Resolution Magazine is the #1 resource for audio professionals. Published 8 times a year, each issue is packed with practical advice, reviews of the latest gear, interview with award-winning pros, and industry analysis. Whether you're a sound supervisor in broadcast, a short-form audio post specialist or a personal studio owner, Resolution is for you.
As the teenaged Lauren Deakin Davies began to develop her interests in music and recording she soon came to realise the benefits of her parents having previously constructed a “party shed” at the bottom of their garden in Hertfordshire.
“I quickly commandeered it as I was in a folk band at the time,” she recalls. “We ended up doing a lot of rehearsals there, and it was during that period that I became more and more interested in recording. So I slowly started putting gear into the space and turned it into a recording studio. I began to bring other artists into the studio and then the money that those sessions generated was ploughed back into new equipment.”
The studio, now known as The Den, remains a cornerstone of Davies’ working life. Majoring in acoustic-oriented performers, she has recorded EPs and albums with a string of up-and-coming acts, including folk soloist Minnie Birch and ‘high octane folk rock’ band The Black Guards. She has also logged studio time with more well-established acts, including folk icon Peggy Seeger and singer Kate Dimbleby (daughter of David), with whom she worked on an innovative album of original ‘acapella soul’ songs entitled Songbirds.
“That was a really interesting record making extensive use of loops and effects,” recalls Davies. “It was also pretty challenging to mix. In some cases there were 40 vocal stems to work with, and there are no rulebooks for that!”
The last 12 months have also seen Davies work more extensively outside of The Den thanks to an ongoing producer/engineer role with Soundlab Studios. Located in Loughton, Essex, the studio complex has recently been renovated and now features three sizeable live rooms and an SSL console-equipped control room.
Joining Soundlab has seen Davies apply her engineering skills to a wider range of musical styles, with a continuing project for YouTube channel BL@CKBOX entailing the recording of urban, rap and grime artists. “It’s been great, and I think I’ve got really good at engineering those sessions now,” she says.
A keen multi-instrumentalist and songwriter, Davies remains active as an artist in her own right, releasing her latest EP under the moniker of DIDI last November. “I played three songs on BBC London’s New Year’s Eve show, which was a fantastic experience. I really love performing, and I find that achieving this kind of balance between studio and performance works really well; it keeps you on your toes,” she says.
TVB, the largest broadcaster in Hong Kong, has purchased its 10thCalrec console, a Brio12. The new Brio joins a fleet of Artemis consoles, including two Artemis Beams and one Artemis Light console that were purchased last year, as part of TVB’s ongoing audio technology upgrade. The Brio12 is being used as a portable console and was most recently used for live sports events including the 2019 Tissot UCI Track Cycling World Cup held in January, and the SIXDAY Series PRURide cycling event that happened in Hong Kong last month.
TVB is also taking advantage of Calrec’s Hydra2 networking and its additional Dante and MADI I/O cards. Mr. Law Yui Wah, Studio Production Department/Assistant Manager at TVB Hong Kong explained, “Connecting via fibre, it’s easy to change the I/O cards to accommodate different productions. We’re using MADI cards for our intercom connection and Dante cards for signal interchanging between a PA console and the broadcast console. The Brio12 is small enough for us to use portably yet offers enough connectivity and power, surpassing other consoles on the market in this price range. This is what makes Calrec stand out from the competition.”
The commissioning was handled by Calrec’s official Hong Kong distributor, Jolly Pro Audio. “By being able to move the Brio around, TVB Hong Kong is taking advantage of the true benefits of the Brio’s versatility as a compact console that doesn’t compromise on quality. TVB is proving that product performance and price point are at the top of its purchasing decisions when it comes to audio consoles,” said Anthony Harrison, International Sales Manager, Calrec.
The latest version of Waveform 10 comes complete with sixty-two new built in plug-ins designed with an “analogue circuit inspired” interface, with plenty of opportunities for building complex rack environments within the DAW. MIDI improvements provide users increased ability to preview chords and compare different synths. Editing in the new DAW has also been improved: Range selection allows users to select a series of tracks across discontinuous sets, move, duplicate or delete them. The new vertical cursor improves speed and accuracy and options have been added to the enhanced multi-sampler to aid work flow. Waveform 10 is the only DAW to include Auto-Tune technology from Antares Technologies. This, plus Melodyne and Elastique Pro give Wavefrom10 a comprehensive suite of audio pitch manipulation tools.
The DAW’s performance has been boosted by improvements in host stability management. To combat the possible loss of data due to plug-in crash, Waveform 10 features constant save technology and immediate crash recovery. Waveform 10 offers unlimited track count, full feature set and the freedom to add in any plug-in at a very affordable price. It functions on all major desktop operating systems, features a massive suite of over eighty plugins and provides a vast array of different instruments – something for any music genre. Priced from $69-$1,066
Sennheiser and Solid State Logic (SSL) have announced their cooperation within the framework of the AMBEO for VR partnership program. Solid State Logic’s S500, S300 and TCR System T broadcast mixing consoles will now feature onboard AMBEO A-B conversion for the Sennheiser AMBEO VR Mic.
“We are extremely happy to welcome Solid State Logic to our partnership program,” said Véronique Larcher, AMBEO Immersive Audio co-director at Sennheiser. “Our AMBEO VR Mic and SSL’s System T consoles are trailblazers in immersive audio broadcasting. “With this partnership, we are making the workflows for the creation of immersive formats far easier.”
“The partnership with Sennheiser AMBEO expands our growing functionality to provide processing for multiple audio formats for immersive and three-dimensional audio; channel-based, objects, Ambisonics and binaural,” commented Tom Knowles, SSL Broadcast Product Manager. “System T now provides on-board A-B format conversion support for the AMBEO VR Mic, with a 360 transcoder to render to a wide range of multi-channel outputs from 4.0 to 7.1.4. This allows our clients to use the AMBEO VR Mic to add ambient sound to a live immersive production or provide decoding for a live VR mix.”
Direct conversion for easy workflows
The AMBEO A-B converter works hand in hand with SSL’s 360 transcoder. While the former provides the processing-ready B-format from the Ambisonics AMBEO VR Mic, the latter converts this signal to a broad range of output formats and loudspeaker arrangements, ranging from 4.0. to 5.1.4 and 7.1.4. Broadcast engineers will be able to record and process immersive content with far greater ease, and without the need for any additional physical equipment.
Austrian Audio debuted the new OC18 and OC818 large diaphragm condenser microphones, made in Vienna, both featuring the same handmade capsule at their heart. The OC18 is a precision microphone featuring a classic cardioid pick-up pattern, whilst the OC818 features multiple patterns, dual outputs for recording its forward-facing and rear-facing capsules independently, and optional Bluetooth wireless control.
The single-diaphragm OC18 and dual-diaphragm OC818 both feature the newly-designed handmade ceramic CKR12 capsule, resulting in no compromise in sound between the two models: any OC18 and OC818 can be used as a matched pair due to the extreme precision of our manufacturing and measuring processes.
The OC18 features a classic cardioid pick-up pattern and includes a selectable high-pass filter plus a -10/-20db Pad. The OC818 has the same filter and Pad, plus a variety of pick-up patterns selectable from the body, and something extra: dual audio outputs that allows the engineer to record the rear facing capsule independently of the forward-facing capsule. If both capsules are recorded to a stereo or dual-mono track, the free and Open Source PolarDesigner plug-in (Mac/Win: VST, AU & AAX) allows for control and tailoring of polar patterns between 1 and 5 bands with selectable crossover points during the mix process. The OC818 is also the first multi-patterned microphone to feature the world’s first wireless pattern and switching control via an optional transmitter/receiver (OCR8) that can be fitted to the rear of the microphone. This unique feature allows for a generous 255 discrete polar patterns between figure-of-eight, through all of the cardioid versions and into omnidirectional. The free control software, PolarPilot, will be available for iOS and Android. This all occurs in the analogue domain and there is no processing or conversion of the mic’s signal to digital.
“I couldn’t be prouder of what this heritage team has accomplished in under two years of development and now into full production. This is what happens when you reassemble a team that has decades of experience working together. Austrian Audio will bring back ‘Made in Vienna’ and will provide the tools to ‘Make your passion heard’”, stated Martin Seidl, CEO.
Each microphone will be available in a variety of Sets to fit different needs; a Studio Set with a custom Spidermount included, and a Live Set containing a pair of mics.
OC818 Studio Set, £879 RRP inc VAT
OC818 Live Set, £1579 RRP inc VAT
OC18 Studio Set, £599 RRP inc VAT
OC18 Live Set, £1149 RRP inc VAT
OCR8 Bluetooth Remote, £129 RRP inc VAT
All products will be available from May 2019.
Wireless GO will be showcased at NAB 2019 in Las Vegas, USA, April 8th -11th (at the B&H booth (Central Hall C10916). Wireless GO is an ultra-compact digital wireless microphone system: measuring a compact 44mm x 45.3mm x 18.5mm and weighing just 31g, the Wireless GO transmitter (TX) acts as either a quick and easy clip-on wireless microphone, thanks to a high-quality built-in omnidirectional condenser capsule, or as “the world’s smallest belt-pack transmitter” for a lavalier microphone via the 3.5mm TRS input.
The RX is just as compact, measuring only 44mm x 46.4mm x 18.5mm and again weighing just 31g, which makes the rig that much easier to carry and facilitates mounting on a range of camera gimbals and stabilisers. Its dual-purpose mount sits snug in your camera’s shoe mount, or clips easily onto your camera strap or an item of clothing. The supplied 3.5mm TRS output cable plugs into your camera’s audio input or, with the relevant available RØDE adaptors, into your recorder, GoPro, iPhone etc. There is also a three-stage output pad – 0dB, -6dB, -12dB – to tailor your output to your camera or recorder. RØDE claim “up to 7 hours on a full charge, including a battery saver mode”. Up to 8 systems may be used in one location, and the WirelessGO is scheduled for April 2019 shipping.
Globcon, the global control software platform, making the management of professional entertainment equipment even easier. Among other features (in version 0.6), snapshots are available for DirectOut’s ANDIAMO series, MADI.SRC, EXBOX.MD, MA2CHBOX.XL and M.1K2, allowing the user to store and recall all parameters controlled via globcon. When a snapshot is taken all current values are stored into a dataset. It is either possible to recall the whole dataset or create a so-called scope-set to only change distinct areas of the settings and leave the others untouched. Snapshots are not only supported for single devices but also on a global level, increasing automation and flexibility.
“The possibility of having a coherent and consistent approach for snapshot management of any device is, with no doubts, one of the key points of globcon. This feature is a great adding to those devices which didn’t have snapshots natively implemented” says Claudio Becker-Foss, CTO and Managing Director at DirectOut. “Global snapshot will be one of the most appreciated features from those designing or managing a system”.
The new beta of globcon also provides several enhancements for existing plugins such as the ANDIAMO series, MA2CHBOX.XL and M.1K2, an improved demo version of the PRODIGY.MC plugin and a brand-new demo plugin for the PRODIGY.MP.
The updated plugin for M.1K2 now supports label management and includes a new feature called “globcon square meter” which allows to monitor in real time all the 64 incoming channels of each single MADI port. More improvements are also already in place including Rational Acoustics Smaart v8 integration via API, faster USB discovery and DO.Net performances.
API’s new 2448 console makes its official European debut this week at the Musikmesse show in Frankfurt, Germany. After a highly successful debut at the AES Show in autumn 2018, the 2448 has quickly become sought after as a mid-sized console that packs API’s large format punch. The console has already been commissioned into multiple studios around the world, with over a dozen consoles currently on order and in production at API’s factory.
“The 2448 console was intentionally engineered to fit the spot – and the budget – between our new 1608-II and the Legacy AXS console,” says API President Larry Droppa. “Like all API consoles, the 2448 provides lasting value for the price and delivers API’s warm, analog sound. Given the number of 20 and even 30-year-old API consoles that are still in daily use, we’re confident these consoles will be making hit records well into the future.”
The 2448 offers a powerful feature set including Dual Inputs on each channel, Stereo Returns and optionally, API’s new cross-platform “Final Touch” fader automation system. The 2448 expands API’s powerful line of world-class analogue recording consoles and continues API’s nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound. The 2448 is available in 24, 32, and 40 channel frame sizes and accepts API 500 Series Equalizers, is offered with the option of a 529C Stereo Bus Compressor, and features surround 5.1 centre section monitoring. A 24 channel console will set you back $86,400.