From immersive product demos, in-depth masterclasses and a raft of eye-popping new gear peppering the corridors, booths and studios, the return of Miloco’s gear showcase at their jaw-dropping London HQ brought sights and sounds to remember…

First held back in 2017 at their SE1 studio complex, Miloco’s Gear Showcase was on the way to becoming a bright new fixture in the calendars of the UK’s music technology industry. With the pandemic sadly putting pay to the event in recent years, the re-launch was met with a high degree of enthusiasm from attendees, exhibitors and industry pros alike.

Having evolved into one of the world’s biggest studio and production-related companies, Miloco currently oversees 170 studios across the globe, as well as offering studio construction via Miloco Builds, a huge array of gear via Miloco Gear and a bespoke sample library outlet via Drumdrops. Connecting with the industry is essential to Miloco’s ethos, making the return of the open-door Gear Showcase something that had clearly been expertly planned.

Upon entering, our first port of call was the central live room of The Pool studio. Within, the likes of Sony, KMR, Trinnov, Flare Audio, Chandler, Help Musicians and Source Distribution were eagerly presenting their latest wares…

The Pool and The Vault

Flare Audio’s E-Prototype and Calmer distortion-reducing earphones were the first products to take our interest. The E-Prototype in-ear ‘phones boldly claim to change the internal shape of the ear canal so sound quality heard by users is dramatically increased. This ‘Mirror Image’ sound technology is startlingly innovative. “What we’ve discovered is that we’re able to create two flat surfaces inside the earphone, a bit like a periscope, and we can produce a mirror image of the impulse and the driver onto the surface of the eardrum. It’s unlocked a whole new world of sound quality.” Flare explained to us. Calmer, Flare’s initial foray into in-ear technology, uses a similar ear-canal-adjusting philosophy to reduce stress-inducing, peaky sounds that people might hear in their day-to-day lives. They’ve become a big seller.

Sony’s brand new entry-level C80 microphone took a central position in the space (and would later be road-tested in The Bridge studio). Alongside its legendary brothers, the C-100 and C-800, the microphone features a two-part metallic anti-vibrational body structure, dual-diaphragm and Noise Elimination Construction which minimises vibration.

Up in a separate vocal booth, Source Distribution had a plethora of astounding synths set-up and ready to play, including the Moog Matriarch, Arturia’s analog polysynth the PolyBrute and ASM Hydrasynth. This gave us our first chance to explore the Polybrute’s new in-built multi-axis MPE performance controller, the Morphée, allowing X, Y and Z axis navigation of sounds. We might have spent a little too long getting lost in its five dimensional universe…

KMR Audio presented a multitude of wares. From outboard, microphones to some choice speakers – namely the jaw-dropping NNNN Comium 30 speakers. Sporting a distinctive, fan-like appearance, these full range 2-way monitors harness your room’s boundaries, turning them into an amplifier to generate higher SPL. It also does away with back wall reflections. Elsewhere, choice hardware from Gainlab Audio, Universal Audio, Cranborne Audio and an always-staggering Shadow Hills mastering compressor stocked the racks, while a Townsend Sphere L22 microphone could be modelled to any other microphone voicing at will.

In the Pool’s Control Room, a pair of Genelec’s state-of-the-art 8351Bs were wowing ears via their incredible, precise power. This latest addition to ‘The One’ family, delivers exemplary point-source monitoring. With newly elevated SPL, room calibration and further-reaching high frequency response.

In the smaller Vault area, Audient’s ASP 4816 Heritage Edition desk was being demonstrated. This in-line, completely analogue mix console brings large-format multi-channel dexterity with a much smaller footprint. Audient were keen to explain the range of clever things the 48 input console is capable of; “This is available in two configurations, there’s the Standard Edition and the Heritage Edition. It contains the recording and monitor paths in just one channel strip, this halves the space required yet has the same functionality as a larger desk.”

The Bridge and The Red Room

One of the most fun parts of the evening came when Sony demonstrated the new C80 mic with a live vocalist. “The C800 was a classic in the studio world, but very hard to get hold of in Europe and the UK.” Sony explained to a studio-full of enthusiasts. “What we did about ten years ago was bring out the C100 as a new flagship studio mic. As of yesterday, when they arrived in the country, we’ve now got the C80. Sony’s first studio mic that’s less than £500.”

Singing a two minute section of a song, the guest vocalist, Sophia, put Sony’s world-class family of mics to the test. While differences were detected between all three during the shootout, the overall quality bar was extraordinary, particularly for the ultra-affordable C80.

Elsewhere, numerous other engaging experiences were on offer, with an Atmos Demo in the Red Room, revealing the full scope of the space’s Dolby Atmos 7.1.4 setup. Harnessing the power of the ATC SCM45A as the left, front and right speakers, four ATC SCM25A’s overhead and dual Augspurger subs, the Atmos experience in this gold-standard mixing studio is nothing short of mind-blowing.

Later at The Red Room came the event that many people had been waiting for, a production masterclass with the acclaimed Charlie Hugall. The producer and mix engineer’s credits included Ed Sheeran, Florence and the Machine and Celeste. Hugall was talking us through his approach to the arrangement of Tom Grennan’s huge hit, Found What I’ve Been Looking For. “I thought I’d talk through this tune because basically, a lot of it was done on a bit of a shoestring budget, and it’s really the sum of the parts. Some of those parts are a bit ropey, but that’s part of the charm.” The MPG-award winner explained. “Tom came in with this amazing, gravelly, gritty voice. So one of the main things that I believe in with production is to just try and support the vocal, and facilitate its feeling.”

Opening up his original Pro Tools project, Charlie divulged how he had taken the original demo and gone away and added instrumental and rhythmical life to it, experimenting with quite freeform ideas (including some ‘obnoxious’ piano and ‘dodgy’ strings). He told the attendees how some of those basic recordings wound up in the final mix. “When I opened the project up after five years, I was like ‘Oh my God, what was I doing?’” Laughed Charlie, “But I wasn’t thinking about the solo’d tracks as individual things when I was arranging it, if things felt good for the song overall. They stayed.”

While the packed studio looked on in awe, Hugall isolated each of the huge-sounding track’s constituent parts, and explained that when it comes to production, often questing for things that sound too ‘perfect’ in isolation can be detrimental to the feel of the song. Once a vision is secured, Charlie told us that he needs to inhabit that song’s world “I wanted to create a feeling where the listener felt like there was too much going on. It was an intentional kind of thing. It informs my conduct on a personal level as a producer too. I’m not going to be sitting back being low-key. If I want the track to be lively, I’m going to be up on my feet, hyping up the artist. I want to match the energy of the artist and bring energy to a session that I want to get in the track.” It was a fascinating and inspiring masterclass.

It’s fair to say that those in attendance at Miloco’s Pro Audio Gear Showcase gained much from the evening. Whether by testing out mouth-watering pro-end gear, learning from the wisdom of seasoned pros, or just taking in the incredible surroundings of Miloco’s extremely cool HQ. Next year’s event can’t come soon enough.

Check out milocostudios.com for more information, and stay tuned for information about next year’s event.

Welcome to issue 7 of Audio Media International

The post Inside The Miloco Pro Audio Gear Showcase 2022 appeared first on Audio Media International.

Where are you right now?

I’m currently working from home, my office is also my home studio setup so I’m surrounded by synths, outboard and instruments all day. There’s worse places to be.

What is the last album you listened to?

Sort/Lave by Richard Devine. I’ve recently been drawn back into more experimental electronic music after a bit of a hiatus from listening and working with electronics in general. I really admire the sound design & production quality of this album, in particular it’s use of space, ambience. Richard’s music, particularly more recent releases, is always super through provoking. I’d love to understand his process more.

Describe 2022 so far in one sentence.

Complex, shifting & challenging – but I remain optimistic.

Has the pandemic permanently changed the way you work?

Since the pandemic Source have been very flexible with remote working – so I am now able to work from home a couple days per week. Our company is well organised with good software deployed throughout to complement our remote working, so it really doesn’t feel too different from being in the office – aside from my commute being 5 metres instead of 35 miles!

What’s the biggest change to the pro audio industry this year?

Since lockdown many producers and musicians have shifted to having working studio environments at their home, so we’re starting to see complex setups being created in is less traditional spaces. Technologies for optimising spaces acoustically like Genelec’s GLM have risen in popularity quite significantly.

Also with the wider adoption of ATMOS and spatial audio, we’re seeing more Studios make use of technologies like GLM and complementing those setups with multi-channel audio interfaces. Higher I/O counts have never been easier to manage in my opinion.

What live event did you miss most over recent years?

It’s not a live event per se, but NAMM has always been a firm favourite industry show for me personally – I wasn’t able to attend in 2021. I leave the NAMM show feeling enthused and energised about what I do professionally. It’s a great opportunity to catchup with manufacturers, media and customers alike whilst experiencing the latest innovations with like-minded people. I still don’t think there’s an international show that equals its wide appeal whilst remaining “niche” and focused.

What’s the best live event you’ve been to this year and why?

I saw Deftones at Kentish Town forum earlier this year in a super low capacity venue off the back of their appearance at Download festival. It was the best show I’ve seen them play. They’ve remained a favourite band of mine even as my musical tastes moved away from heavier music – it feels like their tastes have evolved with mine.

Tell us something you’ve never told anyone else?

I once blew a FireWire port on a friends studio machine by accidentally pulling the cable out of his iMac whilst he was out of the room… and didn’t own up to it and tell him it was my fault. You know who you are…and sorry it took me 15 years to ‘fess up.

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We Are Robots will return to the Old Truman Brewery to explore the technology shaping the future of music. 

This year’s festival, which is now entirely free for all attendees, will consist of three days of talks, workshops, and interactive exhibitions.

Participating in the event are the likes of Source Distribution, the Audio Engineering Society, Teenage Engineering and ROLI.

Rough Trade have curated a line-up of live acts, which will be announced soon.

Commenting on this year’s launch, We Are Robots co-founder Gordana Jovkovic said: “We are so proud and excited to announce the second year of We Are Robots at the Old Truman Brewery. Be the first to see instruments that aren’t currently public knowledge and get involved in discussions based on the future of music industry and the technology that surrounds it.”

Looking forward to returning to the Old Truman Brewery, ROLI’s head of relationship marketing Konstantin Hess added: “We’re bringing mind-blowing musical experiences that will appeal to anyone, no matter their music-making skills. Our innovative, touch-sensitive instruments help people tap out their first beats on a futuristic drum pad or craft incredibly expressive synth leads on a futuristic keyboards. All of our instruments — from the Seaboard RISE to the new Songmaker Kit — will be on display for interactive exploration and guided workshops. We’re on a mission to empower everyone to make music, and we’re thrilled to demonstrate how that’s possible at We Are Robots”.

Teenage Engineering’s head of sales Simon Curtis said: “Teenage Engineering is very excited to partner again with We Are Robots at the Old Truman Brewery this October. Having released OP-1 (our portable and revolutionary all-in-one synthesizer) over seven years ago, the time has now come to push the boundaries even further with the much-anticipated launch of the superseding OP-Z. Come and try it out for yourself, live and loud at We Are Robots 2018.”

On the festival, Alex Theakston, brand manager for Source Distribution said: “Moog, Arturia, Genelec and Eventide distributors Source Distribution have teamed up with Red Dog Music to bring a massive selection of analogue synthesizers, effects, and sequencers, packed into the shop space – all set up and ready to try, buy, and take home on the day. No experience necessary – experts will be on hand to help you create music with the gear, plus a program of free interactive talks and live demos will be held in our shop space throughout the show. We’re incredibly excited to be returning to We Are Robots this year – we’re looking forward to bringing the fun of music creation to such a vibrant area, following a great experience last year.”

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UK-based trip-hop producer Andy Barlow has added Genelec 1238 main monitors to his home studio alongside a complementary set of 8331 coaxial 3-way monitors from The Ones range, which will form his mobile system for mixing on the road.

Barlow has owned and used Genelec monitors for more than 20 years, in a career that has combined critical and commercial success with vocalist Lou Rhodes – his partner in renowned electronic duo Lamb – along with production and remix credits for works by artists such as David Gray, Elbow, Placebo and, most recently, U2.

Andy Bensley of Genelec distributor Source Distribution set up the new 1238s in the Brighton studio. “It’s where I do pretty much all of my mixing, from U2 to David Gray and Lamb in just the past year,” explained Barlow.

Meanwhile, the 8331s were immediately packed for a three month winter sojourn in Goa, where Barlow will be preparing tracks with Lou Rhodes for the next Lamb album. Both the 1238 and 8331 use Genelec’s SAM technology, which allows Barlow to use GLM calibration software to optimise each monitor’s performance for his own personal acoustic environment.

Barlow’s latest investment in Genelec monitoring comes on the back of several months co-producing U2’s new album Songs Of Experience, already a Number One hit in 20 countries. “We used the big 1238CF monitors in a makeshift studio inside the Canadian Embassy in Dublin,” Barlow revealed. “It was opposite Bono’s house, in a huge room that needed all the acoustic help it could get. The 1238s and the use of GLM software were a huge bonus in that respect. The album was mostly made in places like that – mansions, hotels, venues. The only purpose-built studio we used was Rick Rubin’s place, the Shangri-La in Malibu, where I had a pair of 8050s. The band members really like Genelec too.”

"I’m going through all the tracks I’ve produced and finding new sounds and touches that I’ve not heard before.

– Andy Barlow

Of his new 8331s, he added: “I’ve been putting them through their paces in my Goa studio these past couple of weeks, and I could honestly rave about them all day. The definition is second to none. The room is far from perfect with little in the way of acoustic treatment, but with GLM weaving its magic, the 8331s fill the room in an amazing way.

“Also, for such a small speaker with no sub, the bottom end is physics defying. The top end is refined and smooth, and the stereo sweet spot seems much bigger than any other speaker I’ve used. I’m going through all the tracks I’ve produced and finding new sounds and touches that I’ve not heard before.”

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Source Distribution has been appointed the official distributor in the UK and Ireland for Townsend Labs Inc, maker of the widely acclaimed Sphere L22 Microphone Modeling System.

The Sphere aims to set a new gold-standard in microphone modelling technology, “delivering the real three-dimensional characteristics of the most sought-after microphones ever produced.” Through a proprietary linear-response microphone integrated with a software plug-in package, the user is able to alter fundamental characteristics of recordings, and do so after the recording has been completed. They can adjust microphone type, polar pattern, and many other microphone characterics after tracking, allowing for post-recording flexibility that the company says is impossible to achieve with any other microphone modelling system.

Sphere additionally allows for stereo recordings from one single microphone, and enables the user to reduce the influence of room characteristics on the final recording. Critically, Sphere incorporates authentic-sounding models of some of the most desirable and costly studio microphones ever made, from dynamic, to condenser and ribbon microphones, and imparts their unique characteristics into user recordings.

The high-precision, side-address, large-diaphragm condenser microphone was launched via an international crowdfunding campaign on Indiegogo and proved an overnight success, raising more than $100,000 in the first 24 hours.

Commenting on the appointment, Source Distribution brand manager Andy Bensley said: “The opportunity to be involved with a genuinely unique and forward-thinking product like the Sphere is something that comes around very rarely. With one microphone, you get access to results which otherwise could only be achieved with a prohibitively expensive vintage microphone locker.

"When you combine that with its ability to allow the user to adjust the microphone’s character, proximity effect and its rejection of extraneous noise even at the mix stage, you have a tool with wide-reaching benefits for musicians, post-production houses and broadcasters.

"We’re delighted to be distributing Townsend Labs and look forward to growing the brand in the UK and Ireland.”

The Sphere L22 Microphone Modeling System will become available from select dealers in the UK and Ireland in August.

http://www.sourcedistribution.co.uk

http://townsendlabs.com

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Source Distribution has recruited Michael Clapham as area sales manager for the Midlands (UK).

Clapham brings over 25 years of industry experience to the role, including successful tenures as senior regional manager at Yamaha Music Europe (UK), and sales manager for Marshall Amplification.

In the newly-created position, Clapham will assume responsibility for supporting and growing Source’s key accounts in the Midlands region, building on his long-term working relationships with dealers in the area.

His talents combine decades of management and retail experience with a lifelong passion for music and music technology. An accomplished guitarist and singer, Clapham also co-owned and managed a busy commercial recording studio in Birmingham for many years, and maintains a broad and ever-expanding vinyl collection.

Darren Power, Source Director of Sales and Marketing commented on the appointment: “We are incredibly pleased to have Michael joining us at Source, and are confident in the senior level skill set Michael brings with him. Importantly, we are giving a clear indication to the marketplace of our continued investment in resources and support to our dealer network,” said Source’s director of sales and marketing Darren Power.

“It’s very exciting to have the opportunity to work at Source and the many market-leading brands within its portfolio," Clapham added. "Having worked with Darren previously at Yamaha, I’m looking forward to us working together once again.”

Following a program of induction, Clapham will begin day-to-day work in the coming weeks. To contact Michael him, email michael.clapham@sourcedistribution.co.uk or call Source on 0208 962 5080.

http://www.sourcedistribution.co.uk

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Devon Analogue Studio near Exmoor, UK has installed Genelec 8050B Studio Monitors and a 7370A SAM Subwoofer in its new recording space.

The recently-opened residential studio – which specialises in electronic music – was designed and created by Tristan and Elley Grace, who are making the move into the commercial studio business after a previous tenure as owners of North Devon dance music vinyl store Input Records.

Tristan’s ongoing career as a house/techno producer means that electronic music is one of Devon Analogue’s priorities for now, although equally critical is the emphasis on sustainable design that includes the use of locally-sourced materials and a timber-frame build with high insulation levels to minimise energy consumption.

Tristan says that “the space has been developed to allow artists to lose themselves within their project, be it writing, recording, rehearsals, production or mixing. We can cater for 4/5 people with full accommodation, wet room and kitchen diner, and when you want to get out for some fresh air you can be walking in a Devon forest within minutes.”

Complementing the luxurious feel of the studio is a high-end “hybrid” specification delivering “the best of mastering-grade analogue/digital technology and vintage instruments, wrapped up within an effortless workflow design – which, matched with our calibrated Genelec system and DA/AD conversion, creates an amazing sound space and vibe.

“Our previous familiarity with Genelec systems played a role, of course, but so did the scope of calibration in terms of their adaptability to our room, which is larger and of a non-conventional layout compared to most,” Tristan recalled. “When designing a non-standard studio control room such as this, you come up against traditional acoustic ruling ‘barriers’ which you need to work around and bend to fit the space to achieve the intended dynamics and, importantly for us, the overall vibe of the room.”

Tristan and Elley optimised the calibration of the system in close cooperation with Andy Bensley, brand manager for Genelec at UK representative Source Distribution. Bensley commented: “Having the ability to position the 8050Bs in essentially free space means that the frequency response of the system is incredibly even and the stereo imaging is razor-sharp. Adding the 7370A subwoofer into the system allowed us to naturally extend the frequency response of the 8050Bs and – once dialled in – gave us a truly immersive experience at the mix position. Coupled with the view over the valley when sitting in front of the console, it’s a very special place to be.”

With recent clients including XL Recordings, the studio is currently working with artists from all realms of electronic music, although its doors are still open to other genres. Above all other considerations, the objective is to allow clients to take advantage of “an unforgettable experience whilst working on their project – be it starting on brand new music or wrapping up works.”

https://www.genelec.com/

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Genelec is offering demonstrations of its 8430A Audio-over-IP (AoIP) monitor on HHB Communications’ stand K45 at BVE 2017, which is currently taking place at London’s ExCel Centre.

Making a BVE debut is the company’s comprehensive selection of room-adapting Smart Active Monitors, including the 8340 and 8350 models.

The 8430A, which is being shown on UK-Genelec distributor Source Distribution’s stand J44, was the first studio monitor to conform to Ravenna and inter-operable AES67 standards, while also supporting Genelec’s GLM room calibration system.

Also being showcased is the integration of Genelec 8430 with Avid Pro Tools via AoIP audio interface products including DAD AX32, DX32R, NTP Penta 720 and the new Avid MTRX, which makes its UK debut. The flexibility of the 8430 in fact culminated in Genelec receiving the TEC Award for best new Studio Monitor at the 2017 NAMM Show earlier this year.

“Constantly innovating, Genelec’s pioneering solutions are a must-see at BVE 2017 and we’re excited to be debuting products and workflows on the HHB Communications and Source Distribution stands,” said Alex Theakston, marketing manager, Source Distribution.

The BVE Show 2017 runs from 28 February – 2 March at London’s ExCel Centre.

https://www.genelec.com/

http://www.bvexpo.com/

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HHB Communications has announced that its presence at BVE 2017 will be the largest in the company’s 41-year history.

The largest pro audio exhibitor at the show, HHB’s 106 sq m stand (K45) will showcase the extensive range of brands it represents including Avid, DAD/NTP Technology, Genelec, IPE, iZotope, Nugen Audio, RØDE, RTW, Wohler, Yellow Technology and Zoom.

Vicoustic’s acoustic treatment panelling and products will also make their debut on the HHB Stand after the company’s distribution division, Source Distribution, was recently appointed the exclusive distributor for the UK. Vicoustic products were selected for a new demo facility at Scrub (pictured), the company’s post production reseller division, along with products from Genelec and Avid.

Ian Jones, managing director of HHB Communications, said: “BVE is an important show for us and we’re excited to have increased our presence for 2017. To be co-exhibiting with so many of our partners makes the HHB stand a one-stop-shop for all the latest and most innovative pro audio equipment for professional users. We look forward to welcoming visitors throughout the show.”

BVE 2017 runs from 28 February to 2 March 2017 at ExCel London.

http://www.hhb.co.uk/

http://www.bvexpo.com/

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Source Distribution has taken on the exclusive distributorship of Vicoustic’s acoustic treatment panelling and products for the UK.

Vicoustic’s products cater for market sectors including music, broadcast, home cinema, and construction.

Since being founded in Portugal in 2007, by César Carapinha, the company has gone from strength to strength, Source says, with current clients including the BBC, ITV, Sony, Microsoft, the SAE Institute and more.

Vicoustic believes the development and deployment of its products is supported by its strong commitment to customer support and education, which includes a customer project planning service, as well as the customer-facing Vicoustic Academy training program.

Source Distribution is no stranger to Vicoustic products, having commissioned Vicoustic to treat sister company Scrub’s new Genelec Experience listening facility in Central London (pictured, below).

Source Distribution’s in-house pro audio product specialist Andy Bensley oversaw the installation first-hand and commented on the announcement: “The opportunity to work first-hand with Vicoustic for the Wells St installation cemented my respect for the company. We saw first hand the transformative performance of their product range, but especially for the incredible expertise of the company staff. The before-and-after results speak for themselves – they’ve created a space that is now incredibly well controlled, leaving clients stunned at the results they witness here on a daily basis.”

Source Distribution’s director of sales and marketing Darren Power added, “Source is very proud to have secured such a high profile brand in Vicoustic. Commercially, the Vicoustic product range perfectly complements our existing brand portfolio and encourages further growth into new markets. We’re looking forward to a bright future working closely together.”

https://www.vicoustic.com/

http://www.sourcedistribution.co.uk/

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