In retrospect, I probably went about this the wrong tactility of the real thing; not available as an
although it doesn’t model the associated level drop. way around, as my first experiment was (somewhat AAX DSP plug-in (yet).
Three “standard” settings (60, 100 and 200 Hz) are perversely) to see how the L22 performed compared
provided if none existed on the original. with a real SM57 close up on a guitar cab. And the Contact
You can also virtually rotate the on axis position result was a little disappointing. The real thing had so TOWNSEND LABS INC., USA
of the microphone — this takes a little getting used much more bite and aggression than the model - the Web: www.townsendlabs.com
to as it simply changes the on axis response and not difference was like night and day. Admittedly, I’d Microphone supplied by Source Distribution Ltd.
Web: www.sourcedistribution.co.uk
the polar response, so it’s not exactly like physically picked our newest, freshest and least battered SM57

July/August 2017 resolution 19

 REVIEW

Sontronics Mercury
And there’s a blue LED marked “Tube Ready” which
comes on after a short while when the valve has
warmed up enough for audio to pass — I didn’t time
it — but probably less than a minute.
Is there room in the pantheon of great microphones for this newcomer? The circuit design is a Sontronics original, not
copied from anyone. It uses a 12AT7/ECC81 valve
GEORGE SHILLING gets his winged sandals on.
which has lower gain than the 12AX7 found in the

T
Aria. Yet the sensitivity is the same as the Aria. The
he reputation of the British microphone sought from top artists and producers, and engineers gain is made up elsewhere, and there is a huge amount
company Sontronics has been steadily Andrew Dudman and Lester Smith at Abbey Road of headroom. The components have tolerances of 1%
growing over the last 13 years, and I became Studios. and these are what make this more expensive. But
aware of a number of high profile The package comes in a sturdy aluminium the difference is utter precision and stability across
and highly respected producers and case with customised cut-out foam interior. frequencies. Also, as it warms up, nothing changes.
engineers enjoying their products and The mic itself is in a plush-lined wooden It is totally robust and reliable. The valve employed is
saying very complimentary things case, alongside sections housing the from the familiar Slovakian JJ brand.
about them, particularly the ribbon suspension mount, power supply The barrel of the mic is etched with a large logo
microphones, and especially the and the signal and mains cables. and model identifier, so it’s easy to tell which way
Apollo stereo phantom powered Its appearance is rather different to aim the thing. Unlike the Aria which has the
ribbon mic. I pestered the designer from the Aria, with a shorter, capsule mounted on a single plinth, the Mercury’s
Trevor Coley and his wife Lisa fatter “tin of beans” barrel, and dual diaphragm capsule is suspended, floating and
(who handles marketing) a the round capsule section sitting decoupled with four “arms” attached to the inside rim
couple of years ago, wanting to separately on top. of the circular meshed housing, avoiding resonance.
try one out for myself, but with The Mercury in its suspension Trevor asserts that rigid mounting on a fixed base
none spare, I was instead sent the mount weighs just under 1.5kg, enhances bass frequencies. Indeed, the Mercury
then recently-released Aria for an whereas the Aria is a rather less seems slightly lighter in the bass than the Aria. And it
extended loan period. Suffice to say at about 1.15kg, so a sturdy stand is soon became apparent that the two Sontronics valve
I ended up buying it, and it has become useful. For comparison, my U87Ai in its mics are very different from each other. Although
my “go-to” main mic for most vocalists, suspension mount is under 0.9kg, but we’ve there was a musical glow and a midrange richness,
and many other instruments, despite all seen dented examples of those — I’d initially testing with male vocals Mercury seemed to
my fairly well-stocked collection rather have a heavier mic if it won’t exhibit more clarity and detail in the extreme upper
including traditional favourites from so easily become damaged, and the frequencies, as if I’d boosted the super-highs with
Neumann, AKG, Shure Sontronics mics seem a Maag AIR band or a Kush Clariphonic. With one
and Beyerdynamic. a bit thicker-skinned. female vocalist, although she did not sound especially
The design philosophy Comparing a valve sibilant, the very high frequencies seemed too sparkly.
of the Aria was to mic, my diminutive Reverting to the Aria things were more satisfying,
build a vocal mic using Neumann M147 is gooey and richer in the low midrange. But I wouldn’t
high grade, high spec just 0.7kg, yet seems rule out the Mercury as a vocal mic; some vocalists
components. A British more robust than the suit that enhancement.
designed Chinese- U87. The Mercury’s The Mercury has incredible clean detail in the
built, cardioid-only suspension mount and upper frequencies. When I first recorded cello with the
valve condenser clamp are sturdy, and the Aria, I was surprised that it wasn’t “shinier”. Using
microphone, the clamp for setting the Mercury, I enjoyed that enhancement and the
proof was in the the angle now more restrained low end, especially when blending
pudding: the Aria is a has a single lever which multiple takes. It seems to let music flow like a cool
fabulously rich, smooth, is better than the Aria’s mountain stream, collecting the tiniest details. There
balanced sounding wing nut. It can snag is something special going on that makes the signal
microphone, winning on the mount, but has crystal clear, yet musical and enjoyable.
many awards and a sprung clutch system, Off-axis response seems very natural and exactly
finding a home in so you can pull it out what you might expect, with a smooth high frequency
many a studio. Some and reposition. Spare tail-off as you move round, and good rejection,
modern designs can elastic is provided. although amazingly, at the rear in cardioid there still
sound incredibly The power supply seems to be a trace of that super-high enhancement.
impressive in shoot- is connected via a But the different patterns behave as expected, and it
outs, and do a great job, but ultimately turn chunky male to female 8 pin cable secured is wonderful to be able to fine-tune with the knob. In
out to be a touch over-hyped, sometimes with a locking screw ring at both ends. On many situations, a slightly wide cardioid pattern just
don’t sit well in a mix, and when you get to the the PSU are mini toggles for -10dB pad and low opens up the sound nicely, reducing the proximity
mixing stage, need quite a bit of processing to sound frequency filter (75Hz linear), plus the smooth- effect a touch.
how you thought they might when you recorded. adjusting knob for pattern adjustment, with Omni This is a beautiful sounding microphone, with
But my experience with the Aria has turned out to and Fig-8 at either end, and Cardioid in the middle. its own distinctly hi-fi character. The Mercury is
be remarkably consistent. With some vocalists the Sontronics flagship product, and will undoubtedly
recording has often ended up requiring no EQ, or and deservedly become many studios’ favourite
perhaps very minimal tweaking. microphone. n
Emboldened by the Aria’s success, Coley decided
to go further with the Mercury, spending more on
PROS Rich, clean, musical yet natural, low self-
components, matching the precision and quality noise, valve character with sheen and
of the world’s most expensive microphones, but modern performance, continuous pattern
keeping the price competitive. The new Mercury is, knob.
like the Aria, a valve mic. But there are fundamental
differences. Unlike the cardioid-only Aria, the CONS Quite big and heavy, ultra-high frequencies
seem too boosted in some situations.
Mercury is a variable multi-pattern design (with dual
diaphragm), and this new model is proudly built in
the UK, constructed with components chosen with a Contact
closer tolerance and higher specification. Developed SONTRONICS MICROPHONES, UK
Web: www.sontronics.com
over more than two years by Trevor Coley, input was

20 resolution July/August 2017

 Institute of Professional Sound

Date: 11am-5pm, Saturday 7th October 2017

Venue: Ealing Town Hall, New Broadway, London W5 2BY

A must attend event for all sound professionals

• Informal exhibition area with manufacturers,
distributors, dealers and service providers
• Practical presentation sessions by the
Institute of Professional Sound, plus guest speakers
• Get your hands on the sound gear from IBC
• For all freelancers, location recordists, production
sound operators, sound mixers and anyone with an
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• FREE to visitors
• The perfect opportunity to socialise and network!

TABLE-TOP SALES: JO GILBERT EVENT INFORMATION

email: jogilbert@resolutionmag.com email: info@resolutionmag.com
 REVIEW

the previously mentioned expansion units. The unit

optionally comes with Kahayan’s Solid 4000 modules
installed, a 500 series mono version of the previously
mentioned expansion unit. The 32-500 is £3,749
including VAT, or £3,219 including VAT without
the Solid 4000 modules. You can of course plumb
any 500 Series mic amps in instead for alternative
character and/or enhancement. The ability to use
the Kahayan internal amp or connect the expansion
units — or any other external preamps — is retained
too, by virtue of a three position knob. The other
noteworthy addition is that the 3U height required for

Kahayan
the 500 modules has allowed for extra front panel and
internal space for the bonus feature of insert and pan
buttons for the first eight channels.

Epsilon 32-500
The main 3RU unit is substantially built and quite
weighty, despite the provision of an external PSU.
The power supply is a custom unit labelled specifically
for the 32-500, connected via a supplied 5-pin XLR
cable, a solidly constructed heavy vented metal-cased
A flavour-sum mix — GEORGE SHILLING tests 32 inputs with 500 series gain staging. brick with a toggle power switch and red light, with

P
IEC inlet, fuse-holder and voltage selector on the
ablo Kahayan is the man behind the Kahayan expansion units are stereo input and output 1U opposite end.
brand. Originally hailing from Argentina he boxes with no controls; they simply amplify by the On the front panel the 500 Series slots are
moved to Spain in the early 1990s, and required 34dB to bring the bus up to unity gain. Two central. The Solid 4000 500 Series modules have
the products bearing his name are entirely are available: the Solid 4000 (again, no prizes for no controls apart from a tiny recessed gain trimpot
handcrafted in Kahayan’s factory in Madrid. His guessing the inspiration) and the Vintage 12K72 with (which you might not even notice unless removing
background is in guitar playing and electronics and he a ‘classic 70s British console sound’. the module). This is undocumented in the 32-500
initially married the two, building his own amps and The Epsilon 32-500 manual, but calibration is explained in the manual for
pedals, later moving on to pro-audio. under review here is a the 1RU version of the Solid 4000. A “puller” knob
The Kahayan range of Epsilon summing mixers further development of the is thoughtfully provided on the front panel of each of
includes the extremely simple eight input/stereo Epsilon Studio, expanded the 500 Series modules to help with installation. To
output Epsilon Mini, the similar Epsilon Limited with 32 inputs, and their left are momentary shallow-travel illuminating
4000 based on a certain famous British mixing uniquely for a summing pushbuttons, two rows of eight for the first eight
desk’s summing bus, and the Epsilon Studio, a 24 mixer providing two 500 channels for panning to mono (instead of alternate
input model with internal Kahayan summing bus series slots. These are implemented in circuit as hard Left and Right panning) and hardware insert
or externally connected optional expansions. These summing bus gain staging to bring up the level as per enable. To the right of the slots are a pair of cute retro-
 REVIEW

style VU meters showing mix bus level (+4dBu) and is for the stereo input and output of expansion units or get a louder average mix. This is certainly possible,
an enormous knob which is the master fader. But you any other external preamps for use with the External but I found that the headroom was pretty huge, and
won’t be using this for fades, because it is stepped Bus setting. There are then SEND and RETURN even gaining the inputs up to match the master fader
using resistors rather than being a potentiometer, connectors for the first eight channels, enabled from at its lowest, there was nothing nasty happening, just
and adjusts the final level output after summing the front panel. And finally four INPUTS for the 32 a small increase of warm crunch.
from -16 to +10dB. To the right of this is a rotary input connections. There is plenty of space inside the The External option lets you bring any other
knob to switch between 500 Series, Kahayan Bus case, with the 3RU height mainly necessary for the flavours you desire. I hooked up API mic preamps
and External Bus for the summing mode. Below is a 500 Series modules vertical orientation. on the External bus and a hint of API magic
pushbutton for master insert, and finally a toggle for With normal, relatively conservative levels, the enhancement — that subtle musicality and high
power with accompanying red light. Solid 4000 modules seemed to add a touch of end richness — was added to the mix. And using a
On the rear is the 5 pin XLR connection for the immediacy to the mix compared to the in-the-box Thermionic Culture Rooster seemed to add a touch of
PSU, and a selection of DB25 connectors, all wired version, bringing vocals forwards a tiny bit and width. But the sonic performance of the Kahayan is
using the usual Tascam protocol. The first labelled adding a bit of vitality. The Kahayan bus was impressive in all modes, with a very low noise floor. I
MAIN comprises two stereo outputs, and stereo perhaps a little more ‘hi-fi’ and neutral, closer to the suspect that differences in the make-up gain stages is
master insert sends and returns. Having two main in-the-box mix, but the difference from the 4000 only half the story when it comes to summing, as the
outputs is handy for perhaps printing an unprocessed was fairly subtle. The switchable inserts and pans signals must have been summed before reaching this
version along with one routed through a limiter, or on the first eight channels were useful — it’s easy to stage, hence differences being very subtle.
simultaneously bouncing a backup to another rig at re-route outputs to make use of these as necessary, I was perhaps expecting more dramatic character
a different sample rate. A pair of sex change XLRF to and having a switchable insert for the main bus is shifts with the different options and possibilities that
XLRF adaptors are thoughtfully provided in the box certainly handy. the Epsilon 32-500 offers, but I’d want to live with
for the stereo return inputs, in case you want to use a The Solid 4000 summing lends mixes a hint of this for rather longer than the brief review period
DB25 to XLRM loom for this connection. I connected the familiar sound of hit records from the last few to get to really know the subtleties of character. But
directly to the patchbay instead. The PASSIVE decades. The suggestion from Kahayan is that you however you use it, the Kahayan sounds grown-up,
connector utilises only the first four connections and can “smash” the Solid 4000 bus to crush peaks and professional and full-size. n

PROS Unique provision of 500 Series slots for

summing bus gain, recreation of SSL-style
circuit and Kahayan’s own circuitry for
summing gain, good headroom, low noise.

CONS No level trims for the 32 inputs, different

make-up gain amps make for only subtle
differences.

Contact
KAHAYAN AUDIO, SPAIN
Web: www.kahayan.es
UK distribution: www.sxpro.co.uk
 REVIEW

to almost exclusively use Pro Tools’ Edit window but

parts of the Tracktion arrange window are messier,
especially in the way the insert plugins, faders, solo
and mute buttons stretch to fit the space of their
column, with their size varying. On the new mixer,
their icons are uniform, with the exception of small
displays for EQ curve and suchlike for native plugins,
which are no bad thing. Resizing the mixer causes
its arrangement to change depending on screen real
estate, but if there is not enough space some plugins
can disappear off the bottom edge above the faders.
T7 already introduced the ability to group and
link clips. Time stretching and pitch manipulation is
made easy, and you now have the benefit of both
Elastique Pro and Melodyne built in. You can choose
different flavours of Elastique per clip, for example
“monophonic” or “efficient”.
MIDI functions are much improved, with a new
Detail Editor piano roll which opens up a window
rather than having to stretch out the track in the Edit
window, with controller lanes available at the bottom
as necessary.
The included Master Mix plugin includes different
styles of EQ and multiband compression, but the UI

Tracktion Waveform
packs myriad controls into a small space with very
tiny lettering and had me squinting.
Control surface support is good and I very quickly
set up my Eucon faders in MCU mode, and Waveform
GEORGE SHILLING tests a re-designed and re-branded DAW aimed at creative music production. instantly cooperated. There are new keyboard

W
shortcuts but all can be re-mapped in legacy mode,
e looked at Tracktion version 6 in October multitrack projects, a Projects operations window Ableton or Cubase style; no Logic or Pro Tools
2015 (Resolution V14.7), an incredibly where resources are listed, and the Settings page with mappings are provided but you can customise. And
resource-light and user-friendly DAW, subsections for setting up Audio and MIDI Devices, for mixing, automation remains simple but effective.
and since then, version 7 last year Plugins, Shortcuts and so on. With an open Project There is now a downloadable PDF manual which
added a number of features. Renaming the software tab selected, a familiar edit or arrange page takes is well written, along with a separate Quick Start
as Waveform, this represents the eighth incarnation up most or all of the screen, but there are pop-out guide. But while claiming to cover Waveform 8, it is
of the Tracktion Corporation’s DAW, adding significant sections beside and below. There is a sophisticated in beta and fails to cover the new Mixer, MIDI Editor,
new features, whilst aiming to retain the economies browser section on the left, with buttons to switch Melodyne integration and many other features. But
and simplicity of earlier versions. between Files, Tracks (a list in addition to the track within the program itself there are extensive help
Although essential Tracktion principles persist, labels where you can disable or hide tracks), Markers, balloons available, popping up on hovering the
Waveform is no longer a single-window DAW, with Clipboard (for multiple items), and a Search section mouse pointer over each feature and button.
the addition of new Mixer and MIDI windows. It was for finding Loops, Presets (for plugins or Step Clips) Tracktion Version 5 is now available completely
always difficult to visualise the mixer balance from and Plugins themselves, with Tracktion’s own plugins free, a capable DAW with an astonishingly tiny
the display in older versions of Tracktion so this is listed before all AU/VSTs in alphabetical order. There 10MB installer. But the much-improved latest
a welcome addition. T7 updated the UI to look more is a system of Tags at the top which is particularly version (8) of Tracktion Waveform Basic is only
modern, and you can now customise colour schemes useful for searching the Loops. This had already $99. Waveform +Pack includes extra plugins (like
and quickly select different colours for different clips, scanned and listed all my installed Apple Loops Melodyne Essentials) and instruments for $150, and
with the appearance heading distinctly in the direction which came with Logic Pro X. On the right is the the Ultimate version with Tracktion’s “revolutionary”
of Presonus’s Studio One V3. This is traditional Tracktion Biotek Organic Synthesizer is $200. The app itself
a useful thing, and makes you feel mixer section where still comes in at just 42MB, compared to Pro Tools
more like you are using modern plugins can be dragged and Logic Pro, which both seem to be about 1.8GB!
music production software rather onto tracks, with However, the full download installer for Waveform
than a 1990s CAD package. And accompanying Mute is over 3GB, partly due to the included demo songs.
that is specifically what Tracktion is and Solo buttons. There is a lot of competition in the budget DAW
designed to do — music production. But you might want market, with appealing offerings like Reaper, Mixbus,
It doesn’t have all the bells and to hide this in favour Studio One, FL Studio and slimmed-down budget
whistles of the major packages, but it of the new Mixer, versions of bigger packages like Cubase. But for
is more clearly targeted towards one especially if you have general music making and programming, Waveform
particular job, rather than trying to be all things to two screens available. Below, you can invoke an feels particularly fast and snappy. It is a DAW I would
all departments of the audio world. Having said that, information panel, with a host of menus, drop-down unhesitatingly recommend to musicians or novices.
you can usefully import and run video in synch. lists, a large central area for Clip properties, or by And although professional users might miss some
Installation is quick and there’s a to-do list wizard selecting a different tab, Loop Properties with full advanced functions, there is nothing to stop you
to work through, establishing settings, educating and editing possibilities. diving in and making great music, with little to slow
getting you up and running. The only lengthy part The Mixer can appear underneath the Arrange you down. n
was scanning my enormous collections of AU and window on the same screen, resizable by dragging
VST plugins. This took absolutely ages. But once the border — much like Logic Pro. Or it can appear PROS Cheap, easy to learn, new Mixer and MIDI
this is done, subsequent launches are incredibly fast. in its own tab, easily detachable to place on a second Editor windows are useful improvements.
As well as running on Linux, Mac and Windows, monitor screen. At the top is the Arrange Overview
Waveform will even now run on Raspberry Pi, section which looks like Pro Tools Universe display CONS Quantize value scheme is slightly odd,
manual doesn’t cover new features.
although I can’t imagine you can run many VSTi. I along with rulers, but this version is better featured for
downloaded the Mac installer, which includes both 64 navigating around the session — and more usefully
and 32 bit versions. is available above the mixer rather than the Edit/ Contact
Similar to previous incarnations, the main window Arrange window. You can zoom and scroll with the TRACKTION, USA
Web: www.tracktion.com
is tabbed so you can flip between multiple open mouse, and reposition the transport or markers. I tend

24 resolution July/August 2017

 REVIEW

Focusrite Red 8Pre

outputs as desired, ideal for surround monitoring
applications. The GUI on the control software is simple
and easy to use. Users can assign custom mixes to
each individual output. Selection can be made from
RUSSELL COTTIER checks out the new flagship of Focusrite’s audio interface range. a drop-down to either directly route channels, or

F
faders can be added for each input or DAW playback
ocusrite has long been in both the preamp further metering options would have been welcome channel. In use the simplicity of this is very effective
and convertor games, the Red 8Pre combines too. It’s notable also that outputs cannot be metered and allows near zero-latency monitoring to be set up
the two. An audio interface that can run as at all so it’s really not ideal for an analogue mixing or with minimal hassle. However there are no on-board
Core Audio via Thunderbolt 2 or Dante and summing scenario. DSP effects as with several other units in the same
as a Pro Tools|HDX or Pro Tools|HD Native convertor The final screen sits adjacent to the output rotary price bracket, so monitoring options are fairly basic.
via the dual mini-DigiLink ports. The unit sports encoder which defaults to control monitor gain and Routing presets can be stored within the software so
64x64 I/O in total with eight digitally controlled Red mutes the monitor outs when pressed. To the right it would be possible to have a preset for tracking a full
Evolution Mic Pres. Each offers an Air function where of this there are or four buttons: Meter, Monitor and band, one for vocals etc.
the impedance is lowered and the sound is given a two for Headphones. The Meter button lets us select The rear of the unit sports the usual IEC power
gentle mid and high boost, to recreate the sound of the sets of inputs for the central metering window. connector, two ethernet ports for Dante, Word Clock
the transformer-based mic preamps in the ISA and The Monitor button shows the Monitor Overview connectors and loop sync. There are dual Thunderbolt
original Red ranges. The unit comes packaged with screen, which displays the host connection mode, 2 ports and two pairs of ADAT lightpipe sockets,
some Softube plug-ins, Drawmer S73 Intelligent sync selection, Monitor level, Dim and Mute. A stereo SPDIF and a pair of 1/4” TRS sockets for Monitor
Master Processor, TSAR-1R Reverb, Tube Delay output meter is present on the screen also. outputs. Two mini-DigiLink ports are present for Pro
and Saturation Knob. You also get the Tools. Five DB25 connectors offer line
Focusrite Red Plug-in Suite that aims to outputs 3-18 and line inputs 1-16 and the
model Focusrite’s classic Red range 2 and eight microphone inputs.
3 equaliser and compressor hardware. Overall in general use the preamps
Looking at the unit we see a machined, sounded great, they were clean
brushed-aluminium front panel anodised and clear and the Air control offers a
in red. An indented figure of eight logo lovely sheen. Super low latencies are
sits adjacent to two high-impedance achievable, and the surround monitor
instrument inputs on 1/4” TS sockets. volume control via the outputs encoder
An array of eight illuminating, red plastic was very useful. However the unit is
buttons selects the input channel. The not completely silent which is somewhat
input rotary encoder sits to the right of a bugbear. Also it should be noticed
of these buttons. The encoder has the that Focusrite recommend not mounting
standard stepped feel and includes a push the unit adjacent to any power ramps
function. Whilst the encoder housing and knob is not If we hold the Monitor button we can access or rack units that give off significant heat as it is
as robust-feeling as certain others on the market it another submenu which gives us Mute and Dim likely to increase the workload on the cooling fans.
seems like it will do the job sufficiently. controls, again this seems rather superfluous and At £3,199 this unit is placed at a price-point where
The centre section comprises three OLED screens could perhaps have been completed on the front panel there are several major competitors, many of which
with the leftmost defaulting to the Preamp Overview without a submenu. Global parameters are accessed offer on-board DSP, but it does of course have the
which shows either inputs 1-4 or 5-8. The input type, by pressing both buttons but these can easily be eight preamps built in. The menu functionality on
gain and phantom power are displayed and icons turn changed in the Focusrite Control software also. A the unit is perhaps lacking some obvious ergonomic
red to indicate clipping. Gain and input type can be rather useful parameter is the Retain function which tweaks as well. That said, Rednet Control integration
accessed from this screen using the rotary encoder. allows selection of whether the phantom power for the unit is coming soon. However, if you are
The Preamp Focus view can be accessed on settings are retained from the previous session after a looking for a quality 1U interface with on-board
the left screen by simply pressing one of the input power off-on cycle, of course this is important as one preamps and a nice clean and clear sound it could be
selection buttons. This brings up a larger view of might be using sensitive ribbon mics. the option for you. The Dante and HDX/HD Native
the gain control and shows settings for phantom The two headphone outputs have good quality, connectivity certainly put it out there in a position to
power, phase, HPF and Air. However to actually relatively high output amplifiers and are ideal for fulfil specific needs. n
change these settings it is necessary to hold down most project studio set-ups. I had no problem running
the input selection button. This brings up a further phones via a 12 metre multicore for talent. It should PROS Great sounding Preamps — Air function is
view allowing the rotary encoder to be used to scroll be noted that there is a fan in the unit, it is not loud very useful. Compact size. Thunderbolt 2,
through the parameters. It does seem that the Preamp but could be an issue in a very small control room. It Dante and mini-DigiLink ports offer excellent
Focus view is a little redundant, hopefully firmware is also worth noting that the output encoder has some connectivity.
updates will address this at some point notable lag time when adjusting volume.
Next we have a central OLED screen for the Deeper functions are accessed easily via the CONS Menu system is too complex. No on-board
DSP effects. Metering display lacks flexibility.
meter display. Again it doesn’t quite hold up to some Focusrite Control software which comes as a free
other similarly priced units on the market, whilst a download. All parameters can be changed and
reasonable resolution OLED screen has been used usefully different monitoring configurations can be Contact
only eight inputs can be viewed at any one time. set up, so the output encoder can control volume to FOCUSRITE, UK
Web: www.focusrite.com
Granted the metering is large and clear but some the left and right outputs plus as many pairs of line

July/August 2017 resolution 25

 REVIEW

Grace Design m900

“headfi” hi-fi fraternity. It certainly knocked the
spots of a weighty copper-bottomed piece of hi-fi
extravagance in my collection. If you’re a Grado

DAC/Headphone Amp
PS500, Sennheiser HD 800 or Beyer Tesla listener
you will not be disappointed. The DSD capability will
also tap into a particular audiophile clique.
So what does the m900 sound like? A DAC is
the single most important benchmark tool for an
Reference replay — NIGEL JOPSON finds good things come in small packages. audio pro: we assess everything we produce via our
digital converters. We EQ instruments and blend our
mobile operation is entirely mixes according to what we hear through our DACs.
possible! I also successfully Like many outstanding reference devices, the m900
tested the optical and S/ (depending on one’s regular DAC) can seem slightly
PDIF inputs, which can be unimpressive on very first listen. We get used to
selected by entering the the subtle sonic signatures of our regular kit — we
setup menu mode with a miss the colouration — and the m900 has ... none.
2 second push-and-hold Resolving, transparent and fast would be descriptive
of the encoder. The last- terms that come to mind; in my case, I noticed how
adjusted menu parameter separated the notes of instruments were, and how
will be displayed, and can unblended the lower frequencies of a mix were.
be toggled by a quick press Compared to my regular laptop interface, I missed the
of the dial. warm smeary glow at the low end, and realised I had
Apart from source select, probably over-EQd or over-transient-shaped tracks at
when in menu mode the high end. You won’t hear the m900 — you hear
several other options can through it. Production pros will recognise the other
be adjusted: Crossfeed on/ hallmark of a good DAC: I suddenly found myself

T
off for headphone outs, impelled to turn the monitor level down, feeling I
he m900 is a portable DAC dimming of the front panel could happily hear enough to work at lower levels ...
and headphone amplifier, display, power-up default much lower!
with a desktop friendly gain level, USB mode 1 In fact, the continuous volume control is one of the
design, offering multi-sample or 2, incoming sample rate killer features of the m900. Each click up or down
rate audio playback from USB, display and 4 different DAC is equivalent to 0.5dB, with the right-hand decimal
S/PDIF or optical sources. The m900 filter settings. point illuminating to indicate a step: “48.” indicates a
DAC uses the latest generation AKM The DAC filters are basic value of 48.5dB. A volume level of 90 is “unity gain”
4490 chip, which features 32-bit roll offs, with associated and the m900 will then produce a 2V output signal
processing and supports sample rates analogue-like minimum for a 0dBFS input signal. A press down on the top of
up to 384kHz PCM or 256x DSD. The phase effects, or digital- the controller mutes the output, dimming the display.
S/PDIF input handles sample rates from 44.1kHz to domain linear phase equalisation. The choices are: Just like an analogue control room pot, the level can
192kHz, whilst the optical TOSLINK input will handle F1-sharp roll off linear phase; F2-slow roll off, linear be precisely adjusted whilst in mute mode, and then
44.1kHz to 96kHz. The USB interface operates in phase; F3-sharp roll off, minimum phase; F4-slow switched back on with a single push. L-R Channel
asynchronous mode, allowing the m900 to be the roll off, minimum phase. Grace provide a useful balance at very low gain settings — an annoyance for
clock master, which makes the system immune to explanation in the manual of which DAC Filter setting many mixers — is impressively consistent.
USB bus jitter. might be appropriate for which type of music. The You’ll have to pay around three times the price of
The m900 can operate as a USB Audio Class 1 or effect is pretty subtle, I found myself preferring F3, the m900 to match it’s playback performance with
2 device, and requires a computer with a USB 2 (or which Grace describe as: “Not linear phase in the pass other pro-audio hardware. The m900 is the perfect
3) port. In Class 1 mode the m900 supports driverless band. Fast roll off protects against aliasing distortion piece of kit for the mixer working in-the-box, or for
operation on Mac OS and Windows up to 96kHz. In from high amplitude high frequency content. Best for playback in editing rooms. With most modern DAWS
Class 2 mode, the m900 supports driverless Mac Core recordings that are loud, compressed and with lots of now capable of selecting different USB interfaces
Audio operation up to 384kHz; for Windows, Class treble.” My kind of music, I guess. on input/output sides, I found myself listening back
2 operation requires installation of the Grace Design There are two 1⁄4” headphone output jacks on the through the m900 all the time. I guarantee even
‘XMOS Stereo USB Driver’ which can be downloaded front, which are wired in parallel. The jack on the hard-working audio pros will be tempted to start
from the support area of their web site. right is a switched type. Connecting headphones to listening to music for pleasure with the m900, it’s
The extremely sleek little black box has 3 input this jack automatically mutes the line outputs. The performance at super-low monitoring levels is really
choices on the back: a mini USB 2, S/PDIF and switched (via menu) crossfeed for headphones is outstanding. Overall, a superb DAC to rival the very
TOSLINK. Two gold plated RCA/Phono sockets provide pretty discrete, it won’t transform your cans into a best, providing a generous range of sample rate and
the unbalanced line out, and there’s an extra mini pair of loudspeakers, but for those who like this sort input choices, with the unusual digital filter options
USB socket for an additional 5V power input from a of thing, it seems a low-THD implementation of the and an admirable headphone drive capability. If you
(supplied) 2A wall-wart, although the unit may also effect. Easy to drive headphones (as often found in don’t need analogue input in the same box, and you
be self-powered via the input USB. “High power” studios) can actually be more challenging to power for want a great monitor controller and headphone amp,
mode seems to have a little high fidelity. Lower impedance, the m900 is about as good as it gets. n
bit better bass control plus easy to drive, headphones
treble extension, and seems require a lot of current, rather PROS Benchmark performance, generous range
more effortless reproducing than a lot of pure power. You also of sample rates, a good match for even the
layered music with a lot of need a low output impedance for most esoteric headphones.
hard transients. It’s possible damping. Ultra-low impedance
CONS None at this price ($499), although a
to connect an iPhone or iPad outputs means the m900 can balanced line out would complete the pro
using the Apple Lightning drive a lot of current, especially package.
to USB Camera Adapter, since it can deliver 1030mW at
for Android devices you 32 ohms, and 57mW into 600 EXTRAS Comes with PSU, 2 good quality USB cables &
printed manual.
will need an “On The Go” ohms. If you can’t get enough
USB cable. I connected power for your headphones from
my iPhone successfully — the iPhone can’t supply the m900 you’re either deaf, or you’ve blown the Contact
sufficient power — but I did manage to power the cans. With its linear response and lack of IMD, GRACE DESIGN, USA
Web: www.gracedesign.com
m900 from a typical phone charging pocket-brick, so the m900 is bound to become a favourite with the

26 resolution July/August 2017

 REVIEW

DPA d:vice MMA-A

tone, but is more isolated from vibration and avoids
off-mic moments. I’m always impressed with the
full-range sound theatrical engineers manage to get

Digital Audio Interface

by taping DPA omni lavaliers to actors’ foreheads,
normally just around the wig/hair line.
The 4018 is a supercardioid capsule, part of
the multi-faceted d:dictate microphone series. I was
surprised at the extent to which the usual rear lobe
NIGEL JOPSON enjoys some mobile audio thanks to an innovative of a supercardioid is reduced with this design: if
interface from the Danish microphone manufacturer. you face the capsule away from an unwanted noise
source, you’ll benefit from a large amount of spill
when engaged: this came rejection. If the 4018 is located where the talent feels
in handy when using obliged to “speak into the microphone”, some care
MetaRecorder, as I had a is needed with positioning and windshields to avoid
few random feedback/gain pops and windblasts. The 4018 would be a great mic
events before I realised the to use in a rostrum setup, or in any situation where
need for it! The Lock feature several different people present themselves in a high-
will also be welcomed by background-noise environment to give statements.
broadcasters assembling a DPA’s UK distributor, Sound Network, have some
package with the d:vice and interesting videos and downloadable .wav files on
appropriate microphones for their YouTube channel, demonstrating this mic’s
non-technical journalists. capabilities in a podium-style setup.
The usefulness of Overall, I was very happy with the performance
the d:vice for ENG is of the d:vice when recording to the iPhone. The only
clear. The two channels improvement I could suggest would be to add a Dual
(one for reporter, one for Mono mode to the app, where, in the event of using

T
interviewee) and DPA mic a single microphone routed to both L & R, a reduced
he d:vice is a two-channel microphone preamp quality will make for a big step up from some gain, backup-capture recording could be set for one
and ADC offering mono, dual and stereo of the reporter-mic solutions currently employed. channel. Some portable recorders have this feature
capabilities, supplied with Lightning and USB Live streaming apps have transformed the mobility as a preset and, while I am by nature a conservative
cables. MicroDot inputs allow the d:vice to be and speed to transmission for news gathering, but level-setter, it has sometimes proved useful — in light
connected to all DPA miniature microphonescapsules, sometimes quality has been questionable. Without of unexpected events — to have an extra recording
including the d:screet Miniature, d:fine Headset, d:vote a sound operator, it’s to be expected that reporters with 16dB more headroom! The d:vice is also supplied
Instrument and d:dicate Recording microphones with in the field struggle with some of the less-than-ideal with a USB cable for Mac or PC connection, and serves
the optional MMP-G preamp. Measuring a mere solutions they’ve been provided with. The renowned very well as a high quality preamp/ADC at sample
56mm (2.2”) in diameter, just 13mm (0.5”) deep resilient quality of DPA lavaliers, secure connections rates of 44.1kHz, 48kHz and 96kHz. It is necessary to
and weighing 50g, the d:vice on the d:vice and simple controls on the app will bring ensure the d:vice gain controls are unlocked from the
is small enough to fit a pocket an improvement for any broadcaster who invests in iPhone app before using with a Mac, otherwise Core
and light enough to be securely the d:vice. I tested the d:vice with Voddio and Report- Audio will be unable to offer input gain adjustment.
taped on location. IT, two live reporting apps for iPhone which stream If you already own MicroDot-equipped DPA
DPA have taken the clever (bi-directionally, with talkback, microphones, the acquisition of a d:vice is a no-brainer.
strategic decision to control in Report-IT’s case) via a codec It will deliver high quality recordings when the use of
the d:vice via a middleware address over cellular networks. wireless packs is not desirable, or could be used as a
app on iOS. This was a canny Once set and locked, the backup to wireless with identical mics. The miniature
design choice: many iPhone d:vice app successfully passed bits and bobs required to mount DPA capsules will be
videographers will already be high quality audio through second-nature for production sound pros, but I suspect
using Filmic Pro or Mavis, to the live stream with no the sets which DPA have pre-packaged are more likely
and many video shooters/ complications. to be purchased by videographers seeking to upgrade
soundies who use iPhones as In terms of production sound quality. Although the operation of the d:vice
recorders have standardised on sound, I believe the d:vice will itself is incredibly simple, DPA might usefully include a
MetaRecorder, because of its appeal to two groups of users. little booklet explaining various methods of mounting
ability to work in a Master-Satellite mode linking 4 The experienced soundie, who microphones, and how the tiny K’Nex-like clips for
iPhones. Future firmware updates for the interface probably already owns a mini- DPA capsules should be assembled, for the benefit of
can also be delivered via the app: updating the app arsenal of DPAs, will welcome audio neophytes.
will automatically update the firmware, which takes an on-talent recorder which With a quoted noise floor of -114 dBFS, THD of
about one minute to conclude. The ability to set gain comes pre-equipped with MicroDot connectors. The 0.001% (1kHz, -10dBFs), the recording quality of this
individually for 2 channels within an iPhone is quite d:vice (£430 ex VAT) will also appeal to the self-op, DPA rig exceeded any other iPhone setup I’ve used.
unique, as the iOS environment normally only allows run-and-gun videographer looking to upgrade audio. The d:vice is a worthy addition to the renowned DPA
one parameter for gain. The d:vice app allows users DPA have five different kits: the d:vice 4060 Lavalier microphone portfolio, is sure to increase sound quality
to store settings in dedicated presets, and passes the Kit (£630), Double Lavalier Kit (£895), dD:fFine 66 for many ENG users, and will provide established
audio through to other apps for actual recording. Headset Kit (£765), d:fine In-Ear Headset Kit (£835), production sound pros with welcome extra options
The d:vice app is a free download from the Apple and finally the VIDMK-HYB1 d:vice Digital Audio Kit on-set. n
App Store, and offers the facility to adjust Gain, (£1,785) which Resolution tested, which contains a
set Mono (a single mic is sent to both channels) d:screet 4060 Lavalier and d:dicate 4018 mic. PROS Fantastic quality, low-noise 24 bit recording,
Stereo or Dual modes, engage an 80Hz 2nd Order The omnidirectional 4060 is well known for it’s with <100mA current consumption,
high pass filter, monitor input and save settings. natural sound, on or off-axis, which has assured delivering hours of audio on iPhone.
I successfully tested the d:vice recording audio to its popularity. When mounted in classic broadcast
video with FiLMiC Pro, the iPhone standard Camera position on the chest with a clip, this mic is capable CONS None. DPA could usefully improve their
bundled products with an instruction book
app, and recording audio-only to MetaRecorder plus of remarkably full sounding vocal reproduction. For aimed at videographers.
GarageBand. If an iPhone headset with microphone is street interviews where intelligibility is paramount,
used for monitoring, headset must be connected prior I get a better result mounting with the diaphragm
to the d:vice to prevent the headset mic being used pointing upwards on a shirt collar. For action sports, Contact
- due to iOS ‘last entry active’ behaviour. A “Lock” I’ve had success taping the little beast to hat or helmet DPA MICROPHONES, DENMARK
Web: www.dpamicrophones.com
button prevents 3rd party apps from controlling gain brim, facing down, which produces a thinner vocal

July/August 2017 resolution 27

 CRAFT

J Jimmy Douglass
immy Douglass (aka “The Senator”) is a four-time Grammy-winner, with
a career spanning over five decades. He grew up in Philadelphia’s inner-
city and was part of the black culture of church singing; his mother played
organ and piano. So it was natural for him to develop an interest in music.
He studied piano, taught himself guitar, drums and bass, and played in
Jay-Z on the mic, Senator Jimmy on the faders. GEORGE SHILLING gets
local bands as young teenager, dreaming of fame. While still at high school,
he started as a part-time tape duplicator at Atlantic Records in NYC. Around some insight from the man who mixed the hip-hop album of the moment.
the dawn of the 1970s he learned the console, and trained with several of the
greatest engineers, producers and label gurus of the time including Tom Dowd, Brighton and made records for six months, it was fantastic!’ In 1994 he started
Arif Mardin, Jerry Wexler and Ahmet Ertegun. Douglass worked with many a lengthy partnership with producer Timbaland, and the pair collaborated on
Atlantic artists including Aretha Franklin, Hall & Oates, Roberta Flack, Donny many successful records including Aaliyah, Ginuwine, Missy Elliot and Jay-Z.
Hathaway, Foreigner, Led Zeppelin and AC/DC. During the ‘80s he continued to This continued into the new millennium with Snoop Dogg, Bjork and Grammy
engineer and starting producing, working with the likes of The Rolling Stones, winning albums for Justin Timberlake. Jimmy has also mixed albums for Rob
Slave, Odyssey, Roxy Music, and flew to London to work with Gang Of Four Thomas, Sean Paul, Kanye West, Ludacris, Al Green, John Legend, and more
at Abbey Road, and Duran Duran at SARM. Other UK trips included records recently The Internet, Pharrell Williams’ G I R L album, and the highly acclaimed
with Elkie Brooks and Billy Cobham. He helped launch the Phil Collins era of recent Jay-Z album 4:44. Forthcoming releases include an album by Amadou
Genesis’s success, mixing Follow You, Follow Me. He moved to the UK with his & Mariam. Jimmy has his own studio, Magic Mix Room in Miami, and helped
songwriting partner: ‘we hired a semi and parked it in someone’s back yard in develop his eponymous “The Senator” hardware compressor.

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Have you ever walked out of a project, or do How did you become known as
you see everything through? “The Senator”?
Personally, I do have that loyalty and I will do that That was Timbaland and me. I was on the precipice
— that was something instilled in me from Atlantic of a whole new career — how would I know? But we
Records. I walked in eagerly, and worked under Jerry were doing Ginuwine and there were things in our
Wexler and Ahmet Ertegun, and they would give me future, we had got the deal for Ginuwine while we just
stuff and I felt beholden to always finish stuff they finished the record, and we were just talking, because
gave me, and never disappoint them. The only major the record sounded f****** incredible. We’d done the
time I had to disappoint somebody was Vernon Reid. Aaliyah record so we were feeling good, and he and
I was working with him in the 90s after he was with the manager said, how do you want to be credited?
Living Color, and he was doing a fantastic project And I said, what do you mean? It’s Jimmy. He said, no
that re-taught me a lot, with two DJs spinning and a man, you can’t be Jimmy, that’s that other guy who did
live drummer, and I was blown away, this was some whatever. You gotta come to the new thing, you need
new shit. Somewhere along the way it took too long a handle. I’m a good controller and politician between
and I ended up in Rochester, NY — with Jodeci and them and A&R, it’s part of the gig. So they said, you
Timbaland — he was just a kid. I went up there for should be The President. I said, nah, I don’t want to be
a week or two, and ended up having to be there the president! But … a Senator I can be!
for months, and Vernon was like, dude, we need to
finish this project. And I was like, I can’t come back, No I.D. with Jimmy Do you use things like MaxxBass?
but the way I’ve put it together, you’re gonna be fine — all you’ve got to do Absolutely, I use them a lot, probably more indie, half-rock based projects. In
is follow the numbers. That’s the only time I didn’t finish a project. But that hip-hop you don’t really need that stuff because you put those low 808s in and
became the beginning of a new career [for me]. it’s got it already. You’ll end up covering the natural resonance of those 808s.
You don’t want to cover those over. When there’s no real bottom there it creates
Do you have a collection of drum samples to use for replacement? a false bottom.
I really don’t like to do that. In this modern age, everybody has samplers ...
and things and things and things. I have this inner belief about recording that When working with programmed drums, do you ever use very
when you make the record, you pick the shit that you want. If it’s decent, that short reverbs to add richness?
is the basic image you want to hear again, if you’re replacing, I consider that I have not been very successful with that. Every time I try and do that I cloud the
production as opposed to mixing. sound up. The more I do that stuff, the further it gets away from where it started.
Some people’s ears are tuned to a certain kind of thing; my ears are really more
But when you’re producing you’ll do that? tuned to “natural” original content. Even back in the day with the boards, I’d be
Absolutely. And I also do it during mixing as well, but I’m trying to say ... what’s EQ-ing a vocal or something for a while, going in and out, and after 20 minutes
the perfect way to do it! But I have a gazillion samples and they’re all different. or so messing with it, I’d push the button in and out, and it would sound like the
I’m not one of those guys — there’s a few mixing engineers I know who have original sound. That would happen more than 70 or 80 percent of the time when
their little collection of three or four drums and will always replace a particular I was working, so I’d think to myself, for some reason you have the natural
sound with their regular sample. Mine is like a day-by-day situation; I only do ability to hear the sound that was there. My skill is to tone other things, other
what I need to do, based off what’s in front of me. spatial relationships where I can enhance the dimension of the record.

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What spatial effects might you add on a like what it sounded like,
lead vocal? because I’d spent my life
I love delays instead of reverb. I usually put two making great sounds. And
delays. I put one delay at an 8th perhaps, then I if you understand what rap
put another delay at a 16th with a little bit of regen is, they were doing it over
on it. So I’m actually putting reverb in its own records, there was noise …
way. But very subtly. I used to use the [Lexicon] It’s a generational thing. I
PCM42 a lot, that was my go-to guy. I’d put it on was working with Japanese
the double setting which makes it 8-bit. That’s people making what we
how to me a vocal sounds really nice. When you call Karaoke, but it didn’t exist yet. And I didn’t
have the same resolution delay it just sounds like really enjoy working for these people, but I thought,
a delay. When it gets that warm, dull 8-bit sound it if you’re gonna do this, you need to stop giving other
just makes it smooth itself into the track a little bit. people a hard time about what they do, because they
don’t really care about any of this stuff, and it’s just
Do you use de-essers? Jay-Z with Jimmy
business. And once I understood that, that’s what
I kind of stay away from them, I’ve always hated turned it for me. I used to be a horror, very tough to
de-essers. I’m also the guy that back in the day wouldn’t use Dolby. I refused deal with back in the day.
to use it, I would take the tape hiss over the Dolby, because it changes the
dynamics of what you’re trying to put down. The de-esser does kind of the same So how did you grow to love rap?
thing to me, so I will judiciously put it in at a place where it’s necessary. Or what I started having these kids come over to my house, because I wanted to
I do a lot is I run through the vocal and where there’s some really bad spots I’ll understand, what is it that they fucking hear in this shit? So I started putting ads
actually EQ them down by hand. out in New York City, and I would find these little bands that were really cool,
and I’d say come over to my house. I had this record collection I grew since I was
When things switched from analogue to Pro Tools, how was that a kid. They’re going through the records going fucking nuts, and I’m thinking,
for you? this is the shit I used to listen to, what’s the big deal? Then they go, oh man,
Back in the ‘80s when I worked at Atlantic they owned a Synclavier, so I did a this part here, take this part! And I would take the part and loop it. And they’d
deal with them for about six months. I said, don’t give me any sessions, I’ll do say, have you got one of those beat things? And I’d go to a drum machine and
digital mastering — which was a new thing. And when it first came out, it was go booh, bap, boo-boof, bap-boo-boof, and they’d go, oh man, you’re a dope
just converting analogue to digital, and they called that mastering. So I said I’d producer! And that was the beginning of understanding how they were hearing,
do mastering at night, the conversion stuff, but let me have the Synclavier and and teaching myself to just listen in a different way; listening to the parts of
the room during the day. I taught myself how to convert analogue to digital. And records — I’m a linear listener to a record. A record starts here, and it ends over
so when Pro Tools came along I looked at all the kids with it and said, are you here. They don’t perceive in the same way. They can take a little teeny piece
kidding me? So I already knew what I was looking for when I got hold of it; I that’s in-between and just hear that, and not hear the whole record. And that’s
knew what I was looking to make work. I’ve never taken a class in Pro Tools. an art in itself. So I gave myself a different training.
I had Sound Tools for editing, just two tracks. Then they made Pro Tools with
more tracks, and so on. But I have no memory of how I am where I am. It’s just Do rap artists find it weird that you’ve worked in such diverse genres?
part of the fabric of my life. Here’s the unfortunate part … They don’t see past themselves; they don’t know
that I’ve ever done any of this other stuff. Part of the idea of rappers — you’re
You have to have so many skills to do what you do… pretty young, pretty full of yourself, and you only see yourself. A lot of these
Absolutely. And a lot of it is not sounds. Actually at this point, with the kids weren’t born when I made these records. But I’d like to give kudos to No
computer stuff, I’d say less than fifty percent of it is about the sound, it’s about I.D., the producer of the new Jay Z album I did. There’s a sample on that record
the other stuff. that he uses from a Donny Hathaway record [Someday We’ll All Be Free], and I
told him once earlier but he didn’t hear me, and as we finished the album, I just
When did you realise that? turned to the assistant and said, you know, I actually worked on that record that
Oh, well that’s why “The Senator”! I had all that era with Genesis and the we’re sampling. And the assistant goes, what? And No I.D. goes, what? Are you
Stones, all that stuff, and then music changed in the late ‘80s with all that rap kidding me? Get outta here! I was two years old when that record was made!
stuff started coming, and I wasn’t a part of it any more. And I really wasn’t a part
of audio — I was leaving audio for a while. I was leaving the whole business Thanks for talking to Resolution…
because I couldn’t make that transition. I didn’t really like rap music, I didn’t Just put an L2 on this conversation and it’ll all be great! n

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Rob Kirwan
The producer responsible for Hozier’s commercial
breakthrough tells RUSSELL COTTIER he never thinks of
record sales when sculpting his signature sounds.

R
ob Kirwan is a producer, mixer and connoisseur of unusual
sounds. Kirwan has been in the business for many years,
starting out as an engineer at the famous Windmill Lane
recording studios in Dublin, he moved through the ranks
and worked with several internationally acclaimed artists. Kirwan
has engineered and produced Mercury and Choice Music Award
winners as well as Grammy nominated records. His credits include
U2, PJ Harvey, Depeche Mode, Glasvegas, Sneaker Pimps and
more. Many will recognize Kirwan’s most recent work in the form
of Hozier’s Take Me to Church. In 2014, the song topped the charts in 12 He replied — ‘yeah, we got a few of those upstairs, I’ll get ‘em’.
countries, and reached the top 10 in 21 other territories. In the US, its popularity Absolutely any synthesiser you want, any guitar, guitar amp, acoustic guitar,
on streaming platforms Spotify and YouTube boosted the tune in the Hot Rock it’s one of those studios! You don’t really see that in the UK or Ireland. It’s a
Songs chart, where it spent 23 consecutive weeks, later crossing to the Billboard private studio really, Woody has to know and like you or the band. I think the
Hot 100, where it peaked at number two in December 2014. The song was week before I was there, Mark Ronson was in with Lana Del Rey. One of those
nominated for a Grammy Award for Song of the Year at the 57th Annual kind of places. I was there for a while and then I was in a studio in Santa Monica
Grammy Awards, and is certified five times platinum in the US. — The Village — fantastic as well.
Guitars hang from the walls in Kirwan’s studio where he does much of his
work — creativity is clearly never more than a couple of steps away. Resolution So you got into recording by knocking on the door of Windmill
Magazine caught up with Kirwan to talk about public recordings, private studios Lane? What lead you to knock on the door?
and much more. I had been to university in Dublin on a language-based course, French and
German. I spoke German anyway. I dropped out because I hated it and got a job
Are you permanently based in Dublin? at a petrol station. I then realised some jobs are bloody awful.
I’m Dublin-based but I’m doing a lot more in Los Angeles recently. I’m going I got a job offer in a radio station in Wexford town in County Wexford in the
over for a couple of months just to see the lay of the land, but I’ve been Dublin- South east of Ireland. Weirdly enough that was in a building that my mother
based pretty much for the last five years, I was in Berlin before that and London used to live in. My mother passed away when I was very young so that had a
before that. big resonance for me. At the same time I was ringing Windmill Lane three times
a day. So I had my bags packed and I was going off to Wexford when Windmill
Where are you working in LA? Lane rang me up and said ‘right, can you start tomorrow?’ I said yeah, I can!
Recently in Electro-Vox which is owned by Woody Jackson, he did the music for I was a big Pixies fan and when I went in there Gil Norton was there. I
Grand Theft Auto. It’s one of the most awesome studios that I’ve seen, there’s thought this was amazing, this is where I need to be! I walked into studio one
nothing that you could imagine that they don’t have there. I just said to the and it was like walking into Star Trek, but with exceptionally loud, really good
engineer: ‘you don’t happen to have a CMV563 with an M7 capsule do you?’ music. It was an image I held onto when I was a tape-op at three in the morning

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Let’s talk about that Hozier drum sound.

He is coming from a delta blues, deep South world, that’s what really interests
him and what he grew up listening to, so having a very processed drum sound
isn’t going to work. But the juxtaposition of having a live drummer with a
modern drum sound can work, and made the record very interesting.
To be honest, with Take Me to Church it was just a question of how do I
get drums on this? I actually said to him look we need a drummer, do you
know one? Can they be here in twenty minutes? Some dude who he knew
happened to be down the road with the a set of drums. He rocked up to my
studio and that’s where we did the drums. That was the thought process
behind it: how they were going to sound was something that we had to work
out later.

What is your normal drum setup?

I’ll spend a good deal of time trying to make the drum sound interesting in the
room before I mic. I’ll try and get something I might not have heard before.
I get the close mics on the kick and snare, plus the overhead
sounding decent and punchy, but very well recorded. Then I’ll have one
heavy compression chain from an ambient mic. I often use a Microtech
Gefell CMV 563 with an M7 capsule as it has a really pronounced high-mid
and it distorts in a really pleasant way. That goes into the Empirical Labs
Fatso. That’s the first thing I would tell a young person to buy who is getting
into this, it just does something that makes drums sound so unbelievably
listening to god-awful music. Windmill Lane was known for rock ‘n’ roll, but energetic.
actually 90% of what they would do was orchestras and traditional Irish music. I also have one bottom-end mic where I’ll EQ as much bottom into it as I can.
I absolutely detest Irish traditional music so whenever a rock ‘n roll session came I usually just leave a U47 lying on the floor about two feet from the kick drum. I
in I was beating away the other tape-ops to get on the session. will dial that in, maybe flip the phase and you can get some really unbelievable
In terms of making records, I think being a drummer helped me. The number weight.
one thing I like doing in the production cycle is recording drums — it’s the I’ve got a couple of levellers in one of the lunch-boxes I have, they give some
initial backing track stage that excites me. Fundamentally a lot of the things I really interesting distortion. I’ll stick another one through a SansAmp. So I know
know about drums came through Flood (Resolution V8.7). It’s unconventional I’ve got this particular drum sound if I want it, that sound and so on. Sometimes
recording, it’s immaculate recording with distortion, it’s obscene bottom end with I have 15 or 16 mics but I never use that many in the mix. You don’t want
a gated side chain thing on the left-hand speaker ... it’s that kind of mentality. identical drum sound over every song, but I have a different sound under each
That sensibility which he brought to all recording, I picked up on and found that fader. I also like to use contact mics on drums as well.
attractive in his workflow.
Home-made or retail contact mics?
What did you learn from other producers? C-ducer mics, just like little leatherette strips. They are sometimes used for
I think the most I learnt was from the producers that didn’t have a clue. It was opening gates for live stuff. They have incredible “front” on them and they
the ones who didn’t know what they were doing, then I would say okay ... distort amazingly well. On kick drums that can give you an amazing thwack.
well I’m never going to do it like that. The ones who knew what they were
doing, within 30 seconds had a pretty fantastic drum sound; as an assistant or How did the Hozier record come about?
an engineer sometimes you don’t know why that is, and nobody has time to He had worked with some producers in Ireland, he was not comfortable with the
explain how to get that sound, you try and work out how it happened later. I results. So his management said can you take care of this guy, do you have any
worked a bit with Spike Stent, the way he makes people feel when they record ideas? I think it was to do with the PJ Harvey record I did, I think it was just a
is great. Alan Moulder was another influence and Brian Eno, I did a few records stab in the dark. All conventional routes they had taken had not worked. That
with him. was Take Me To Church.
To me the success of a record in terms of its sales is nigh on irrelevant. To Andrew just had some Logic files and everything on there sounded like
me success is making a really interesting record that I’m absolutely over the demos. The label said: okay, this guy’s got a lot of recordings so can you just
moon with. I have very rarely in my life made a decision based on a record’s re-do the vocal and then mix it. I listened to it and my gut just told me we need
sale potential. to redo it all.

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32 resolution July/August 2017
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Did you make that record in your place? You have to adapt
Yes, my studio is a home recording set up, when I do bands I go to bigger or die. Mixing is a
studios, I do backing tracks and bring them here. I think I’ve recorded drums conversation now, it
once in my studio though. used to be a statement.
I think we pretty much did everything again, but then we went to re-do the I send off a first draft:
vocal again, and after ten seconds of take two I pressed stop and said: ‘this is what do you think of
pointless. The vocal on the demo sounds fantastic, let’s just double track the that? You base your
choruses and that’s the record.’ mix on feedback you
I had my first child about two months earlier, I had taken a little bit of time off get from the artist.
and it was the very first session after. I thought it would be a great way of getting To me gear is all
back into it. It was such a low budget that I thought there was no pressure. Then secondary, though,
the whole thing exploded — huge all over the world — very strange. the energy and the
performance of the
So you mentioned PJ Harvey, was that Let England Shake? artist is the main thing.
Yeah that was the one we did in a church in Dorset, we set the studio up I think that’s what a
there. Flood, John Parish and Mike Harvey worked on it. That was one of lot of production pros
the most enjoyable recording sessions of my career. Still some huge who are starting out miss completely. I love music that connects with me and
challenges. Apparently the church had been unused for two years and in the makes me feel emotional. n
six week period we were there we had to clear out
for two funerals.
Everyone says: ‘what a great idea, recording in
the church’, but 90% of what I did was trying to take
the church out of it! There was no front to any of the
sounds, no punch. So I tried to get some punch whilst
still maintaining a church environment.
Her last record was pretty far out as well, certainly
the recording of it. We did that in 2015 in a weird
way that was exactly the opposite of Let England
Shake. The Hope Six Demolition Project was recorded
in central London. There were probably 30 people
working on the record and on top of that it was
completely open to public viewing. There is a reason
why people like you, me and Flood are on this side
of the glass. I’m sure anyone would find it strange
to have people staring at them while they were
working, get 90 people to go to an office and stare at
someone whilst they’re on the phone!
I’ll never do anything like it again, but I’m very
glad I’ve done it. It was always about performing,
but sometimes you just need to sit there in front of a
computer and sift through what the hell it is you’ve
just recorded. That kind of never really happened, so
it was very challenging in that regard.

Did you have a massive track counts on that

as well?
Inconceivable, yes. I don’t know why but I started
Let England Shake at 88.2 kHz so ever since then
I’ve worked at 88.2 kHz — for no other reason
than I really like the sound of that record. So we
are working at 88.2 kHz and we were doing 50
Gigabytes a day, overdubs were always multiple
people with multiple mics.
So every overdub was 15 tracks maybe even
higher working on top of the backing track of 60
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July/August 2017 resolution 33

 CRAFT

C Chance Thomas
omposer Chance Thomas is best known for scoring blockbuster video
games like DOTA 2, James Cameron’s Avatar and The Lord of the Rings
Online — the MMO (massive multiplayer online) role-playing game
— but he has also garnered a long list of film and TV credits over his
20 year career. In Salt Lake City he recently opened the doors to HUGEsound For media composers, it’s a tremendously competitive market:
Post Production which brings audio, picture and, with it’s sound stage, music DAVID KENNEDY talks to a producer who’s fluent in all media languages
scoring under one roof. David Kennedy found out about Chance’s approach to
composing for games and his unique new facilities. and who’s just built a world class recording facility.

What inspired you to compose? How did you end up composing for games?
I grew up in a musical home. My mother was a classically trained violinist and So when I got finished with my university studies I opened up a small
opera singer and so music was a steady diet in my upbringing. I wanted to be production company and started doing music for advertising. I specialised in a
like her when I was six or seven years old so I tried to play the violin, impossibly niche of high end advertisers who wanted live orchestra in their underscores, so
hard I might add, but then next I tried the piano and I fell in love with it. I started with that background when I got a call in 1996 to go to work for Sierra On-Line
writing songs when I was a child and, like many others, got into a rock band in I naturally proposed that we do a live orchestral score. Well, nobody knew how
high school, and I wrote a lot of the songs for our band too. By the time I got to to do that, I mean you could put it on a CD and run Red Book but I didn’t want
college I was nervous about the unpredictability, the volatility of a music career to do that, I wanted to have something interactive. I had the vision, I saw the
and so I studied business. I even received a scholarship to attend a university pieces and knew how to create them on the music side but I didn’t know how
to study business but the pull of music is very strong and it wasn’t long before to code it. So I sat down with the architect of the game, bought him a pizza and
I had taken my business scholarship and transferred it to the music school. I we brainstormed. We figured out, back in 1997, how to do adaptive music with
ended up graduating with a degree in music specialising in recording engineering digital audio streams in this PC game, Quest for Glory V which won Music of
and production. the Year in 1998. That allowed me to open the door to the Grammy Awards,

34 resolution July/August 2017

 CRAFT

that music for video games could be eligible for the first time,
and that’s what launched my career in games. But I’ve done TV,
animation, documentaries, virtual reality and films. You have to
do it all in this day and age, especially for media composers, it’s
a tremendously competitive and diversified market. In order to
stay viable you have to be fluent in all of these media languages.

How do you score music for a nonlinear medium?

You have to think of a dramatic arc in a different way. With
traditional linear media you have movements in your music
that are sequential — but what if you create pieces of music that
underscore a certain dramatic state that can then hand off to a
piece of music which is synchronise-able to the previous one, but
now underscores a different dramatic state, and on you go. One Mike McDonough, Sound Designer
way to do it is to picture your different pieces of music and create
a composition map that will allow you to write different pieces of music to this end of my career but I’m definitely in the mature stage and I do believe in helping
map and everything will synchronise when you go between them. The other the rising generation, giving them a leg up and giving them opportunities. I feel
way to do it is to think of music as you might think of a set of Tinkertoys [think like my generation took the game industry from next to nothing to where we are
Connecta Straws if you grew up in the UK]. You’ve got a hub that has different currently — but who’s now going to take it to places we can’t even imagine? This
points that you can go off of and you’ve got these little transition elements that next wave of composers is going to figure out how to do that and so if I can help
go between them. Think of writing music in a modular way, in ways that you’re them get to this point, wouldn’t it be remarkable to see what they can do next.
going around and around, until a game state change happens at which point
we’re going to go some other way now and you have a piece of music that fits So where do you think game audio is going next?
that harmonically, melodically, otherwise rhythmically and then take that into I love what VisiSonics is doing with their spatial audio. What they can deliver
the next piece of music. through stereo headphones is unsurpassed. They’ve got this crazy demo where
you wear regular stereo headphones and you hold a little cube in your hand and
The permutations of combinations must be vast. How are there not they’ve got a visual tracker on top of the headphones so wherever you move the
simply too many possible transition elements to create? cube it knows where it is in real space. What’s remarkable is how they deliver
There could be but let’s say you’ve got something very specific musically this Illusion of audio placement with that cube, so I can hold it right up here and
that you’re coming from and something else that’s very specific musically it sounds like the music is right up here, I hold it behind me as far as I can reach
that you’re going to. How do you connect them without having hundreds of and to my ears it sounds like the music is coming from back there. I can hold it
possible connections? You make the connection points somewhat amorphous below me, nobody gets that right but they’ve got it right. We’re not even talking
harmonically and you come to a clear statement in the middle which transitions about multi-channel headphones, through stereo headphones they figured out
between the two and then you hand off. It works brilliantly. All these things are algorithmically how to deliver positional sound all around. Lots of filtering, lots
Prism-TITAN-LaRoux-ad-Resolution-May17.qxp_Layout
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July/August 2017 resolution 35

 CRAFT

got the books, and I went through and I made a

note of every reference in the book that talks about
instruments or music or song or vocal qualities.
Based on that — I was so nerdy about it — I put
together this twenty six page document that said
basically, based on the literature: here is how
music for Lord of the Rings ought to be created
in order to be authentic to how the professor
described it, back in his world. I wanted to be fully
Michael James Greene, Audio Engineer immersed in the literature, and keep in mind that
this was before Peter Jackson’s films had ever seen
the light of day, so I was dealing with, and still do,
my own independent research to come up with
my take on Lord of the Rings as opposed to trying to copy something that
somebody else has done. That’s been the basis of how I have approached
scoring Middle Earth ever since.

How much these substantial projects do you still get to do hands-

on yourself?
So let’s consider The Lord of the Rings Online, because they’re celebrating
their 10th anniversary as a continuously running game. I presented to
the development team five thematic suites, a suite for the Hobbits, for the
dwarves, for the elves, for the race of men and for the races of evil. Each of
those thematic suites have a number of themes in them and I said these are
themes on which we can write music for this online world and we’ve done
that now for 10 years, always harking back to those original themes and
doing variations on them and growing from them. So in this case I’ve done
all of the composition and all of the orchestration myself. When I get ready
to record I’ll then take my music files and I’ll give them to a sheet music
The Lord of the Rings Online scores have had an extraordinary prep professional. He or she and I will then go over how I want all the phrases
longevity. How did you initially approach it? articulated and we prepare the music so that classically trained musicians can
We started in 1998, I think, with J R R Tolkien’s Middle Earth. I’d read The sit down in the studio, pull out their trumpet or violin or whatever and play
Hobbit but I’d never read The Lord of the Rings until we started talking about the line exactly as I’ve envisioned it. Then we go into the studio and typically
doing the music for this. These are my copies of the literature [more Post-it notes I like to record 43 strings and anywhere from 9 to 12 brass, usually I’ll do a
than pages]. When I first found out that I was going to be working on this I 24 voice choir and a handful of woodwind players. I’ll record them in sections

36 resolution July/August 2017

 CRAFT

episodes of Mr Mercedes, a new TV series

written by Stephen King. And then they
let me come to the party too, so we feel
like we’ve got a great pool of talent here
— not to mention Michael Greene — who
is our chief audio engineer. Michael’s got
a 25-year career in LA and Salt Lake and
a Gold Record. So high-end people and
facilities, lower price, convenience and
great memories: we feel like that’s a pretty
strong package.

And finally in terms of kit, what are

the highlights?
so that we can really focus in on the performance of each individual group. It The Neve Genesys Black G64, obviously we love that and we’ve got a
then goes to the editing process where I take all the recordings and I go through fantastic microphone collection here. Everybody is on Pro Tools, all the picture
and edit everything together. I do that myself but then #41934 - Amended
I’ll employ Mogami Ad_Layout
a mixing editors cut1on26/08/2015
Avid and 13:33 Page
the Avid 1 servers are fantastic, we love their
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artist to come in and do the final mix of the music. So it involves a lot speed and durability. n
of musicians, and it involves some engineers, but
I like to keep a pretty tight hand on it all the way
through. [Since we spoke to Chance it has been
announced that he’ll be composing a brand new
score for The Lord of the Rings Online: Mordor]

Is all this talent available right there in Salt

Lake City?
Nine years ago Warner Brothers bought an old
studio in Salt Lake City called LA East and they
centred all o f their music recording for their
production music library in that studio. For the past
nine years, every month, if not every week, there
have been orchestras in that room recording this
wide variety of music for Warner Brothers, so the
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talent pool here, at least in terms of the recording
with headphones, to click, to recording in sections
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modern production — that talent pool is incredibly Manufactured in Nagano, Japan with meticulous
deep. That’s where I recorded all of my previous attention to detail and a single-minded commitment
Lord of the Rings Online scores and it sounds to quality, Mogami cable makes all the difference in
great. Now we have our own facility, which is big applications where strength, reliability and signal
enough to accommodate the size of the orchestra integrity cannot be compromised.
and choir that I like to use, and we have some
recording opportunities coming up starting in June, Find out more and buy online at mogami.co.uk
so hopefully they’ll sound as good or even better!

So if you’ve already got LA East here,

where is the demand for your facility going
to come from?
There’s a couple of things, one: the combination of
disciplines that we have under our roof is unique.
We have picture editing, we have sound design and
we have music all in the same facility. We’ve been ED CABLES
open just about two months now and already we’ve SH
AN
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had several projects where, for example, I’ve got a

D

music project and lo and behold we bring the picture

editing side in to do some work, or the picture
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editing side has a project and they bring me in to do

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music — and then they bring in the sound design
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side — so there’s a lot of synergy. As I said, this

is a very competitive business, so you need every
advantage you can, and we thought we want to
have a facility that’s comparable to what you get in
LA or New York, which we’ve done. And we need
to have pricing that’s better than the coastal cities or
London, we’ve done that.
Then we’ve got people at the top of their fields:
Michael McDonough is a sound designer: that guy’s
done Star Trek, he’s done 20 IMAX films, he’s done
TV shows, so he’s the best. He’s doing all the sound
for Extinct, which is a new TV series written by
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We’ve got Michael Fox as our picture editor:
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July/August 2017 resolution 37

 CRAFT

Recording on ice
An ambitious DXD field recording project at Lake Baikal, Russia,
proves modern equipment can survive the harshest conditions.

A
rtes Mirabiles is a group of professionals in music and audio recording
united by a shared idea to explore “uncharted paths” in search of the
beauty that have been lost by over-use of earlier routes.
During March 2017, one such uncharted path took two members
of the group to the Island of Olkhon on the north of Lake Baikal to record Ice
Bells and Jade Bells, as part of their collection “Unique Bells of the World”.
There, using Merging Technologies equipment, sound engineer Alexey
Pogarskiy and composer Olesya Rostovskaya made several recordings in
high resolution format under conditions of extreme cold. Lake Baikal is
geologically the oldest and deepest (1600m) fresh water lake on Earth. It
contains an amazing 20% of the world’s fresh water – lot’s of it frozen! The
lake, which curves for an incredible 400 miles through south-eastern Siberia,
north of the Mongolian border, is rich in natural features including “singing”
sands, stalactite caves and waterfalls. Man has lived on the shores of the
lake for thousands of years and the cave paintings found here date to the
Neolithic era. Olkhon Island is a wonderful place from which to view the
lake, and is considered one of five global poles of shamanic energy by the
local Buryat people.
Ice Bells are part of a new and developing percussion technique that is
now gradually gaining popularity. These instruments are obtained directly
from nature either from natural ice ridges or, for example, by splitting away
slabs of ice to achieve a more convenient arrangement of the pieces of ice,
but the slabs are never tuned to a required tone; it is for the percussionist to
select those that produce the desired timbre. In the course of a performance,
the tone of the instrument may change, or the ice break (adding even
more excitement to the performance!). This is the genre used by the group
Ethnobeat and other musicians in the Baikal area in what has now become
a local speciality.
Jade Bells are a set of stone slabs of various shapes cut from locally sourced
jade by the craftsmen of the Tsokol Studio based in Irkutsk. The appearance
of the resulting “bells” bears no resemblance whatever to traditional bells,

38 resolution July/August 2017

 CRAFT

but experience has proved them to

be usable for this specific type of
performance. Such instruments are most extreme cold. While preparing for the
not used elsewhere on a permanent expedition it was estimated that the outside
basis and their use here was thus still temperature would be -10°C. In fact, the
very experimental; the configuration outside temperature at night fell to -22°C.
of the slabs is so unusual that it defies Before departure, performance of the
any attempt to describe it briefly. The equipment was tested in Moscow at -6°C
Island of Olkhon did not have premises when the system, which included eight
suitable acoustically for the recording microphones, showed normal performance
of Jade Bells and it was decided instead for about two hours. Somewhat surprisingly
to go to the lake and make use of one however, during subsequent sessions on the
of its many caves as a studio. ice of Lake Baikal, the system that included seven microphones worked for up
Unfortunately, even this could not to three hours, with batteries retaining sufficient power approximately for about
eliminate the all-pervasive background another hour of work. It may be that a possible explanation to this could be
noise that interfered with their that Lake Baikal is 300 metres higher above sea level than Moscow causing
recording. In winter the ice on Lake significant change in the rate of cooling and consequently influencing the
Baikal is between 1.5 and 2 meters operation of batteries and other equipment. The Neumann KM183A microphones
in depth. Local people drive along ice functioned without problems while some other microphones in the set would not
tracks at up to 120 kph and engine work in such freezing conditions.
noise can be heard even at a distance Lastly, but most importantly, the purpose was to capture the unique beauty
of about 10 km. The traffic causes of Ice Bells and Jade Bells. The sound produced by such mere slabs of ice and
ice fluctuations which spread over jade blocks is singular and wonderful but it is a quiet beauty which can be
huge distances seriously impeding the perceived only if the ear is “immersed in sound”. The team decided it could be
quality of sound recording. demonstrated best with the help of Digital eXtreme Definition (DXD) recording
Therefore, in order to minimise the using the Pyramix software (Version 10.1.4) and Merging Technologies HAPI
level of ambient noise, recording took AD converter.
place at night, or very early morning The HAPI unit was connected to the computer via a Ravenna ASIO Driver
and equipment was arranged in the cave using the team’s own vehicles’ and the recording was made on an external HDD LaCie 9000489 Rugged
headlights on high beam, in an otherwise completely dark place. Thunderbolt 2TB disc drive, connected to the laptop through a USB 3.0 interface.
There were three challenges to meet. Firstly, the kit would have to function Surprisingly enough, the entire audio setup worked faultlessly given these most
satisfactorily for several hours, directly on the ice, without access to a mains extreme conditions. Only once after switching on the Pyramix were audible
electrical power supply. A special adaptor was made for the HAPI Redundant clicks heard but even these disappeared immediately when the computer and
10-14v DC power input to connect three 12v batteries with 18,000 mAh the HAPI unit were re-booted.
capacity in parallel. To save energy, only one 8-channel microphone input card Thanks to the incredibly resilient equipment, Artes Mirabiles has now
was installed in the HAPI unit. The HP Zbook 15G3 laptop used its built-in obtained excellent material and has been inspired to make more recordings
battery; a booster battery was connected to the laptop’s DC input but, judging and to launch new projects and collections. Having had an expedition in such
by the operational system indicators was not actually drawn on. extreme conditions, the team is sure that no technical problem will be able to
Secondly, the recording equipment had to function satisfactorily in the limit their creativity and imagination in future. n

July/August 2017 resolution 39

 RESOLUTION AWARDS

AWA R D S
• 2017 •

Vote now in the

Resolution Awards

T 2
he nominations for the Resolution Awards have been
drawn from an exceptional panel of industry experts and
practitioners. Nominated products are presented in specific
product category types while Nominations in the Creative
Awards are categorised to recognise the achievements of individuals
in music recording, broadcast, film and post production.
Only registered Resolution readers are eligible to vote in the
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take their Reader code and Postcode (as printed on their magazine’s
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Voting will close at the end of September, and the winners will be
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issue of Resolution.

40 resolution July/August 2017

 RESOLUTION AWARDS

AWA R D S 2017
• NOMINATED •
REWARDING QUALITY AND INNOVATION

Product Awards
DAW Interface (ADC/DAC ) Plug-in
Tracktion Waveform Antelope Orion 32+ HD McDSP EC300
Harrison Mixbus version 4 Tracktion Copper Reference Audioease Indoor
Avid Pro Tools 12.8 HD DPA d:vice iZotope Neutron
iZotope RX6 postproduction suite RME Fireface UFX+ Liquidsonics 7th Heaven 

Analogue-mixer/controller Microphone Preamp

AMS BCM-10/2 Mk2 Audio-Technica AT5047 Grace Design m108
A-Designs Mix Factory Bock 5ZERO7 AEA RPQ2
Schertler Arthur Sennheiser Digital 6000 Chameleon Labs 7603
SSL Nucleus2 Schoeps MiniCMIT Kahayan 12K72

EQ Monitoring Processor
Elysia xfilter Genelec “The Ones” 8331 CEDAR Cambridge v11
Kush Audio Clariphonic MS PMC BB6 Bricasti M12 Monitor Controller
SPL PQ Mastering Equalizer Neumann KH80 DSP Riedel Bolero
Model 1540/1544 Hedd Type 20 DirectOut MADI.9648
Thermionic Culture The Swift

Dynamics processor Digital mixer/controller Recorder

Maag Magnum K Calrec Brio 36 JoeCo Bluebox BBWR24B
Rockruepel limit.one Lawo mc²96 Lectrosonics PDR
Warm Audio WA-2A PreSonus CS18 AI Tascam DR-100 MKIII
Gyraf Gyratec XXIV: G24 DiGiCo SD12 Aaton Digital CantarMini

CREATIVE AWARDS 2017

• NOMINATED •
REWARDING AUDIO CREATIVITY

Creative Awards
Broadcast Sound Mixer Music Production Production Sound Mixer
Andy Groves
Producer/Engineer Tim Fraser
Tudor Davies Fraser T Smith Simon Hayes
Keron Steele Joe Barresi Brian Milliken
Colin Hassell Greg Kurstin Simon Bysshe
Two Inch Punch (Ben Ash)
Film/Post Sound Mixer Audio Facility
Mike Prestwood Smith Goldcrest, London
Juan Peralta Abbey Road Mix Stage, London
Greg Gettens Decoy Studios, Suffolk
Peter Gates Dream Asylum Studios, Miami

July/August 2017 resolution 41

 HOW TO MICROPHONE SPECIAL

I suggest this principle should be applied to

audio: “auralise” a sound in your mind, and then
set out to reproduce it. Beginners will often explain
their request for specific mic model-number details
because they aim to emulate a certain sound
— Faith No More’s drums, for example — and
need to know exactly which mics were used.
But this is a chimera. Is your drummer Mike
Bordin — a lefty who plays a right-handed kit
with an unconventional open-handed stance that
helps him hit his snare as forcefully as any skin-
thrasher around? No? Then try and focus on the
best aspects of the drummer you have playing
your own session, and imagine in your mind the
greatest vibe for that sound. Only when you’ve
imagined the sound, then assemble the tools to
achieve it.
For modern pop music, there may be those who
ask: does the particular mic position and nuance
of sound matter? Isn’t it all about the song and
singer? Yes, but it’s also about how you frame
the song and singer. If you need a good example
of this, look no further than Hozier’s Take Me
to Church. British blue-eyed soul isn’t exactly
associated with dark, emotionally redolent vibes.
Can you imagine Mick Hucknall singing/producing
Take Me to Church? It wouldn’t be the same.
Why? It wouldn’t sound the same. It was producer
Rob Kirwan’s [see Craft interview this issue]
choice of dark, clangourous, reverb-laden beats
and ominous tones that made Take Me to Church’s
message 5 times Platinum appealing in the US.

Which mic
Every era of audio-visual creativity has its blind alleys to lure producers.
When I started my audio career in the ‘80s, many recording engineers were
obsessed with getting a big drum sound. Before the age of virtual instruments
and massive sample libraries, it was an absolute necessity to generate the sound

shall I use? in the room, with microphones. When visiting a studio or looking at magazines,
it was common to see enormous mic stands, with overhead mics towering above
drum kits. Psychologically, it seemed to many that the sound of a “big room”
must be somewhere up there, in the air. Those of us who bothered to ascend
NIGEL JOPSON suggests we should hear the sound tall ladders, block one ear and listen from the microphone position, often found
in our head before opening the microphone cupboard. the sound was rather thin and disappointing up high. By dint of investigative

T
listening in different corners of the room whilst drums were played, some of
he question I’m most frequently asked by young audio professionals us found the heavy ambient sounds we sought were better captured by mics
is: ‘Which mic should I use to record drums’ ... or strings, guitar, choir. positioned on or near the floor, in front of or even behind the kit.
It’s not only industry veteran editors of audio magazines who get asked What might qualify as a similar optical blind alley today? Something which
this type of question, I see it asked over and over online, in Facebook looks industry standard, but which is not necessarily helpful sound-wise?
groups and forums where young production pros share ideas. On the face of it, I can think of several, but the prevalence of “reflection filters” positioned
these questions are perfectly logical — we have a job to do — what are the best behind vocal mics is an apt example. Most people use cardioid pattern mics for
tools to use? We work in a creative industry with very technical equipment and recording vocals and, if you think about the physics of the diaphragm design,
we want to discover the “correct” tools to use. Similar advice is often sought the mic is therefore most sensitive in the direction facing the performer. It’s
by aspiring professionals on the visual side of media production. For over 20 going to pick up the high end from any sound reflected from rear and side
years I’ve been an eager landscape photographer, and at countless photography walls that bounces back over the shoulders, and around the performer. If you
workshops and clinics I’ve heard young visual artists pose exactly the same sort want less of a “roomy” sound, put the absorption behind the vocalist, not
of questions: ‘Which lens should I use?’ But there is no best lens, no best way behind the microphone. Think of the psychological aspect as well: face your
to take a photograph. head into a small cupboard or closed box and attempt singing with emotion.
I remember the late Galen Rowell — something of a photographic guru for Try getting Mick Jagger to stick his head in a box and sing. There was a reason
those of us who aim to capture images of distant mountains we love to visit — ‘70s and ‘80s engineers would place a gobo or large acoustic screen behind a
answering a question of this type with a description of how he photographed singer performing in an open recording room. It gave the vocalist a feeling of
(on film, pre-Photoshop) one of his most famous images, “Rainbow Over the security, and cut the reflected boom from the room.
Potala Palace, Lhasa”. Rowell’s image shows the palace with a rainbow behind, Microphones are frequently, and not very usefully, “typecast” by instrument.
seeming to arc out of the palace into the sky: for many, it visually summarised When confronted with a certain instrument to record, some engineers
their feelings about Tibet. It was taken from a distance, from a location which instinctively reach for a particular mic, without stopping to question if it is —
normally offers a rather unpromising and quite barren vista. Galen described creatively — the best choice for a particular instrument and player. ‘You can’t
how it had been raining, he had anticipated the sun’s arrival, he had visualised go wrong with an SM57 on snare’ — well — you really can, as many mix
the possibility of the image in his mind, and had run at least half a mile whilst engineers who’ve pushed up the snare fader, only to hear an uninspiring and
fitting a telephoto lens to get into position for the shot (quite an effort at dull-sounding “tap, tap” will testify. As a very young recording engineer, I was
3,700m). Rowell explained how he observed certain elements in the natural instructed never to use a condenser microphone on the bass drum because ‘the
setting and then visualised a scenario where those elements came together. The diaphragm is too sensitive’. The British engineers I worked with all used the
human eye (and brain) has a far greater dynamic range than film, and Rowell AKG D12. The very first time I assisted an American engineer, he grabbed a
revealed that in his “magic moment” evening photos of mountains, he’d often Neumann U47 FET out of its hallowed wooden box and told me to ‘stick it on
used judiciously placed off-camera flash to illuminate foreground interest, which the kick’ — I never looked back. It’s always instructive to note the strategies of
would otherwise have been dark. He visualised a picture in his mind, and then engineers and producers who are at the top of their respective games — the type
set out to design and capture it. of people we interview in this magazine. Counter-intuitively, advice from the

42 resolution July/August 2017

MICROPHONE SPECIAL HOW TO

MA-1000

very, very best is often ignored — either because where the trumpets are on the dead side of the
it does not fit with what is considered “normal” trombone microphone, and vice versa. Similarly
or “safe” — or because it is tried, and found to a figure-of-eight on violas can be positioned to
produce tones which are not expected. Remember, exclude the brass sitting behind them. I’d use
the nice sound of an instrument in isolation is valve microphones on strings, if it’s from my own
not necessarily what is required when the same mic collection I’d use Neumann KM 56s, if I was
instrument is mixed with 90 other instruments. at Abbey Road I might use U67s as well. As the
How many times have we seen condenser mics instruments get bigger, so should the microphone
used for orchestral percussion? Just because an diaphragm to match, as you go round to the cellos
instrument is shiny, percussive or laden with high- and basses you’ll have U49s and U47s.’ Despite
frequencies, does not mean it requires a small Keith’s legendary reputation we — sadly — rarely
diaphragm condenser microphone for recording. see orchestral engineers using similar strategies.
The late, great Keith Grant of Olympic Studios We mostly have to put up with the use of modern
— an inspirational figure to many, and mentor small diaphragm condensers for spot mics with,
to engineers turned-producers Glyn Johns, Eddie just as Keith describes, a mess of strike tones from
Kramer and Chris Kimsey — was, apart from the percussion, key-clatter, and totally un-natural,
recording at least 120 top twenty hits of the hyped string tone.
‘60s & ‘70s, widely renowned for his orchestral For rock and pop music, scratch the surface
recordings. Grant’s discography of movie of a memorable-sounding tune and you will find
soundtrack credits is as impressive as it gets: The an engineer or producer adapting microphones
Italian Job, The Rocky Horror Picture Show, Cry and techniques to the specific music being
Freedom, Jesus Chris Superstar, Shadowlands and recorded. Sometimes a signature microphone,
The English Patient being just a handful of the a disdain for convention or unusual approach
many scores he engineered. They still sound great to recording can literally “set the tone” for an
today. Shortly before he passed away in 2012, entire record, inspiring band and production crew
I had the opportunity to discuss his approach alike. Tchad Blake (Arctic Monkeys, The Black
to recording orchestras. ‘I have quite strong Keys, Peter Gabriel, Tom Waits) became well
views about film recording, orchestral percussion known for binaural recording, and for his use
and woodwind mic-ing, I find it’s not clever to of Neumann’s KU 100 dummy head (a difficult
use condenser microphones on percussion or and idiosyncratic microphone to combine with
woodwind, the reason being transients,’ Keith conventional monaural sources). I asked Tchad
told me. ‘If you have a good old heavy-duty about his use of the dummy head producing an
moving coil or ribbon on the percussion section, album I’m quite fond of, Suspicious Activity, from
when the guy hits the xylophone with a stick, Chicago’s singular sounding nu-jazz trio The
the microphone misses the initial high transient Bad Plus, in particular the cut Prehensile Dream.
— thank goodness! When you fade-in spot mics ‘The Bad Plus is the KU 100 head for the top kit,
for percussion or woodwinds, the first thing you and there’s also a binaural head in the piano. AWA R D S 2016
hear with condenser mics is hammers and sticks The piano was mic’d very strangely, because • NOMINATED •
REWARDING QUALITY AND INNOVATION

or key-clatter from flutes and woodwinds.’ I asked their drums had such an aggressive sound, and
him which moving coil and ribbon microphones after I beefed up the double bass with a touch of
he would have favoured when recording large Sans Amp, the piano sounded a bit twee. It’s not
ensembles at Olympic studios in its heyday. something I would recommend, but it seemed to
‘I do like the Sennheiser 421 on percussion, work in this context: it was the Binaural head
also the AKG D12 and Shure SM57 are very towards the back plus three C451s up by the
useful for percussion. I’d use ribbon microphones hammers!’ Tchad also used the Neumann KU 100
on brass, Coles preferably. Because the Coles is a extensively for field recording. ‘One artist from
figure-of-eight, you can set it in such a position Sierra Leone, S.E. Rogie, hadn’t seen me put it

July/August 2017 resolution 43

 HOW TO MICROPHONE SPECIAL

Keith Grant Tchad Blake Mark Rankin

in front of him,’ Tchad told me, ‘so when he looked Like Clockwork for Queens of the Stone Age because “I’ve done it with three!” I used a sort of Glynn Johns
up he really screamed out, which gave me a bit of a of the drum sound on Adele’s album. Josh Homme’s approach, distorting the kick a bit by putting it through
fright! When I asked him what was wrong he gave a family were playing Rolling in the Deep all the time in a 1950s Ampex 601 valve tape recorder preamp. It’s
big belly laugh and said: “Why, that’s Gongalee — a the car, Josh also liked the sound on Florence and the quite a hard recording room to get singing, I ended up
very friendly spirit from my village”.’ Machine which they were playing as well, and when with stereo room mics about 20 foot away from the
What begins as a quirky fixation with a particular he checked the credits he found I’d recorded both drums, facing away from the kit at low level, really
aspect of recording, or a dogged determination to pull albums!’ Rankin discovered the recording room in compressed. Because it was quite a square room we’d
something particularly appealing — something which the Queens’ studio was not like a normal studio room get this prominent slap, funnily enough, normally in
only that production pro imagines or feels from the at all: ‘it’s a big shoe-box shape — which is always time with the songs!’
music — can turn into a signature sound, a calling challenging — but at the same time I think it’s part Which mic shall I use? The question sounds perfectly
card for the future. Mark Rankin (Resolution V14.7) of their sound, so it was just a case of extracting the logical: we have a job to do — what’s the correct tool
explained to me how his work manipulating drum most out of that.’ to use? But we’re not mechanics assembling engines.
ambience on one record got him a gig recording Rankin recalls Josh Homme pushed him to use We’re painting pictures with sound, a picture specific to
another album in a quite different genre. ‘The funny as few mics as possible, proscribing a drum sound a particular artist, a sound picture we need to hear in
thing is,’ Mark told me, ‘I actually got the job recording be recorded with no more than four mics: ‘So I said our heads ... before reaching for those microphones. n

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Vintage meets cutting edge The Vanguard V13 is a large-diaphragm multi-pattern valve
condenser microphone, beautifully designed and precision-
vanguardaudiolabs.com built in limited quantities to a ‘no compromise’ standard.

The result is a microphone that unifies warmth with clarity,

depth with detail and character with precision.

The performance of the V13 rivals both iconic vintage and

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216x125mm Emerging_Vanguard Resolution ad FINAL.indd 1 06/07/2017 16:09

44 resolution July/August 2017
MICROPHONE SPECIAL HOW
GEAR
TO

Products Spotlight: Schoeps

At the end of 2016 German microphone manufacturer Schoeps introduced the MiniCMIT, the newest member of its
Equipment introductions and announcements.
successful CMIT series. The MiniCMIT is a smaller version of the CMIT 5 — often called “The Blue one” — referring to its
eye-catching blue finish. Schoeps introduced new blue and green finishes for it’s popular boom-mount mics to assist
Hollywood VFX editors in painting out the microphones in blue/green screen chroma key productions.
DPA All three models of the Schoeps CMIT microphones use the same interference tube/capsule, which combines high
A new range of accessories for directivity and minimal colouration of off-axis sound. MiniCMIT can be powered by phantom P12 or P48, has a low
DPA Microphones’ d:dicate current draw, and has a fixed 4th order low-cut filter at 70Hz. The MiniCMIT and CMIT 5 have circuitry with similar
Microphone Series is specially characteristics, the intention being that the microphones can be interchanged on set without altering the sound.
designed for location sound The MiniCMIT is available now at a list price of €1690 or $2000 ex VAT. Suitable windscreens and suspensions are
recordists. For a lightweight, unobtrusive offered at the same time.
booming solution, particularly convenient for close- www.schoeps.de
quarters filming, combine the highly-directional
d:dicate 4018 supercardioid Microphone with the new and a David Royer custom-designed transformer. Among its series, from which we test the N8 Stereo kit this month, offer a
GSM4000 Gooseneck Shock Mount and MMP-G Modular notable attributes, the MA-1000 (£2,625) includes a remotely more discreet and vision-friendly form factor, while still being
Active Cable. Add one of the clips from DPA’s d:vote controlled, continuously variable polar pattern selector that is rooted in the RCA tradition.
Microphone Series and you can mount the complete located on the microphone’s power supply. This summer, AEA is bundling the R92 microphone and a TRP
solution so that the capsule is perfectly positioned Other mics in the Mojave range include the MA-50 (£377) large- preamp as the “Ultimic Kit”, with a discount on the regular price
to capture the sound. diaphragm, transformerless, fixed cardioid condenser. The MA201 of around $500.
The MMP-G is an unobtrusive preamplifier with active (£585) and MA301FET (£822), and the MA-300 large diaphragm www.ribbonmics.com
drive for impedance balancing to reject frequency tube condenser with continuously variable pattern (£1230).
interference. The cable’s fixed MicroDot connector allows the www.mojaveaudio.com Audio-Technica
modular d:dicate capsules to connect to all professional wireless The most recent addition to A-T’s 50 Series
systems via DPA’s extensive adapter programme. AEA (which also includes the AT5040 vocal
This solution is also perfect together with the new d:vice When RCA microphone and AT5045 instrument mic),
MMA-A Digital Audio Interface (reviewed in this issue of abandoned the AT5047 features the same capsule
Resolution), a high-quality microphone preamp and A/D ribbon mics, as the AT5040 but with a transformer-
converter offering mono, dual and stereo capabilities. Ideal for Wes Dooley of couple d output and optimise d
journalists and content creators who use smartphones to record AEA believed electronics. The AT5047 features
and stream audio on the go, d:vice delivers studio quality audio they still had four rectangular two-micron-thick
in a unit that — at just 2” in diameter — is small enough to fit in a  place in diaphragms which function together to
your pocket. the modern provide a combined surface area twice
www.dpamicrophones.com studio — so that of a standard one-inch circular diaphragm. Advanced internal
he set about shock mounting decouples the capsule from the microphone
Mojave Audio making his own. Ribbon performance is quite dependent on the body, and the included advanced-design AT8480 shock mount
Mojave Audio, a company founded by David choice of mic preamp, and low-impedance inputs don’t always provides superior isolation. The AT5047 will be available later in
Royer (well known for his ribbon microphones) get the best out of them, so Dooley duly set about designing 2017 at £3499/€3999 inc VAT.
was presented the prestigious MIPA/PIPA Award his own preamps as well. These have become firm favourites In June, A-T introduced its new U841R Omnidirectional
in the Studio Microphone category during the with many of our craft interviewees, in particular Ken Nelson Condenser Boundary Microphone. A new addition to the
recent Musikmesse/Prolight + (Resolution V14.4). The AEA RPQ2 preamp has been nominated UniPoint line of microphones, the U841R is a replacement for
Sound tradeshow in Frankfurt, for our 2017 microphone product awards. A-T’s popular U841A microphone. While retaining the feature set
Germany.  The award was for The AEA ribbon range comprises 5 classic designs (inspired by that made the U841A a useful tool, the new U841R microphone
the MA-1000 Signature Series the RCA 44 and RCA KU3A), while 2 active ribbons — the AEA440 is enhanced with the addition of internal electronics that do not
Multi-Pattern Tube Microphone, & A840 — offer higher output and immunity to impedance- require an external power module. The mic features an integral
(reviewed Resolution V15.5). The loading, opening up more flexibility in the choice of preamps, TA3M output connector and includes a 25’ TA3F-to-XLRM cable. 
MA-1000 features a new old-stock 5840 tube, a 251-style capsule, and avoiding noise problems with longer cable runs. The Nuvo www.audio-technica.com

July/August 2017 resolution 45

 GEAR MICROPHONE SPECIAL

Aston Microphones
The hallmark of this new British
manufacturer has been innovative
Spotlight: Sennheiser
product design, and their large The newly-introduced Digital 6000 series wireless microphones
diaphragm microphones the Origin use the same long-range mode and proprietary audio codec as
(review, Resolution V15.1, £249) and the high-end Digital 9000 series. The two-channel 1RU EM 6000
Spirit (review, Resolution V15.3, receiver has a switching bandwidth of 244 MHz (470–714 MHz) covered by three different transmitters.
£349) have been well received by Up to eight receivers can be daisy-chained without an additional antenna splitter. The receiver
production professionals. Now uses frequency-selective antenna filters, meaning it can be used with both active and passive UHF
they have a new small diaphragm antennas. It features a white OLED display for checking RF signal, link quality, audio signal battery
condenser, ‘the first ever laser status, frequency and encryption on multiple home screens, thus reducing the need to navigate
targeting pencil microphone’, the menu items. It has a digital AES-3 output, balanced XLR 3 outputs and 1/4-inch output jacks. A Dante
Starlight (£349) reviewed by Jon version will add an RJ-45 connector for network connectivity.
Thornton in this issue of Resolution. The SKM 6000 handheld transmitter uses Sennheiser’s standard capsule interface, allowing
The Aston range of microphones is available with Rycote Custom the use of mic heads from the Evolution Wireless Series, the 2000 Series and the 9000 Series. The bodypack can be used
and USM shock mounts, and a special stereo bar for the Starlight together with Sennheiser’s MKE 1, MKE 2 and MKE 40 lavalier mics. An optional L 6000 rackmount charger can use up to four
featuring Rycote’s Lyre suspension. charging modules to recharge bodypack and handheld batteries, and also works with the Digital 9000 Series.
www.astonmics.com www.sennheiser.com

Vanguard gold-sputtered 3-micron dual-capsule, mounted in an

Cloud microphones
Vanguard Audio Labs, based in sunny southern open weave head basket for natural sound and low internal
California, is the brainchild of Derek Bargaehr reflections. The hand-selected European vacuum tube has never The original Cloudlifter
and Ken Avant. Their first microphone, the V13 been commercially used in a microphone before. The PS-13 added +25dB of clean
multi pattern tube condenser, has taken over power supply controls a selection of 9 polar patterns with an gain to boost low-output
two years to develop and is now available ultra-linear, fully shielded, custom-wound, dual-bobbin dynamics or ribbon mics
in the UK from Emerging Ltd. One important humbucking balanced transformer for the output stage, ideal to a level similar to a
design objective was to maintain a very low for long cable runs. condenser microphone.
noise floor. Every part of the V13 is designed to be robust and reliable, and The new CL-Z provides
The design aims to combine ‘the smooth high machined into the rear of the microphone is an unusual cooling the same gain but with additional control. There’s a three position
end of an ELAM 251, the midrange precision of a vent to prolong valve life. The V13 is supported by a unique VLSM gain switch for either minimal gain, or +12dB or +25dB operation,
Sony C800G, and the warm, full lows of a vintage heavy-duty shock mount, featuring an open faced design for ease plus a switchable high-pass filter as well. The biggest difference
U47’. While keeping the iconic mics of yesterday of placement, with aerospace-grade suspension rings that will from a standard Cloudlifter is that it has a large continuously
in mind, it’s voiced to be a “workhorse” that will never crack, sag, or snap. Every Vanguard microphone is backed variable input impedance knob, with settings from 150 ohms to
sound fantastic on just about anything from by a five-year warranty. 15k ohms, allowing ultimate control over microphone character
drums, pianos, guitars, vocals and strings. www.vanguardaudiolabs.com with dynamics and ribbons.
The V13 features a custom-voiced 34mm, www.emerginguk.com www.cloudmicrophones.com

46 resolution July/August 2017

MICROPHONE SPECIAL GEAR

Schertler Josephson Microtech Gefell

Swiss company Schertler The Josephson C725 was previewed at NAMM The  new SRM 100  is a professional, digital
make a range of instrument LA 2017. It provides classic studio microphone output, dynamic microphone with omni-
transducers, some of which performance using a hybrid of tube and solid directional polar pattern for connection to a
are based on electrostatic state technology, with the dual-diaphragm smart-phone or tablet. It is been optimised for
designs, and others on capsule used in the C700 and C716 microphones. speech intelligibility and the capsule is elastically suspended
dynamic principles. A separate high voltage regulated power supply to minimise handling noise, features designed to optimise its
“Contact mics” seem to is provided, with five switchable directional performance as an interview microphone for ENG. A reporter
have fallen out of fashion patterns and a tone selector to optimize the can quickly interview, edit and then e-mail the recording back
recently, but Schertler signal path. In the C725 the voltage gain section to base at a moment’s notice. Live streaming is possible by using
have built up a loyal uses a low-noise FET, while the current gain stage uses a readily the “Luci Live” or Tieline’s “Report-IT” apps. Used with a USB cable,
following with respected available in-production pentode vacuum tube. This provides the it is the perfect microphone for internet radio and pod-casting.
live instrumentalists. The low noise of the FET along with the dynamic characteristics of the The SRM 100 is supplied complete with foam windshield, a
range is extensive, with over 45 different offerings covering vacuum tube. The output is provided through a custom nickel- locking iPhone or iPad cable with Lightning connector and a
everything from universal/percussive instrument through to core transformer, which has independent windings for output carrying pouch. Cables for Android phones and a USB cable are
instrument-specific pickups for violin, viola, cello and bass. and gain control. The C725 should be available later this year. available separately.
There’s the Lydia under-saddle acoustic pickup: ‘revolutionary www.josephson.com www.microtechgefell.de
air chamber technology built around an ultra linear condenser
microphone, with solid diaphragm and integrated electronic
settings, has been specially designed to reproduce the true
sound of your instrument’. Then there are the “Stat” bundles,
which include instrument-specific pickups together with Class-A
topology preamps, and the Arpavox integrated multiple pickup
set for Harp.
www.schertler.com

Warm Audio
The recently introduced WA-87 is
billed as ‘a classic made affordable’. A
homage to the most widely-used large
diaphragm condenser microphone in
popular  recording history, Warm
Audio have set the price to tempt at
$599/£579/€666. ‘Rather than base our
WA-87 circuit on current incarnations of
this mic, we decided to closely follow the
early  circuit designs that date  back
nearly half a century ... engineers who
have worked with different versions of
these microphones often prefer the
warmer, more forgiving nature of the
earlier commercially available models.’ A key design decision on
the part of Warm Audio was to develop their own brass/mylar
LK-87-B-50V capsule. Bearing in mind the signature tonality of
mics which use K-87-style capsules bought-in from the far East,
this could prove a clever design decision.
The mic uses a Cinemag output transformer, has an 80Hz high
pass filter and -10dB pad, and a quoted noise performance of
-117dB.
www.warmaudio.com

Sontronics
The recently introduced MERCURY, a
flagship large diaphragm condenser,
is reviewed in this issue. Taking things
up a step from the previous top-of-
Introducing the new NTR active
range Aria, the fully variable pattern ribbon microphone from RØDE
MERCURY employs higher grade
components (most of which have
less than 1% tolerance) and a hand- The finest ribbon microphone ever made.
selected and tested, European-made Hear it for yourself at rode.com/ntr
ECC81/12AT7 valve.
At Summer NAMM Sontronics introduced the SOLO dynamic
handheld mic, the ‘first dynamic mic to be made in the UK’
according to the Dorset-based company. Superseding the well-
regarded STC80, the SOLO sports a supercardioid patter and is
25% lighter and made from aluminium. The capsule design is a
revision of the STC 80 capsule, with a high-output neodymium
capsule which give the SOLO ‘incredible presence, detail and
depth without requiring any EQ’ according to Sontronics. The
SOLO comes with a mic clip and protective zip-up pouch, and is
set to be available in August with a street price of less than £100.
www.sontronics.com
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July/August 2017 resolution 47

 GEAR MICROPHONE SPECIAL

Røde of many classical engineers, and one of the rarest of vintage Lewitt
Neumanns.
At the beginning NT-49: A variable polar pattern large-diaphragm condenser Austrian microphone manufacturer
o f 2 017 — mic, employing a similar housing as the TFM-50. Lewitt has introduced three new
celebrating NT-RV: A valve-based variant of the company’s highly-regarded designs to its ever-growing portfolio
parent company NT-R ribbon microphone. of microphones.
F r e e d m a n NT-5 Matched Pair: A new version of Røde’s half-inch, small- The LCT 440 PURE (£279) comes in a
Electronics’ diaphragm, cardioid condenser mics with improved capsule compact housing utilising a capsule
50 years in technology. that delivers a high level of detail and
business — Røde VideoMic Pro+:  An improved on-camera video shotgun very low self-noise. The mic is sold
announced six microphone, which may now be powered by AA batteries. with an LCT 40 SH shock mount, an
new microphones: VideoMic SoundField: Perhaps the most exciting idea, a LCT 40 Wx windscreen, a DTP 40 Lb
four for the studio development made possible by Røde’s acquisition of Soundfield cushioned leatherette bag and LCT
and two for videographers. at the end of 2016. The world’s first on-camera ambisonic, 50 PSx magnetic pop filter.
TFM-50: A spherical valve omnidirectional microphone, 360-degree surround sound microphone. The cost-effective LCT 240 PRO (£149) is a versatile cardioid
produced in collaboration with Grammy Award-winning classical The NT-5 is available now, however release dates for the other condenser microphone ‘Designed to offer professional
music producer Tony Faulkner (Resolution V9.3). Designed as a products has not yet been announced. recording performance at an attractive price’ available in Black
homage to the old Neumann M50, a staple on the Decca trees www.rode.com or White finish.
The Interviewer (£189 RRP) is the company’s very first dynamic
interview microphone, featuring an omnidirectional polar
pattern and fully rubber mounted capsule. Unique coating
technology and a purpose-built Dust Protection Membrane make
the Interviewer ready for the toughest of conditions.
www.lewitt-audio.com

Townsend
Townsend Labs Sphere
L22 Microphone has
already garnered
quite a lot of attention,
even before it became
available, thanks to
an Indigogo crowd
funding page, through
which $363,624
was raised to set up
manufacturing. The
Sphere is a precision
microphone modelling system, combining a reference quality
microphone with some pretty impressive software, able to get
the characteristic tones of some of the world’s most sought
after microphones. Jon Thornton reviews the system in this issue.
Is this the future of recording? It’s a bit too early to tell if the
wider audio production community will warm to the idea,
but some big names have already endorsed the concept. ‘The
Townsend Mic is the future of microphone technology. Being able
to manipulate the polar patterns, mic choice and off-axis effects
after recording is a huge advantage. Quite a breakthrough!’ says
Joe Chiccarelli (Resolution V4.2).
www.townsendlabs.com

sE Electronics
A new small diaphragm condenser
microphone was introduced at Summer

The Art of Audio NAMM 2017 in Nashville, Tennessee.

The new sE8 contains a handcrafted
gold-sputtered small diaphragm true
condenser capsule, manufactured by sE
in their own capsule room, with a brand
new backplate designed to deliver a
more even, balanced sound and superior
transient response. The sE8 also includes
two low-cut filters (switchable between
80Hz and 160Hz) and two pads (-10dB
or — 20dB), which aim to provide it with
a high SPL handling capability and dynamic range. The sE8 will
arrive in stores worldwide August 2017, with a suggested retail
price of $299 or €229 (incl. VAT). It ships with a newly-designed
mic clip, mic stand thread adapter, and protective wind screen.
The sE8 is also available as a matched stereo pair, which comes
complete with a precision-machined stereo mounting bar, two
www.astonmics.com +44 (0) 845 500 2 500 lovemyaston@astonmics.com Made in the UK mic clips, two wind screens, and a sturdy flight case, priced at
$599 or €399 (incl. VAT).
www.seelectronics.com

48 resolution July/August 2017

MICROPHONE SPECIAL GEAR

Lauten Audio round capsules, reducing in band resonances dramatically and Rycote exclusive fur technology to provide excellent wind-noise
expanding the application possibilities. Bock manufacturing protection for lavalier microphones. These discrete fur coverings
The new Series Black LA-120 small diaphragm FET employs all hand-construction techniques with microphones are now slightly bigger (26mm), to match the DPA Concealers and
condenser microphone pair by Lauten Audio is a built 5 or 10 at a time using techniques that are impossible to are supplied with the new Stickies Advanced (Round). Overcovers
versatile pair of microphones for instrument recording. execute in high quantity.  Advanced will be available in black, grey, white and beige colours,
The LA-120 features a US made ultra-low-noise JFET www.bockaudio.com to suit a multitude of different applications.
amplifier, interchangeable 17mm pressure gradient Rycote also launched their brand-new boom shock mount,
condenser cardioid and omni-directional capsules, 50 Rycote the InVision Lite (INV-Lite), to offer a more focused solution for
and 150Hz low-cut filters, 10 and 15kHz high-cut filters, At NAB 2017 Rycote introduced new smaller, lighter shotgun microphones. With Rycote patented
and electronically balanced output. The LA-120s are Stickies ‘Advanced’: double-sided, Lyre technology, the INV-Lite provides super-fast access to the
available for a very reasonable £319 (for a pair). hypoallergenic, adhesive pads microphone via the revolutionary new cam-lever clamp system.
The Eden LT-386 by Lauten Audio is a “Multi-voicing” used to affix lavalier microphones With the mic gripped securely at a single point, it allows full
large diaphragm tube condenser microphone. The directly onto skin or on top of placement of a foam to provide basic wind and plosive protection
Eden LT-386 uses Lauten’s proprietary 31.25mm dual- clothing. Available in different indoors. Available in two versions, the INV-Lite (19) is compatible
diaphragm pressure gradient condenser capsule shapes (‘Round’, ‘O’s’ and ‘Squared’) with mics like the DPA 4017B, 4017C, 4018; Sanken CS-1e;
tuned specifically for this microphone, along with these new Stickies are larger, stickier Sennheiser MKH 8060, 8050, 8040 and 8020. The INV-Lite (21) is
a custom wound US-made output transformer for and supplied loose with easy peel- the ideal companion for the Schoeps MiniCMIT.
excellent control of transients. The tube is a modern off tabs for easy use. The all-new Overcovers Advanced utilise www.rycote.com
EF806s aged using a proprietary process developed
by Lauten Audio. 
Lauten Audio’s proprietary technology uses three separate
signal paths for multi-voicing: Forward, Neutral and Gentle. The
Gentle position provides maximum control of bright or peaky
sources or to achieve a very warm, vintage vibe. Neutral offers
an even response with good control over S’s. Forward opens up
the microphone for that familiar “air” of classic microphones from
the past, combined with the modern touch that Lauten Audio is
known for. The LT-386 is supplied with a shock mount in a custom
hard case, £2,619 inc VAT.
www.lautenaudio.com
www.synthax.co.uk

Ehrlund
From a small town in the heart of Sweden,
inventor Göran Ehrlund produces a range
of microphones that aim for transparency,
accurate transient capability, and colourless
reproduction of source material.
Thanks to a unique and patented triangular
shape, the membrane resolves impulse
resonance more rapidly allowing for a less
distorted signal. The triangular shape of the AMBEO VR MIC
The new dimension of VR audio productions.
Ehrlund microphone membrane allows the
membrane surface to stabilize a claimed 400%
faster than conventional round membranes, Capture the world
in a new spatial way.
thus producing a clearer and more true sonic
image. In addition to the triangular membrane,
Ehrlund microphones use a unique internal amplifier that is phase
The new standard in 3D audio capture from
linear and thereby eliminates the need for matched microphone
pairs. Internal self-noise is extremely low with a lab certified Sennheiser is lifting VR audio production to a
frequency response of 7Hz–kHz. new professional level, bringing a whole new
Ehrlund offer 5 microphones, ranging from large-diaphragm and highly emotional experience to the listeners.
vocal condensers through instrument, drum and miniature
condensers. The Ehrlund Acoustic Pickup (EAP) is a linear contact sennheiser.com/ambeo-vr-mic
microphone for instruments with an acoustic sound box such as
the guitar, violin, double bass and ethno-instruments.
www.ehrlund.se
www.momentumaudiosales.com

Bock Audio
The Bock 5ZERO7 (review, Resolution V16.2 March
2017) is a new approach in high-end microphone
design, combining new and old: a brand new
unique and patent pending elliptical capsule, with
a vintage-inspired mic amplifier and power supply.
The new Bock/Cardas elliptical capsule design
strives to resolve the chronic in-band resonance
issues of both large and small diaphragm
microphones. Round capsules have a relatively
low frequency in-band resonance, typically
around 1kHz. Small diaphragm mics usually have
a much higher in band resonance, typically about
15kHz or higher. The elliptical capsule offers the
best of both, avoiding the constant distance “edge to centre” of

VRMic Resolution Junior.indd 1 23/05/2017 11.46

July/August 2017 resolution 49
 GEAR MICROPHONE SPECIAL

Shure conductivity and are hand- Royer

assembled exclusively
with through-hole Royer Labs’ R-122 was the world’s first
components providing phantom powered ribbon microphone,
a secure and reliable combining ac tive elec tronics for
connection compared to impedance conversion with a custom
common surface-mount toroidal output transformer to deliver
technology. strong signal to noise with almost any pre-
Also new this year is an amplifier. The Mk 11 version leaves the
upgraded powder coated fundamentals of the design untouched,
finish for the M80 & M81 with the same proprietary offset ribbon
dynamic microphones, motor, ultra-low noise FET stage and
In April, Shure introduced its new Axient Digital wireless to match the finish on transformer. It adds two recessed slide
microphone system, which builds on the benefits of the their siblings the lower switches — one for a pad and the other for
Company’s UHF-R, ULX-D, and Axient wireless systems to create profile M80-SH and M81- a high pass filter. Royer have taken care to
Shure’s most advanced wireless platform to date. Catering to SH microphones, which ensure that these additions have no effect
evolving customer needs — especially in an environment of began shipping in January 2017. on the sound of the original R-122 — so
continued RF spectrum pressure — Axient Digital provides www.telefunken-elektroakustik.com when the switches are in the off position
high-performance RF, exceptional audio quality, command and the signal path is identical. The -15dB pad
control, and hardware scalability. Beyerdynamic helps on those occasions when loud sources (e.g guitar amps)
Axient Digital ADX Series transmitters incorporate ShowLink, A result in headroom issues with the electronics, and the relatively
which provides real-time control of all transmitter parameters gentle (100 Hz 6dB/octave) high pass filter is designed to help
with interference detection and avoidance. The ADX Series also combat proximity effect on close sources.
includes the first micro-bodypack with an integrated self-tuning www.royerlabs.com
antenna, enabling greater concealment and comfort.
Axient Digital features Quadversity mode, which allows users Chandler
to place sets of diversity antennas in different zones, or double Chandler Limited, the only company authorised to
the number of antennas in a single zone, to improve RF signal-to- new version of the TG 1000 24-bit digital develop and market the “Official Equipment” of EMI/
noise in challenging environments. High Density mode increases wireless system now has a Dante interface Abbey Road Studios, added to their series with the
the maximum simultaneous system channel count from 17 to 47 and can be integrated seamlessly into AoIP REDD Microphone in November 2016. The REDD
per 6-MHz TV band, from 23 to 63 per 8-MHz TV band. Digital networks based on the Audinate solution. is a large diaphragm tube condenser microphone,
audio quality is maintained via Dante and AES3, along with a The TG 1000 dual receiver is equipped with combining mic and preamp into a single device.
20Hz to 20kHz range with a flat frequency response and accurate a Dante network interface in the form of an Featuring the tube-based REDD.47 Mic Amplifier
transient response. It also boasts wide dynamic range, AES-256 RJ45 connector flanked by status LEDs on the back of the 19” circuit directly coupled to a
encryption, and 2ms latency from the mic transducer to the device (1 HU). custom handmade premium
analogue output. The beyerdynamic TG 1000 wireless system has a switching platinum membrane capsule,
www.shure.co.uk bandwidth of 319 MHz in the UHF range (470 — 789 MHz), the REDD Microphone can be
guaranteeing long-term investment security and smooth used with or without an external
Telefunken operation across the globe. Operation is extremely intuitive preamplifier. Features available
The Telefunken TDA-1 (mono) and TDA-2 (dual) are newly thanks to the high-contrast OLED display, one button navigation from the microphone body
designed-for-2017 active direct boxes that employ discrete and Chameleon software. There is a comprehensive assortment include: nine gain selections, from +4 to +33dB in the NORM
Class-A FET circuitry coupled with a high quality transformer. of capsules available for the TG 1000 handheld transmitter position, extended gain and punch in DRIVE mode for more tonal
The Telefunken TDP-1 (mono) and TDP-2 (dual) are new passive that, in addition to dynamic variants and first-class condenser colouration, switchable Cardioid/Omni patterns, -10dB Pad, and
transformer direct box designs that combine premium quality capsules, also includes the legendary beyerdynamic TG V90w Phase reverse. Continuous output and low-contour control are
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50 resolution July/August 2017

MICROPHONE SPECIAL HOW TO

Shotgun
whole point of A-B-A
testing, for us, was the
fact that microphones
need to be tested out

shootout in real world working

locations/environments! So we set out to create our own tests in a variety of
locations: a busy city centre, a bar, a basement, an office, a reverberant toilet
and a field next to a motorway (Oh, the glamour!). The challenge was: how do
PETER BAILEY & ED LISTER wanted a controlled side-by-side evaluation we incorporate all this into a no-nonsense, simple online video?
of several microphones in different realistic locations, so they set out to Another challenge was getting a load of mics together into a mobile rig,
conduct their own benchmark comparison recordings. making it possible to get to all our locations with them all being in the “sweet

W
spot”. We want the videos to roll continuously & the captured audio to cut
e were in the market for upgrading our current location sound between mics, in order, every few seconds — which gives an obvious change in
microphones, and the first point of call was to look online for tone or atmos as it changes from mic to mic. So we built a custom portable beast,
some professionally produced microphone comparison videos. all plugging into a sound devices 664 mixer, enabling the videos to all also have
Unfortunately, all of the videos we found were of somebody testing the facility to download every audio track in full 48kHz 24bit .WAV format, for
two or three mics in a studio or controlled environment — these so-called reviews the listeners to playback and compare for themselves.
were always with one mic after the other — which was pretty useless for us, as Not everyone is able to get hold of several top end microphones at once, so
really all you get is someone else’s opinion of which mic they preferred overall. we wanted to make this very accessible & a possibility for people out there,
The ideal scenario is to have more microphones involved, with each mic hoping it would help them to make a decision on which mic they would really
mounted as close as possible to each other, all the mics recording the exact same prefer for different locations. We were doing this comparison for ourselves, but
content at the same time. The human ear is most effective as a comparator when since no real tests were out there, we wanted to make the results available
switching A-B fairly quickly between the same content. For this reason, we for other people like us in the same situation, looking for a real world mic
wanted the option of being able to loop certain parts and switch between them. The comparison field test.

July/August 2017 resolution 51

 HOW TO MICROPHONE SPECIAL

EXTERIOR (FIELD NEARBY

MOTORWAY)
Sanken CS1 — was too noisy.
RØDE NTG2 — quite thin but stood up
well as a cheaper alternative.
Sennheiser MKH8060 — picks up quite a
lot of low rumble compared to the Sennheiser
MKH416 (which was better).
Schoeps CMIT5u & the Sennheiser
MKH416 were on par with each other and
the best here.

TOILET
All very close — though the Sanken CS1
was the noisiest and under-performed the
others here.
The Schoeps CMIT5u didn’t stand out at
all.
The Schoeps CMC641 was cleanest and
best sounding by quite a way, nicest dialogue captured with little noise.
Sennheiser MKH 50 was next best to CMC641.
DPA 4017b & Sanken CS3e sounded very similar, both very bassy.

OFFICE
When all the mics were positioned properly in the sweet spot they all perform
and sound really good. In location sound, we often have to compromise and
reposition the mics further away than we would like to, this is where we really
rely on our professional microphones, and in this location this is where the
difference is notable between the mics.
The microphones we included were: Sanken CS1, Sanken CS3e, Schoeps The interior mics, Schoeps CMC641 and Sennheiser MKH 50, stood out as
CMIT 5u, Schoeps CMC641, Sennheiser MKH416, Sennheiser MKH8060, the cleanest over the rest. The Sanken CS3 and DPA 4017b gave the illusion
Sennheiser MKH50, and DPA 4017b; we threw in the RØDE NTG2 for good they were positioned closer than they were, but didn’t quite deal with reflections
measure as a test, although it is clearly not in the same league as the others, as well as the CMC641 and MKH 50. All microphones dealt with this location
being around a tenth of the price of the Schoeps CMIT 5u. We also included our pretty impressively, but the CMC641 or MKH 50 were our top choices.
camera top built-in mic, to demonstrate how important it is to use a professional
microphone for audio — for the video people out there! Here is a short summary BASEMENT BAR
of our results by location. The Schoeps CMC641 or Sennheiser MKH 50 again stood out as the cleanest,
the Sanken CS3 and DPA 4017b really brought up a lot of the low rumble from
the beer pumps that were in the background at this location, which would be
an issue on the job here.
The Sanken CS1 didn’t really perform well, and again had the most self-noise.
Sennheiser MKH416 and Sennheiser MKH8060 were similar sounding, but
the 8060 narrowly clinched the award for the cleaner of the two.
The Schoeps CMIT 5u was quite nice and clear but the 641 and MKH50
performed the best here.
AWA R D S 2017
• NOMINATED •
REWARDING QUALITY AND INNOVATION
Resolution Awards 2017 Collection.indd 5 10/07/2017 15:25 UPSTAIRS BAR
There appears to be a compromise with each of the mics on this scenario and
this one it seems is down to personal preference.
When the mics are in the higher position the Sanken CS3e and DPA 4071b
sound the warmest, but this is because they are louder in the low end and
unfortunately this brings up all that unwanted rumble (all that nasty air con,
traffic etc that we hate on set!) The clear winner for getting rid of these sounds
is the Schoeps CMC641 followed by the Sennheiser MKH50.
The Sennheiser MKH8060 sounds slightly thinner than the Sennheiser
MKH416. We then had the bar play some music, to see how the mics faired.
The Sanken CS3e opened the flood gates to this, and allowed in all the lower
end of the music as did the CS1.
Schoeps CMC641 performed best here overall.

BUSY CITY CENTRE

It almost doesn’t matter which mic we used here, when there is so much noise
coming from all directions! It was a real free-for-all. Even the budget RØDE
NTG2 stood its ground (although sounding pretty boxy). In general some mics
sounded better in certain parts of this recording, but then that would completely
alternate on other parts. They really do deal with different frequencies, and
sound differently to each other.
As throughout all the videos, the Sennheiser MKH416 sounds slightly
warmer than its twin the Sennheiser MKH8060, the Schoeps CMIT 5u is cleaner
than the rest and was probably the mic of choice here. It cancels noise the best,
there was noticeably less high end noise in the quieter parts of the video where
no speech is occurring.
As per usual the Sanken CS3e sounds quite bassy, the DPA 4017b performs
better, and it would be interesting to test the super CMIT here.

52 resolution July/August 2017

 MICROPHONE SPECIAL HOW TO

CONCLUSION
We’ve had mixed reactions from viewers, as you can tell
from our results it is 90% down to preference.
Because all of these are high-end microphones it’s
a pretty close call. They all do a great job cancelling
noise, but with each mic you get an EQ difference,
therefore the background noise is EQ’d differently,
hence listeners’ preference does comes into it. You can
certainly tell the difference between the mics intended
for interior or exterior operation, and we would suggest
using them as such.
The Sennheiser MKH416 has a warmer sound over
the Sennheiser MKH8060 and would be chosen for this
reason; as for noise cancellation: it’s around the same.
The Sanken CS1 didn’t really perform well at all, and thus has now been ADVICE TO VIDEO GUYS
relegated to the office for podcasting instead! We often get self shooters asking us what top mic they should get themselves
We felt the Sanken CS3e and DPA 4017b brought up too much low end: for shooting video: we point them straight to these videos to show them the
this is great when the mics have to be positioned further away from the talent/ difference a proper microphone can make rather than a top mic (hence the
source as it makes the dialogue sound closer/warmer, but it also brings up all inclusion of this in our test, to try to point out how much difference can be
the unwanted low end hums too! Not great if this is your intended choice as an achieved by not just making do with use of a top mic).
all rounder mic. The opinions expressed are Peter & Ed’s. Please visit www.resolutionmag.
The RØDE NTG2 is a great entry level mic for the price: boxy sounding, but com for a link to the videos and downloadable audio and make your own
cuts a lot of background noise. We felt it would be good for a camera top mic or evaluation. n
as a backup perhaps.
The Schoeps CMIT 5u (£1,800), when comparing it with the Sennheiser PETER BAILEY: Peter is a sound recordist for ITN, Live Breakfast for Good morning Britain on the
MKH416 (£709), is only slightly more impressive — which wasn’t expected — Manchester Sat truck. Peter works on broadcast commercials for the likes of Manchester United
especially for the price leap! If buying on a budget the 416 is as rock solid as its and National Geographic, runs an audio industry podcast, and has worked on feature films such as
always been, and we imagine it will stick around for years longer! Captain America. Peter’s Film Industry Pro channel is: http://bit.ly/Peter-Bailey-YouTube-Channel
Interior wise: Schoeps CMC641 and Sennheiser MKH50 were very similar,
and you really have to listen hard to find differences — there’s not much ED LISTER: Ed is a self shooting video content producer & freelance broadcast cameraman based
between the two at all. in Manchester, recently shooting content for: This Morning, Good Morning Britain, ITV news, BBC
Is it true that to be the best you need to buy the best? Not necessarily. These Philharmonic Orchestra, RED digital cinema & Adobe. Ed is also the owner of www.flagtimefilms.
mics are top players so it’s bound to be a tough choice, take a listen for yourself com — which has produced content for clients such as Calrec Audio, Warner music and Atlantic
and choose your favourite tool for the job! records, plus showcases work yearly at BVE and IBC shows.

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July/August 2017 resolution 53

 BUSINESS

$hawn Carter
Jay-Z has gone from street hustler to celebrity entertainer and business
mogul NIGEL JOPSON asks — is he going to be rap’s first billionaire?

Photo: artofchriz

A
fter weeks of mystery and speculation, Jay-Z’s 13th album 4:44 was as having an annual budget of $75 million solely for artist initiatives and
released on June 29th on his own streaming service Tidal. It features exclusives. It seems likely Jay-Z had planned the release of 4:44 in advance of
Beyoncé, Blue Ivy Carter, Damian Marley, Frank Ocean, Jay-Z’s the Sprint investment — he was holding out to use his next musical effort as a
mother Gloria Carter, The-Dream, and Kim Burrell. The ten track negotiating chip — releasing an exclusive, to lure subscribers to Sprint, was all
album was executive produced by Jazzy himself, but — most unusually for a part of the plan.
modern release — was produced entirely by a single producer, No I.D., who 4:44 was certified platinum by the RIAA — reflecting sales of one million
previously had credits on Jay-Z’s American Gangster and singles like D.O.A. albums in the US — less than a week after it was released. In the space of just
(Death of Autotune). five days, Jay-Z had landed the sixth biggest-selling album of the year. A photo
It could be said the system of pick ‘n mix for producer and songwriter selection of Jay and a gurning Cary Sherman (RIAA CEO) holding a plaque arrived at 10
started with hip hop: the beat/drop, verse/hook format of hip hop is a.m. (PDT) on Wednesday morning — following
custom-made for collaborative production. It also lends itself well to an unusually long July 4th holiday. Variety
a fast-paced workflow, as a producer essentially contributes a pre- magazine flagged up this anomaly, saying
made beat for others to riff over. The system of combining producers they had ‘learned that the plaque presentation
bled into mainstream pop, where a more cynical approach, lacking took place before the album was even released
hip hop’s respectful patronage, means that modern production ... there was no sales-breakdown information
pros find themselves essentially auditioning for slots on big-artist included in the press release.’ To go platinum
albums. So ... the very use of a single producer (and a single mixer, on streaming alone, the album’s tracks would
our cover interviewee Jimmy Douglass) was a huge statement have had to be streamed 1.5 billion times, since
in itself by Jay-Z. The choice likely suited the production vibe on 1,500 streams of a song count as one “sale”
an album where Jay-Z outs his mother as a lesbian, talks about under current chart rules. Tidal has, at best, 3
shooting his own brother and discusses “killing” his own ego. The million subscribers, so each of them would have
album may be a master class in apology, but the release had all the needed to listen to the album 500 times to push
hallmarks of a (business operator) well-versed business operator sales over the one million mark. It turned out
who understands full well how to extract maximum value from his that Jay-Z had in fact done a deal with Sprint,
public’s vicarious voyeurism. who gave away copies of the album to their
‘Become a Sprint customer and get 6 complimentary months of subscribers. Crucially, Sprint paid for each of
Tidal and access to Jay-Z’s album 4:44,’ exhorts a banner judiciously placed by those copies, making every “free” album eligible for a platinum award; and
an announcement of the planned launch date. The landing page begs fans to the RIAA explains that Jay-Z’s label RocNation had to provide evidence the
sign up for Sprint and, (a nice touch to soften the pecuniary extortion), to donate downloads were, in fact, initiated by consumers. RIAA regulations mandate the
to the 1Million Project — an initiative ‘that will connect 1 million low-income wholesale price of the album only needs to be $2 to register as a sale, so, as a
U.S. high school students who don’t have internet access at home,’ — which BBC Entertainment & Arts reporter observed: ‘Sprint probably paid Jay-Z less
Tidal and Sprint are supporting. For Jay-Z, the timing of 4:44 was impeccable. As than it would cost to air an advert during the Super Bowl (up to $3.8 million
production pros, we can easily imagine the pressure in the studio to co-ordinate for 30 seconds)’.
content delivery with commercial considerations. The album’s release comes In the end, it all went to plan and after 2 weeks Jay collected his 14th No.
just five months after Sprint’s $200 million investment in Tidal. The telecom 1 album on the Billboard 200 chart. According to Nielsen Music, in the week
company’s purchase of 33% of the up-market streaming service valued Tidal ending July 13, the set earned 262,000 equivalent album units, the fourth-largest
at $600 million: Jay-Z purchased Aspiro (which then re-named as Tidal) for week of 2017 for any album. Of its total, 174,000 units were in traditional album
$56.2 million in January 2015. Another aspect of the Sprint investment included sales. 4:44’s carefully pre-planned No. 1 extends JAY-Z’s record as the solo artist
the creation of a “dedicated marketing fund,” which was reported by Billboard with the most No. 1 albums in the 61-year history of the Billboard 200 chart.

54 resolution July/August 2017

 BUSINESS

4:44 is just the latest achievement in a career of financial transactions which In November 2003, Jay-Z pioneered the music-on-phones business as he
will no doubt be studied as “business cases” by MBA students in the future. In teamed up with phone maker Nokia for a device called the “Black Phone”
his 2010 autobiographical memoir Decoded, when explaining his 2006 freestyle — preloaded with his Black Album — ‘natch. Next came a Hewlett-Packard
Operation Corporate Takeover, the rap mogul wrote: ‘Our ambition was never ad campaign, thanks to Jay’s relationship with Steve Stoute, the CEO of the
to just fit into the corporate mold, it was to take it over and remake that world brand-marketing firm Translation, and former president of urban music at
in our image.’ Forbes has estimated his net worth at $810 million, up from last Interscope/Geffen/A&M Records. Allegedly, H.P. had been considering Robert
year’s $610 million ... knocking on billionaire row’s door. This door will surely Redford or Drew Barrymore before Stoute’s involvement. It was part of
represent the ultimate tally for a musician who’s aim was to wrest the levers of what became known euphemistically as a “tanning moment” in US brand
power from corporate might — rather than the scholarly, lyrical and philosophic marketing. Corporate scalps continued to adorn Carter’s belt with Anheuser-
ambitions of earlier, socially conscious rappers like ATCQ. Jay-Z’s 13th studio Busch (naming Jay in 2007 as co-brand director of its Budweiser Select beer)
album is a logical progression from his journey, which first hit the fast-lane 21 and ... ultimately, Coca Cola. The rap mogul reportedly designed a new can (the
years ago. tin was retired in 2011) and oversaw radio, TV, and print marketing for the
In 1996, JAY-Z, Kareem Burke and Damon Dash founded the independent re-launched Cherry Coke.
label Roc-A-Fella Records, as a vehicle to release Jay’s first album, Reasonable A clothing line — Rocawear — had been part of the Roc-A-Fella Records
Doubt. No major labels wanted to sign him, and Carter later reportedly turned operation since 1999. In 2007 Iconix Brand Group — a company that has
down a deal with Def Jam, allegedly telling them, ‘I own the company I rap for.’ licensed the brands for Joe Boxer, Ocean Pacific, Lee Cooper and Umbro —
The label’s first RIAA platinum album came in 1998 with Jay’s Vol. 2... Hard purchased the rights to Rocawear for $204
Knock Life, and the eponymous platinum single, nominated for Best Rap Solo million in cash. The deal allowed Jay to keep
Performance at the 41st Grammy creative control and a stake in Rocawear’s
Awards in 1999. As became a habit operating company. Details of the deal came
throughout his career, the record out recently when Iconix sued Roc Nation
was a result of Jay moving on from and Jay-Z — according to the lawsuit,
his previous entourage to work with special “Roc Nation” baseball caps on the
new talent in the form of Swizz market have denied Iconix the benefits
Beatz, Timbaland, The 45 King and of a licensing agreement. According to
Jermaine Dupri. recent securities filing, Iconix reported $800
In 2000, Jay-Z put out The million in Roc Nation revenue for 2014 and
Dynasty: Roc La Familia as a solo 2015 — which gives an idea of the cut a
album. As the title implies, it was marketing maven like Shawn Carter has
intended to be a label collaboration been pocketing.
project, with prominent features for In 2010, a $1 million marketing campaign
Beanie Sigel, Amil and Memphis for Jay-Z’s autobiography Decoded doubled
Bleek, along with a Freeway guest as promotion for Microsoft’s Bing search
appearance that eventually led Photo: Tom Hoppa engine. Fans could find pages from the book
to him being signed to in unlikely places — from a rooftop in New
Roc-A-Fella. Jay (again) Orleans — to hamburger wrappers in New York, by
selected beats from a new using clues from a Bing site. Fans could follow clues
crop of nascent producers: to Bing Maps locations and real life places where
Kanye West, Bink, The text from the book was blown up larger than life or
Neptunes and Just Blaze. layered onto swimming pools, guitars or onto records
And — again — what in jukeboxes. Then came the controversial Samsung
a talent pool they were! deal in 2013, when Jay-Z gave away 1 million copies
Each producer went on to of Magna Carta Holy Grail through an exclusive
be involved in significant app on Samsung Galaxy phones. Earning Jay an
Roc-A-Fella projects. From estimated $20 million, the RIAA made it clear that
2002 to 2003, Damon those Samsung sales would count toward MCHG’s
Dash signed several new platinum status, but Billboard blocked the album
artists in response to Jay- Photo: Tom Hoppa from debuting at No. 1 ... hence the more logistically
Z’s talk of retirement after correct approach with 4:44.
his 2002 album The Blueprint2: The Gift & The Curse. In early 2015, Jay-Z bought the platform that
Antipathy between Carter and Dash hit the news: after Jay- would become Tidal from Norwegian company
Z’s supposed swansong album, it came out he had been recruited as CEO and Aspiro for $56 million. When Sprint bought 33% of Tidal in 2016 Jay potentially
President of Def Jam Recordings. The now-infamous parting of the ways for trousered $144 million. On top of that huge profit, Jay’s service scored with
Dash, Jay-Z, and Burke happened after the trio sold their 50% interest in Roc-A- exclusive releases from Rihanna, Kanye West, and from his wife Beyoncé.
Fella to Island Def Jam Music Group, making the label full owners. As President, Despite the full production personnel credits listed for tracks, and excellent
Jay retained control of the label and his masters, ousting his 2 former partners. Tidal sound quality (beloved of audio pros), there’s been a revolving door of
So ... instead of signing as an artist to the Universal Music-owned Def Jam, Jay Tidal CEOs, and a subscriber base allegedly hovering around one-sixteenth of
sold half of Roc-A-Fella to them in 1997 for $1.5 million. Then 7 years later Def Spotify’s 50 million paid users. With rumours of a Sprint and T-mobile merger,
Jam bought the other half of Roc-A-Fella for $10 million. Sweet deal. Jay’s Def is Tidal destined to be another churn/bait-and-switch from the ‘Hova of rap?
Jam deal was well navigated — his contract included a clause that would revert Jay-Z is a big success. He’s gonna make his statement, and make billionaire.
the rights of his own catalogue beginning in 2014. But his modus operandi is a vulgar way to sell music fans on the idea of
In 2003, Carter made a ground-breaking move into major-brand commercial celebrity/corporate crossover as a necessary (or even revolutionary) act. It’s not
deals. In what was to become a model for future retail endeavours, Jay-Z about popular music, or record sales, anymore. It’s about domination — winning
designed the S.Carter sneaker for Reebok, becoming the first non-athlete to land above all else — and taking momentary control of a business (the music
such an endorsement deal with a sports shoe company. Reebok sold out of its industry, or brand marketing) that is past it’s prime and slipping away from
10,000-item stock in just a few hours, making it the fastest selling shoe in the shareholders who used to be in control. Isn’t that just capitalism?
company’s history. The sneaker itself was a homage to the Gucci Tennis ‘84, a
low-top luxury sneaker hankered after by hustlers. It didn’t look too memorable “The lyrics just spewed, he got good reviews
style-wise, but it started a revolution with footwear endorsements that would The kid made the news, how he left no clues
change the way brands operate today. Carter co-starred in a commercial with On how he just murderized the whole damn jam
50 Cent, subsequent to which Reebok’s share price closed on June 12 2003 at
He just got results that’s smiles and waved hands
$32.90, up 54.8% from a low of $21.25 eight months previously. Sales in the
$15 billion athletic footwear market were up more than 7%, according to the The mission could never be accomplished ...”
Sporting Goods Manufacturers Association ... point proven. [Money Maker, A Tribe Called Quest]. n

July/August 2017 resolution 55

 YOUR BUSINESS

Streams of gold
Spotify finalised royalty deals with Universal Music Group (UMG) and Merlin,
the independent label trade organisation, which brought Spotify’s royalty-
payout liabilities up to over $2 billion in minimum payments to record labels
over the next two years.
Spotify may soon become a public company DAN DALEY wonders if this Sorry to be using dollars here but that’s to underscore what has been
will benefit the majority of artists on the music streaming service. Spotify’s long-term endgame since the beginning: a Wall Street IPO. (The City

B
was likely never in the running for this move given the leading position of the
ack when Spotify was a regional music-streaming U.S. as a music-consumption market, and Brexit’s just an extra nail in that
service — back when music streaming was itself an coffin.) Taking Spotify public would be the jewel in the crown of Spotify as a
oddity — the Swedish streamer’s founder, Daniel business proposition, and the company might well have done just that already
Ek, kept a quote from George Bernard Shaw on had it not been for a number of un-serendipitous circumstances. For starters,
his office wall: ‘The reasonable man adapts himself to the Spotify’s existence has always been complicated by the fact that it has been
world. The unreasonable one persists in trying to adapt existentially dependent upon its suppliers — the major record labels — for its
the world to himself. Therefore all progress depends on the lifeblood product. To secure that product, Spotify has had to make sometimes-
unreasonable man.’ disadvantageous royalty deals with those labels, when the labels were willing
It’s a rock & roll assertion wrapped up in a belle lettre to commit to long-term (i.e., predictable) deals in the first place; hence the
package, and it sums up what Ek set out to do over just-done deal with UMG. And part of that arrangement was giving those same
a decade ago, which was to make music universally, labels an almost-20% equity share of the company. Then the streamer had to
ubiquitously and profitably available in the online age at a deal with certain flagship artists who either placed severe restrictions on the use
time when the internet was ripping the music business apart, and by the rules of of their music on the service, such as keeping it off of Spotify’s unpaid so-called
a financial industry that had infiltrated every aspect of everyday life. Creatures of freemium tier, which those artists asserted devalued their music (and certainly
Silicon Valley’s financial divisions have changed how we buy things (Amazon), impacted their short-term earnings), or those who stayed off of streaming
go places (Uber, Lyft) and sleep when we get there (AirBnB, VRBO). If Spotify altogether until very recently, putatively on principle. Faced with these sorts of
intended to storm the barricades of a torpid music business laid low by internet- headwinds, it’s perhaps not surprising that Spotify, over time, became more and
enable file sharing, it first had to enter the boardrooms of industrial finance — more like those entities that it had to deal with.
the venture - and other capital sources that fund the points of all of these spears Working in Spotify’s, and streaming’s, favour were the fact that as
aimed at the hearts of conventional enterprise. As a result, has Spotify become millennials became a larger part of the consumer base, streaming became more
more like those it sought to disrupt in the process, and what’s that ultimately normalised as a consumer behaviour. In no small part, that’s what $15 billion
going to mean to people who depend on some kind of predictable economic in venture capital buys you over nearly a dozen years: the ability to wait out
infrastructure to pay the rent? massive cultural shifts till the winds become more favourable. If CDs were still
Productive Unprofitable — Like virtually all of its cohort at the top end economically viable we wouldn’t be having this conversation. Spotify wasn’t
of the tech-industry start-up spectrum, Spotify has yet to turn a proper profit. just sitting around waiting for that to happen; in recent years it’s become more
It follows a well-established tech-industry paradigm that takes the phrase ‘you proactive about creating some of its own content, most notably in the form of
need money to make money’ and essentially turns it on its head. Even as the Spotify Sessions — re-recordings of hit songs by the original artists at Spotify’s
company shows growth — Spotify’s revenue grew nearly 50%, to about $3 own recording studios at its Manhattan offices. Spotify are also developing
billion last year from $2.1 billion — its overhead costs continue to increase, original podcasts and video programmes, worthy enough in their own right, one
leaving it with a deficit of over $310 million in 2016. For instance, this year hopes, but also useful as hedges against their more traditional content suppliers.

56 resolution July/August 2017

 YOUR BUSINESS

There is discussion of Spotify becoming a label itself, following in the footsteps Now Spotify have become the target of an entirely new cohort who seek,
of Live Nation, another publicly traded music monster. Finally, there are sheer through means legitimate and otherwise, to game the system of pays for plays.
numbers: the service has a total of over 140 million users, 50 million of whom Agents advertise schemes that will purportedly raise streaming totals, in return
are paying customers, twice as many as two years ago. for “consulting fees” up front. To a greater and greater extent, streaming — and
Ironically, these moves, along with the serendipitous upswing in music-sales Spotify, as its near-universal namesake, much like Xerox became for photocopying
revenues — U.S. recorded music sales were up 11.4% in 2016, bringing in $7.65 — appears to me to be distancing itself from those who create its very currency.
billion in revenue, according to the RIAA, up from $6.87 million in 2015, led Record producers can employ all of the same strategies they’ve been using for
by streaming but with considerable help from vinyl ($430 million, nearly what a while now, including participating more on the copyright side by writing and
ad-supported streaming generates) — may mean that Spotify can go public co-writing more of what they produce. But as the artists they work with get more
without an IPO, listing its shares directly without raising any new capital through of their remuneration from sources that producers cannot participate in, like ticket
the sales of shares. Doing so could reduce the fees it would have to pay to bankers and merch sales, they’ll need to do more. And there are possibilities: remixes and
for the IPO by as much as 7%. With Spotify currently valued at about $8.5 billion, stem mixes for the myriad ways that performers need to configure themselves
that is not loose change. The downside of such a move, however, means that online and on other media is one avenue. The producer (and the engineer) as
the institutional investors that make up the bulk of IPO purchases wouldn’t be as the keeper of sonic consistency for artists whose sound signatures are critical
eager to dive in, since there would be little in the way of critical analyst guidance to their identity (stop giving away all your tricks!) can provide at least session
that accompanies the IPO process. work and at best perhaps argue for a retainer. But streaming is shaping up to be
Following The Money — Either way, Spotify have more options than it ever the main source of revenue from recorded music for the foreseeable future, and if
had, and is in a better position than ever. It still has plenty of competition, from artists are getting less from it, so are producers and other secondary stakeholders
Apple Music (now at 27 million paid subscribers) and Google/YouTube, as well as in the process.
from a recently revitalised Pandora, the internet radio service that was acquired by I doubt Daniel Ek had all this in mind
Sirius XM Radio in June. But those 11 years of its existence has allowed Spotify to when GBS’s quote first went up on his wall,
build a brand that’s as good as any of them in the music sphere. but like Gordon Gekko’s guiding aphorism
But all of this has not translated into much of an improved situation for Spotify’s from the 1987 film Wall Street, “Greed is
other set of stakeholders: the vast majority of recording artists, and by extension, good”, it set the stage for what was to come
the record producers who work with them. Like the factory workers left behind while the record business was stumbling
by globalisation or the mid-level white-collar accountants and middle managers about in its own wreckage looking for a
made redundant by waves of industrial consolidation, streaming’s content class is saviour. Don’t expect Spotify or streaming to
in danger of being left behind. Tales abound of elite artists (and, presumably, their suddenly experience a jolt of altruism, but the way the cards are falling doesn’t
royalty-participating producers) pulling down huge sums (Taylor Swift’s catalogue bode well for those who depend on music to pay the rent. That’s hard to see from
earned $400,000 the week it was returned to Spotify and Apple in June, and see the C-level suites. But those who’ve ignored what’s taking place there, from Marie
Resolution V15.4, Anatomy of a Hit: Drake $8.4m in 24 hours) whilst most Antoinette in 1793 in the Place de la Concorde to Uber founder Travis Kalanick
artists see five-figure payouts, if they’re lucky, from seven-figure streams. about two months ago in Silicon Valley, do so at their own peril. n

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 BROADCAST ASIDE

The Soundbites
clearly understood without visuals. But all night long, it became torturous noise.
Of course, as a passenger on an airplane you expect a high level of what I call
baseline noise (pink or white?) So all communications, plus any slamming and
flushing, is significantly above baseline and baseline sound becomes the threshold

of Life of irritability.
A live sound practitioner uses white noise and pink noise to calibrate their
systems — but exposure is only for short periods of time even with ear protection.
Perhaps noise is frequency related. The presence of all frequencies, known as
A kaleidoscope of audio: DENNIS BAXTER describes the white noise, is a hissing like sound similar to the ambient sound inside of a jet
subjective relationship between noise and sound. during takeoff. Clearly all frequencies have a high Audio Irritability Factor, but

M
what about sound or noise when there are frequencies that we cannot hear but
ine has been a lifetime of listening. From my childhood until now, feel — is this sound or noise?
I’ve been obsessed with sound ... in fact you could say there has Our bodies can experience the effects of noise pollution from the intensity
been a soundtrack throughout my life. I can still hear the static on and frequency of the sound — the brown sound (Resolution V12.7 — Feel
the radio and then finding rock ‘n roll in the noise of the abyss. I it). Sound is not only physical, but psychological as sound or noise can raise
clearly remember the sound of hooking up my first electric guitar to a cheap amp our anxiety levels and make us very agitated. It is commonly said that you
and hearing my dad’s voice yelling might look forward to enjoy some
to turn it down. Decades later, the peace and quiet, but there is a point
ringing of church bells remind me of when the absence of sound makes
the day I wed my beautiful Charlotte us feel uncomfortable. I will never
and a couple of years later, hearing forget the first time I walked into
my son’s first cry — the sounds still a recording studio and was aware
ring with clarity and memory — as if of the unusual quietness. Or my
it was yesterday. first experience with the complete
Some people have photos of their absence of sound in the anechoic
most important moments in life. I have chamber. There is undeniably a
soundbites. physical and psychological effect on
But sound is not just nostalgic. our consciousness.
It alerts us and warns of danger As a sound designer, I am looking
we may not even see — like the to capture useable sonic space by
rumble strip on the road as we cross attempting to separate sounds from
the yellow lines or distant thunder their acoustics and ambiance. When
signaling an approaching storm. selecting a microphone, I evaluate
Sound can be pleasant and calming signal to noise as a ratio of desired
like music or birdsong. Or it can be sound to undesirable background
extremely annoying like fingernails on sounds and how I can effectively
a chalkboard. capture the sound with minimum
In the broadcast media, sound noise. But even microphones can be
provides dimensional sensory cues with detail that is far beyond the sensory fooled. A microphone is capable of capturing the sound around us when sound
information that an electronic picture can convey. For example, the tone and pitch waves move the diaphragm back and forth, but the same process is noise when
of the crack of the bat are clear auditory cues about the status of the ball. The the microphone diaphragm flails back and forth in the wind.
slamming of a door and latching it shut tells you if it is secure. So my question I write this column as I return from Seoul, Korea, a city of 20 million people
is when does sound become noise? The crack of the bat is music to the ears of a including the sprawling suburbs. Seoul is a city of constant construction, traffic
baseball fan. The slamming and locking of a door conveys security, but is noise in and loud chatter with people trying to communicate above the noise. Asia is home
the middle of the night when you are trying to sleep. to cheap personal PA systems spewing out extremely loud distorted sound over
A few weeks ago I was flying on a Boeing 787 to Korea, seated next to the plastic horns — definitely noise. As a sound technician, I can measure noise. As
galley. Above me was the flight attendant’s storage bin along with storage to the a sound designer, I see the relationship between noise and sound as subjective.
side of me and in front of me — all around me. The slamming of multiple cabinet And as a human? All this noise makes my head hurt. But give me the
doors, turning of hardware or even flushing of the loo are indicator sounds that are awesome soundbites of life, and I’m a happy man. n

58 resolution July/August 2017

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