The Nominations for the Resolution Awards 2014 are in and can be viewed online at wwww.resolutionmag.com. The Nominations have been drawn from an exceptional panel of industry experts and practitioners across disciplines. Nominated products are presented in specific product category types while Nominations in the Creative Awards are also categorised to recognise the achievements of individuals in music recording, broadcast and post.
Only registered Resolution readers are eligible to vote in the Resolution Awards. Voting is online. To vote, Resolution readers should take their Reader code and Postcode (as displayed on their magazine’s address label) and enter them in the My Subscription section of the website at www.resolutionmag.com. (Contact email@example.com with your name and address if you don’t have your Reader Code)
Upon logging in they will see a link to the Resolution Awards Voting page. Each reader can vote once and has a maximum of seven votes to cast in the Product Categories. This limit has been set to encourage considered voting. Readers can vote in all the Creative Awards Categories.
Voting will close in the middle of September and the winners will be announced in a special Winners Supplement in the October issue of Resolution.
The sixth PLASA Focus: Leeds delivered everything it promised, according to the organisers, with two-days of packed show floors and seminar rooms. A total of 2107 visitors visited the Leeds Royal Armouries, drawn by a showcase of professional sound, lighting, video, trussing and staging companies, plus an education programme.
Arriving in the month after Prolight+Sound Frankfurt, PLASA Focus: Leeds is a platform for introducing new products to the UK market. The show saw UK debuts from d&b audiotechnik, Meyer Sound, DAP Audio, Flare Audio, RCF, MilTec UK, Chauvet Professional, Yamaha Commercial Audio, SSL, Link and Martin Audio.
‘I really like the vibe -– that’s why we keep coming back, to be honest,’ said Scott Wakelin, business development manager, TC Group International. ‘Because it’s small, it’s got a bit more character than some of the bigger shows we go to, which are very much about doing business. This is a much more friendly show -– you see a lot of people chatting about things that aren’t necessarily work-orientated. You get round to business in the end, but it does seem to have a much more laid back atmosphere.’
PLASA Focus: Leeds 2015 will take place at the Royal Armouries, Leeds on 12-13 May 2015. Two new PLASA Focus events will take place in Europe during 2014 -- PLASA Focus: Brussels 3-4 November and PLASA Focus: Glasgow on 2-3 December.
Clare Sturzaker left Resolution magazine at the end of April after ten years with the publication; she is replaced by Graham Kirk.
‘I have thoroughly enjoyed my time working with Zen and the team at Resolution but sadly my other work commitments have increased to a point where I can’t dedicate the time that I need to give the magazine and its loyal supporters the customer service they deserve,’ said Clare. ‘I would like to thank everyone in the industry for making the last ten years a very special time and I wish Zen and the team the best of luck for the future.’
Graham Kirk was previously with NewBay Media and will be known to many; he joins the sales team that includes Jeff Turner and Jo Gilbert. ‘I am delighted to be joining the team at Resolution. This opportunity allows me to look after industry friends and clients, while representing editorial and publishing values that I feel are very important,’ said Graham.
'I first worked with Clare in the 1980s and the opportunity to work with her again ten years ago was natural and fortuitous,' said editorial director Zenon Schoepe. 'Clare has made an enormous contribution in the last decade for which we are extremely grateful but we have also had a lot of fun. I am sad to see her leave but we remain friends and we will remain in contact.
'Graham is a very worthy successor -- he is well respected and well known and we have very similar views on publishing in pro audio. He understands the value of Resolution as well as anyone and I am very pleased to have the opportunity to work with him,' said Zenon.
Resolution Award Nominated Black Rock Studios on the Greek island of Santorini has introduced a series of masterclasses. These start with The Secrets of Modern Metal Music Production with the Rammstein, Apocalyptica, and Clawfinger production team of producer Jacob Hellner and engineer Ulf Kruckengerg who will hold the first masterclass at Black Rock on 18-21 September.
They will cover topics like the art of recording high gain guitars, how to get modern metal drum sounds from preproduction to the final master, mixing tricks and tips, and more.
The fee for attending is 1250€ and includes the 4-day workshop at Black Rock Studios, 5 nights’ accommodation, breakfast and lunch during the days of the workshop, and transfers from and to the airport or port.
Set within a dance-club atmosphere, theatergoers stand and move with the actors for the duration of the Here Lies Love show, which reopened in May at Public Theatre’s LuEsther Hall on New York City’s Off-Broadway circuit. It is based on the life of Imelda Marcos as told in song with lyrics by Talking Heads founder David Byrne and music by both Byrne and Norman Cook, aka DJ Fatboy Slim.
The music propels the narrative as the cast moves from one end of the theatre to the other, with dozens of loudspeakers in a complex sound system held together by a Digico SD10T. Supplied by Masque Sound, the console is one of three SD10Ts purchased by the East Rutherford, New Jersey-based theatrical technology vendor -– the other two being used on Barry Manilow and Bruce Sussman’s Harmony in LA and the touring production of the ABBA-soundtracked musical Mamma Mia!
‘This is really an incredible production, visually,’ said Cody Spencer, who serves as co-sound designer, along with M.L Dogg, ‘but the sound is every bit as amazing.’ Working in conjunction with QLab 3 live show control software and Digico UB MADI USB-to-MADI convertor the SD10T allows Spencer to insert time delays within the crosspoint matrix of the console’s router.
Located outside Dallas, Cool Pony Media is a record label and artist development company that also works with score-to-picture work. Brothers and co-founders, Mark and Mike Stitts, recently upgraded part of their studio, and now use API’s The Box console daily together with other API outboard gear, EQs, compressors, channel strips, and summing. ‘It was really a no-brainer,’ said Mark. ‘The sound and flexibility of a full-fledged API console, with that footprint? We must be dreaming, right? Boom! This thing is a complete home run!’
Jean Michel Jarre recently added an AWS 948 to his private JMJ Studio facility. Jarre sees the AWS 948 as a return to his analogue roots, with the added benefit of being able to control DAW workflow from the console.
‘Early on, I had a massive SSL G-Series console that eventually gave way to a controller, but I was never really happy with the controller direction,’ said Jarre. ‘I decided to go back to the more noble way of recording and purchased the AWS 948. The console is a true analogue console with real, great sounding preamps and a platform where I can record and mix through analogue processing. I also get the best workflow for both analogue and DAW situations with the console. The AWS 948 is so much more rewarding to work with than a controller.’
London sound design and post production studio 750mph has chosen Fairlight audio postproduction systems for its entire facility upgrade.
The Soho-based studio has commissioned Fairlight to supply nine Evo post systems for its production rooms and two Pyxis dual-channel HD video recorders for the transfer rooms. ‘We have used Fairlight workstations at 750mph for many years and we have been very happy with their reliability and versatility,’ said Ben Mason, technical director at 750mph. ‘Our new Fairlight systems mean we are future proof in that we have the output performance, flexibility and forward compatibility with all emerging technologies.’
EastWest Studios has opened its reborn Studio 5 with a 64-channel SSL G+ and new and old gear from Vintage King Audio. Main monitors are an EastWest Custom Augspurger design in a spacious control room remodelled by chief engineer and project manager Lawrence Ethan Malchose.
‘My goal with this room,’ Malchose explained, ‘was to create an environment that embraced the spirit of this building by implementing tried and true equipment choices, the SSL G+ and custom Augspurger mains for example, and dovetail that with the workflow and aesthetics expected in a new studio. The combination of new and vintage gear makes this room as good as it gets technically, and it's a really comfortable space to work in.’
(standing L-R) Vintage King west coast sales manager Jeffrey Ehrenberg, chief engineer and project manager Lawrence Malchose, studio manager Candace Stewart, producer/engineer Dave Reitzas, assistant studio manager Blake Rogers, and (seated L-R) producer/engineers Chris Lord-Alge and Eddie Kramer. (Photo by David Goggin)
Expanding on its collaboration with Abbey Road Studios, Waves has assembled the Abbey Road Collection with five modelled plug-ins. It includes the REDD consoles, the RS56 Passive EQ (‘the Curve Bender’) and the J37 Tape, as well as the vintage King’s Microphones and the Reel ADT. The plug-ins are modelled on the original, rare and exclusive Abbey Road Studios hardware. The Collection is available Native and SoundGrid-compatible.
CEDAR Trinity allows users simultaneously to monitor, enhance and record up to eight channels of audio. The recorder is an invisible part of the system and is always active, even when the machine is asleep or you are not logged in. You don’t need to stop recording to listen to previous events and CEDAR Trinity allows listeners to return to times of interest, to loop sections of audio while enhancing the speech, and to log or transcribe these events while it continues to record.
Multiple CEDAR Trinity Satellite systems can be connected to any CEDAR Trinity host, allowing multiple users to address each of the audio streams, whether to monitor the incoming audio and perform real-time speech enhancement, or to listen to and enhance past events for logging and transcription.
For evidential purposes, CEDAR Trinity also offers a separate verification utility that can check the integrity of any project or archive. The user interface has been made as simple as possible and surveillance personnel and transcription experts need no detailed knowledge of recording or enhancement to monitor and extract the maximum intelligibility from any part of an audio stream or CEDAR Trinity recording.
CEDAR Trinity and CEDAR Trinity Satellite may be installed on any suitable PC, or supplied preinstalled by CEDAR Audio on rugged laptop systems.
Software version 5.0 for all MkII mc² mixing consoles and routers represents an upgrade in functionality and operation.
Version 5.0 introduces the AutoMix feature, which automatically balances mono, stereo and surround sources for a variety of different applications including talk shows and panel discussions. The mxGUI is touchscreen-optimised software for monitoring and control of mc² consoles. Levels can now be adjusted via faders within mxGUI, making it a fully-fledged operating interface for the mc² series consoles and allowing improved remote control workflows and use as a backup.
V5.0 also brings Ember+ integration to all mc² series consoles. The Ember+ self-discovering protocol enables custom integration of consoles from the mc² family with broadcast control systems such as VSM.
Expanding on range of dynamics processors Drawmer 1973 is an affordable 3-band stereo FET compressor that combines the functionality and control of the Drawmer S3 with the familiarity and quality of the 1960 and 1968.
The 1973 has a set of crossover filters that split the audio into three frequency bands, each band then passes through its own compressor and is independently adjusted, after which the signals are recombined before the final Wet/Dry mix and output levels are adjusted.
It has controls for Threshold, Gain, Switched Attack and Release with gain reduction metering on each band. The fast reacting soft knee FET maintains excellent Left/Right tracking across the full range of compression. Variable band split filters operate at 6dB/octave with switchable Mute and Bypass on each band for ease of tuning while Big and Air Modes help to preserve the very deep lows and enhance the highs. Two analogue VU meters with switchable +10dB meter rescale modes and a switchable Peak mode display the fast transients not normally seen on conventional VUs.
Dynaudio Professional has four new nearfield monitors, mounting solutions and two subwoofers. The smaller BM Compact mkIII and BM5 mkIII models have an expanded frequency response and SPL thanks to a driver redesign and Class D amplifiers. Each has an auto standby mode and XLR and phono inputs. BM6 mkIII and BM12 mkIII have been revoiced and now include Dynaudio Professional’s waveguide. The BMS II subwoofers have been optimized to compliment the new range of mkIII nearfields.
The BM mkIII nearfields come bundled with an IsoAcoustics monitor stand that allows the monitors to ‘float’. BM Compact mkIII and BM5 mkIII come with an ISO-L8R 155 stand; BM6 mkIII and BM12 mkIII come with ISO-L8R 200 stand.
Grace Design has released the m920 headphone amplifier/D-AC/stereo monitor controller. The heart of the m920 is the M series Sabre D-AC 32-bit convertor while 24-bit, 192kHz inputs are provided on AES3, SPDIF, Toslink, and asynchronous USB. The m920 includes DSD-64 and DSD-128 functionality via USB, DSD-64 through the AES3 or SPDIF inputs, and 352.8kHz and 384kHz PCM (DXD) playback over USB. User selectable D-AC filter response is available for PCM and DSD playback. Grace has improved the performance of its s-Lock PLL for increased jitter rejection. A new crossfeed circuit has been developed for improved headphone imaging, and the low frequency response has been improved on the balanced and unbalanced line outputs.
The front panel has a pair of ¼-inch headphone outputs and an LED display for headphone and line level output levels. Level control, adjustable in 0.5dB increments, is accessed via a multifunction rotary encoder/switch that also serves as an output selector and a setup menu navigation tool for selecting and adjusting m920 operating modes and parameters.
AwTac’s Channel Compressor is a FET Compressor for the 500 Series format.
Transformer balanced inputs and outputs deliver a big iron sound while discrete transistor amplifiers are used in the audio and sidechain circuit. The FET sidechain affects the gain of the input amp and offers smooth sounding compression akin to that from optical compressors.
It uses an adaptive ratio of around 10:1 but starting at 1:1, transitioning to 1.5:1 at the bottom of the soft knee slope, it then increases to 2:1, 3:1, 4:1, 6:1 and finally 10:1. The Gain Reduction meter, in addition to showing how much gain reduction is happening, also indicates the ratio being used. The first -0.5 LED indicates a ratio of 1.5:1, the -1dB indicates 2:1 etc... all the way to -15dB where the compression will behave as a limiter with a 16:1 ratio.
A Blend control lets you use parallel compression. Unlike traditional mix/dry knobs or crossfaders, the Blend control adds the dry signal back into the compressor while the Output pot controls the amount of compressed signal being let through. Both signals are then sent to an internal summing amp.
- BroadcastAsia, Singapore, 17-20 June
- Infocomm, Las Vegas, 18-20 June
- BIRTV, Beijing, 27-30 August
- IBC, Amsterdam, 12-16 September
- Prolight + Sound, Moscow, 11-13 September
- Plasa, London, 5-8 October
- Prolight + Sound, Shanghai, 8-11 October
- AES, Los Angeles, 9-12 October
- BroadcastIndia, Mumbai, 15-17 October
- Interbee, Tokyo, 19-21 November
- NatExpo, Moscow, 19-21 November
- Tonmeistertagung, Cologne, 20-23 November
- NAMM, Anaheim, 22-25 January 2015
- ISE, Amsterdam, 10–12 February
- BVE, London, 24-26 February
- CabSat, Dubai, 10-12 March
- NAB, Las Vegas, 11-16 April
- Prolight + Sound, Frankfurt, 15-18 April