How did you initially start out in this business?

After graduating from Huddersfield Uni, I got my first job at British Grove Studios in west London as a runner/assistant. A friend of mine called Rich Cooper, who has gone on to become a brilliant producer, worked there at the time and enabled me to get my foot in the door.

British Grove is a big studio but it has a family feel. You get thrown in the deep end quite quickly there and you’re not just waiting for someone to quit to get your big break, which may be the case at some of the other big studios and institutes. It was just me and Rich as the two assistants for the first couple of years so a lot of the work came straight to us. It’s definitely a great place to learn and the equipment there is amazing.

There’s also a lot of variety in the work, so it’s great for someone new who is unsure about what they want to specialise in as the opportunities come thick and fast. It was a great education for me to observe some of the top producers and engineers at work there.

So when did you receive your ‘big break’ and how do you think you have you managed to get so far at such a young age?

Getting my foot in the door at British Grove in the first place was great, but my big break came after I had been working there for five or six years when Ellie Goulding booked in. I ended up engineering the session and we’ve worked together ever since – I just happened to be the guy there on the day and it turned into a fantastic opportunity because I do production, mixing and sometimes even writing with her now.

I have British Grove to thank for getting me started in the industry but I have also been super determined and very career driven. I find I’m quite good at keeping in touch with clients and their management after a job. The networking side is sometimes overlooked I think by engineers and mixers – some people forget that it is still a human industry and that you need to keep good relationships going, as well as doing a good job.

You’ve worked with some big names in pop. Do you have any particular highlights?

I pretty much do pop music exclusively now. I like working with Ellie because she does things a little bit left of centre so it’s more experimental and interesting. I’ve also enjoyed doing a lot of mixing and vocal production for Little Mix and have worked with Hurts. I really enjoyed working with Kasabian on Velociraptor and 48:13 too.

Could you tell us about the setup at your own studio? 

Now I’m working freelance it’s up to me how much work I take on, which is great but it’s also quite daunting as you have to really keep yourself occupied and stay proactive. When you’re in-house there’s a list of things that need to be done for someone else. In that respect, it’s nice being part of a bigger team, but when you’ve got an idea it’s sometimes a bit nerve-wracking to show it to a group when it’s not yet fully realised.

My setup is very humble. It’s based around a Pro Tools HD system and is basically a small programming mix room. There’s some nice pres and a few bits of outboard here but I tend to not use those so much as the workflow’s 98% in the box for me. It all comes down to convenience because of how you need to be with recalls – when you’re on three or four projects at once and you need to be bouncing between mixes and productions, there isn’t time to be recalling stuff so having everything there in front of you makes the process much easier.

I use a [Avid] D-Command as a main control surface and for monitoring I use ProAc Studio 100s, which I really like. With regard to plug-ins, Soundtoys is my favourite in terms of making things sound fun. My go-to EQ for everything is the FabFilter Pro-Q 2 and the Valhalla reverb is a favourite of mine as well. I also like the Waves Andrew Scheps 1073 EQ. The top end on it is really good and it sounds really musical and smooth.

How important is it to be versatile in terms of the type of work you are able to take on?

I did some film scoring work while I was at British Grove but haven’t done much since leaving – the versatility in my CV as it were stems from there. Since going freelance I’ve specialised a lot more in the pop vocal work. I do enjoy being varied though because it keeps projects fresh and interesting. I’ve had a bit of free time to concentrate more on writing, which I really like doing, especially with people who have the same kind of ideas and who you can get on a level with. From a technical standpoint, I like all different aspects of the job and the whole process. For example I enjoy the solidarity of mixing alone without someone on your shoulder, when it’s just you and the music but equally I love being in a room with two or three other writers working on a new track. I try to keep my diary full with a variety of sessions to keep it interesting.

The post Interview: Joe Kearns. From Ellie Goulding to Little Mix and Hurts. appeared first on Audio Media International.

Firehouse Productions recently provided the fifth annual Global Citizen Festival (GCF) in New York City’s Central Park with an L-Acoustics K1/K2 PA system for its stage on the Great Lawn, where 60,000 concert-goers were in attendance.

Broadcast live on MSNBC in late-September, the event featured headliners Rihanna, Kendrick Lamar, Ellie Goulding, Metallica, Demi Lovato, Major Lazer and many others sharing their voices and music to help reduce world hunger, poverty and other pandemic social issues.

Visitors also got to see guest appearances by Usher, Pearl Jam’s Eddie Vedder, Yandel, Yusuf/Cat Stevens and Coldplay’s Chris Martin, creative director and curator of the festival, which is organised by the Global Poverty Project.

According to Firehouse system tech Jamie Pollock, “I had not done this show in previous years, and it already had a format, so when I got involved I tried not to shuffle things up too much. However, I knew that I wanted to use L-Acoustics products to take advantage of their long throw benefits and overall consistency that they can deliver for such a large-scale event.

“The main hang was 14 K1 with four K1-SBs above, on each side. We had 24 of the new KS28 subs set up as a line in the centre and an additional 16 SB28s used for the sides, plus 12 KARA in three stacks of four as front fill in the centre. The delays were all K2; we had two lines of delays that were 12 boxes per hang for a total of 48 K2s.”

The production was both demanding and challenging, as Pollock explains. “We were limited to where we could put things on the Great Lawn and had to work within those guidelines," he said. "The PA was carefully calculated in Soundvision before installation, and when performing the system tuning onsite, I found my measurements translated nicely to what had been predicted. The system tools in LA Network Manager are invaluable and offer a resolution that helped me deliver very even homogenous coverage.

"One of the biggest challenges that I faced was that the front-of-house position had to be set way off-axis due to the sensitivity of putting things on the lawn. This position was not ideal, but with the help of additional stacks of SB28s set wider we were able to specifically focus more energy to this area and help the engineers translate their mixes better.”

The set design, which accommodated both the needs of the television broadcast as well as the positioning of massive IMAG video screens on either side of the stage for the audience, was both a help and a hindrance.

“The main hangs had to be spaced very wide apart because of the set, which resulted in a small hole in coverage in the center of the audience," explained Pollock. "There was also a large amount of space between the downstage edge and barricade line for an access road and TV elements. This space helped me in achieving optimum placement for the Kara stacks to fill the center area, and also allowed me to keep the main PA flatter to achieve a more constant SPL throughout the array.”

http://www.l-acoustics.com/

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Wes “Wesonator" Maebe has responded emphatically to being named Studio Engineer of the Year at the 2016 Pro Sound Awards, which took place 22 September at Ministry of Sound in London.

Maebe, a staff engineer at London’s RAK Studios, has worked with a variety of artists, including Ellie Goulding, Elliott Randall, UB40, Plan B, and Cat Stevens. Clients have praised Maebe – who said he always does "whatever it takes to get the best sound out of every artist" – for always going the extra mile to bring their music to life.

“I am delighted and honoured to be named Studio Engineer of the Year,” said Maebe. “The role of the engineer has evolved. The recording and mixing process isn’t just about putting all the components together and pushing the faders up. It’s about making everything work, making sure nothing interferes with anything else. It’s about creating a dynamic piece of music that talks to the heart of the listener. It’s about helping artists fully realise their artistic vision. Both a recording or a mix are more than just the sum of its parts, which is why I love the challenge of giving music its own distinctive character.”

Outside of the studio, Maebe has also given masterclasses at several industry trade shows, including NAMM, AES, and IMSTA; produced online tutorials on everything from optimising a sound system upgrade and getting the best out of vintage equipment to microphone tips and tricks; and is a regular contributor to publications including Audio Media International.

Click here to read Maebe’s review of the Tegeler Audio Manufaktur Crème compressor and EQ in our September 2016 issue.

http://www.prosoundawards.com
http://www.wesonator.com

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The countdown to the 2016 Pro Sound Awards at the Ministry of Sound continues this week as finalist George Murphy tells us why he deserves to be recognised as the industry’s most promising young professional.

After receiving excellent submissions from all areas of the trade for the Rising Stars Award, we recently revealed the shortlist of nominees and spoke to all of them about their Pro Audio journeys so far.

Described as “the fastest Pro Tools operator in the West,” Murphy has worked on a wide range of projects at Eastcote Studios with artists including Adele, Ellie Goulding, Mark Ronson and Mumford & Sons.

How did you start out and where did you study?

I was in a band in secondary school, and eventually we got to the point where we wanted to get some demos done, so I bought a cheap Tascam interface and hooked it up to a PC running Sonar. We ended up recording everything in the spare room at my parents house. The results weren’t really anything to brag about but I enjoyed the process so much that I kept it going and ended up recording a bunch of other local bands as well. After I left school I went to study Music & Sound Recording at the University of Surrey.

Where are you based?

I am currently based at Eastcote Studios in West London. I was working as a freelance assistant at a few different London studios before I was eventually offered a full-time position at Eastcote.

What made you want to work in pro-audio?

My time at University included a placement year working at Ignition Studios in North London; this was the first time I got to see how records were made by professionals and it confirmed to me that this was what I wanted to do. The idea of spending my time in the studio with a band, trying to make their music sound the best it can seemed to me like the perfect job.

Who are your biggest influences?

On a personal level, Eastcote owner Philip Bagenal has taught me an extraordinary amount about working in recording. He has been a part of every conceivable type of session and knows more about the technological and psychological aspects of a successful recording session than anyone I’ve ever met.

I’ve also been lucky enough to engineer records for producers Chris Kimsey and Eliot James, who’ve both been responsible for some of my favourite albums. Seeing both their approaches to recording and how they get their sounds has taught me a huge amount.

In a more general sense Jerry Finn, Rick Rubin and Alan Moulder pretty much produced the soundtrack to my teenage years, so I’m always striving to capture the sound of a band with as much energy as their records. I’m also really interested in anyone that’s creating sounds that I’ve never heard before, especially in the dance world, so producers like Feed Me, Noisia and Delta Heavy.

Which of your achievements are you particularly proud of?

Everyday I’m proud to be able to come to the studio and work with incredible musicians. I am particularly proud of having the opportunity to work on Mumford & Sons’ third album "Wilder Mind". I worked as an Assistant Engineer on their second album "Babel" so it was great to be able to progress to an Engineering credit on "Wilder Mind".

Can you tell us about any recent projects, or what you are working on currently?

The next release I have coming up is the debut album for Glassnote artist Tor Miller. I engineered the record for producers Eliot James and Jon Green. More recently I’ve been working with a really exciting new band called Happy Meal LTD and Palma Violets for their third album.

Can you tell us about some of your favourite gear? What do you find yourself relying on for projects?

I’m really spoilt for choice at Eastcote – the equipment selection is phenomenal. I track almost everything through the MCI JH-500 desk, the Pres and EQ’s are incredible so I’m very lucky to have 42 of them at my disposal. I’m a fan of anything that sounds grungy and interesting, so I find myself reaching for the Roland Space Echo a lot, as well as old ribbon microphones like an RCA 44 or an STC.

Where do you want to be in ten years?

Hopefully sitting in a studio with massive windows and a great view, working with interesting bands.

The Pro Sound Awards will be held at London’s Ministry of Sound on 22 September. Tickets are now available for just £55 at http://www.prosoundawards.com/buy-tickets/ or contact jreay@nbmedia.com

http://www.prosoundawards.com/

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New ‘state-of-the-art’ monitoring systems have been installed in Metropolis’ main studios A and B, as part of a major £250k refurbishment programme at the world-class recording facility in west London.

Studio A, home to seminal recordings from Amy Winehouse to Queen, has been upgraded with PMC’s flagship QB1-A, while Studio B, which has played host to Will.i.am, Adele and many more, is now equipped with Genelec’s high-end 1236 and 8351 speakers.

“We are delighted to have played such a significant part in the Metropolis Studios refurbishment which builds on our 23-year relationship. The QB1-A’s are a real step change in high-end reference monitoring,” said PMC owner Peter Thomas.

Lars-Olof Janflod of Genelec added: “Having had Metropolis among the first customers for our 1035 flagship product dating back to 1989 and until now – so for 27 years – the 1035’s have served Metropolis Studio A & B. Thus it’s a pleasure to be able to continue this legacy with our new monitors – 1236 in the Smart Active Monitor (SAM) family, the latest in monitoring technology.”

Ian Brenchley, CEO of Metropolis Studios, also commented: “We have enjoyed a long standing relationship with both PMC and Genelec – two benchmarks in the audio world. As part of our continuing evolution at Metropolis as the gold bearer for recording, our new monitor setups from PMC and Genelec provide the best in class for our artists.”

To mark the launch of the refurbished studios, Metropolis will hold a special event on 16 June to showcase the new-look spaces.

The programme will include:

Studio A

• PMC will be demonstrating the newly installed QB1 Main Monitors with Metropolis’ chief engineer, Sam Wheat (Amy Winehouse, Lionel Ritchie, Ellie Goulding) remixing from stems of a live band session to highlight the benefits of the high-resolution monitoring, while auditioning PMC’s TwoTwo nearfield monitors
• PMC’s Ian Downs will discuss the thinking behind the design of the QB1 speakers

Studio B

• Visitors will be able to listen to the new Genelec 1236 main monitors and also the new 8351 coaxial three-way system
• Genelec senior technologist Thomas Lund will give a seminar about loudness. Lund has extensive experience in pro-audio development, especially in the fields of loudness metering, sound exposure, dose management, true-peak detection, immersive sound and format conversion. Genelec offers everyone that takes part in the ”Give Peaks a chance” seminar with Lund the opportunity to win a pair of Genelec 8010A’s complete with carrying bag
• Neil Tucker, who has engineered for Will.i.am, Ne-Yo and Alicia Keys, will also perform a demonstration of the new main monitors

Mastering

In addition, Metropolis’ mastering engineer Tony Cousins (Elton John, Jeff Beck, Massive Attack), will share his wealth of mastering knowledge with attendees through his PMC BB5 XBD-A equipped mastering suite at the Chiswick complex – the same PMC system that was first installed 23 years ago and has since been supported, upgraded and maintained.

http://www.genelec.com
http://www.pmc-speakers.com
http://www.thisismetropolis.com

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Allen & Heath’s dLive digital mixing system has been employed by front-of-house engineer Steve Pattison on Wet Wet Wet’s UK headline tour, which recently included a date at London’s O2 arena.

Supplied by SSE Hire for the tour, the flagship dLive S7000 control surface is partnered with Allen & Heath’s DM64 MixRack to handle an on-stage setup that comprises the Scottish four-piece’s traditional backline, multiple vocals and a horn section. As a longstanding fan of Allen & Heath’s iLive system, Pattison’s decision to rely on dLive for the tour was an easy one to make, according to A&H.

“It really feels like dLive is a step on from the iLive system that I’ve enjoyed using with various artists over the years,” said Pattison (whose CV includes a five year stint with Amy Winehouse, Ellie Goulding, Texas, Glasvegas and Royksopp). “It’s very fast to use, despite the amount of control and features it has – and it sounds amazing.

“There’s a very ‘widescreen’ feel to the sound – small changes to the EQ or pan positions have a very obvious effect for example and really help things sit in a mix easily. The big touchscreens, which you can pinch and swipe like a smartphone, make it very easy to use in the heat of a show.”

Project manager Pete Russell from SSE Hire – part of UK distributor Audio-Technica’s specialist dLive reseller network – looked after the tour, and commented: “We see dLive as a real game changer product for Allen & Heath. It has some great features for a console at this price point and is something we were happy to add to our hire inventory as a result.”

SSE Sales has also taken on dLive, and is one of a select number of dealers for the new range of consoles. Alex Penn, SSE Audio Group sales director, also stated: “dLive is both cost-effective yet high-end spec – two things you don’t normally see in the same sentence, so it keeps both engineers and the money people happy. We feel this makes dLive quite an accessible product and we see great potential for it in a variety of applications.”

http://www.allen-heath.com/

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UK recording facility Cream Room Studios is planning a series of Easter masterclasses with experienced engineer Wes Maebe.

Three sessions will take place at the studios in Dane End, Hertfordshire, on April 14th, 15th and 16th 2014. Attendees will get to spend the day with Maebe and Cream Room owner Martin Lumsden, and receive precious writing, recording and performance advice.

Topics covered will include recording and mixing techniques; studio preparation; miking up and how to achieve the best possible recorded sound.

Maebe is best known for his work with Ellie Goulding, New Model Army, Alexandra Burke, and Mel C. He has also worked with top producers such as GGGarth Richardson, Dave Allen, Rick Nowels and Paul O’Duffy, and mixed live sound for Chaka Khan, Robert Plant and Sting. He has spent time in some of the country’s most prestigious studios – Mickie Most’s RAK, Trevor Horn’s Sarm West and Mark Knopfler’s British Grove – as well.

Lumsden set up the Cream Room with producer Rob Clydesdale (David Bowie), and is already attracting new talent to the studio, including Grammy Award nominee Steve Chrisanthou.

“We are delighted to be hosting the masterclasses with Wes Maebe,” remarked Lumsden. “While music production and recording facilities are now easily accessible and available, not everyone has the intuitive skill to make the best use of them. We are now offering budding artists the chance to elevate their performance, helping them towards that potential record deal. 

"If a record deal isn’t the immediate goal they will still leave with a phenomenal set of skills to help create a product that they can sell themselves. They will also have the opportunity to access help and support from experts in the field of music engineering, producing, management, promotion, and PR."

The classes are for up to eight people, and cost £95 per person per day. Participants booking all three days will be offered a discount. Additional one-to-one sessions are also available on request, for £750 per day.

To find out more about the masterclasses, contact Martin Lumsden by emailing info@creamroom.co.uk, or book your place through this website.

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The Capital FM Jingle Bell Ball returned to London’s O2 Arena in December with a variety of Sennheiser equipment in place.

As there were nine main and two support acts, along with special guests on both nights, demand on the wireless spectrum was high.

Audio gear was provided by Adlib Audio, while Sennheiser UK’s Mark Saunders (pictured, right) and Tim Sherratt were on hand to offer additional equipment and assistance to Dave Kay (pictured, left) and Marc Peers of Adlib, as well as Andy Robinson, who was handling audio duties for production company Production North.

“The biggest challenges for us were the size of the arena that we had to cover, plus the decreasing amount of RF spectrum that is available for large live events,” said Kay. “More and more artists want to move an increasing number of sources to wireless. That, combined with the ever-growing need for wireless comms, makes for a very crowded spectrum.”

Artists included Lady Gaga, Katy Perry, Dizzee Rascal, Tinie Tempah and Ellie Goulding, with most of the performers and all crew comms using Sennheiser 2000 series IEMs. 2000 series handheld mic systems were used by Dizzee Rascal, Tinie Tempah, Ellie Goulding, Rizzle Kicks and Rudimental; while Katy Perry, Jessie J, Union J and Elyar Fox (a special guest on both nights) used SKM 5200 handhelds with EM 3732 receivers.

The event was a chance for the Adlib team to test out Sennheiser’s Digital 9000 Series system for the first time – chosen for the show’s presenters – as well as a new combiner for receiving antennas, which was put through its paces during the show’s setup and rehearsals.

“We always try and plot the Jingle Bell Ball based on an outdoor venue because we need to cover such a large area,” Kay continued. “As well as the arena and all three stages, we had to cover under the stages because a lot of the acts start underneath and come up on lifts. In addition, we had radio mics for line checks and our shout system, which had to cover the full backstage and load-in areas.

“The reliability of all the Sennheiser equipment was really important, as was its ability to maintain so many crosstalk-free signals in the crowded frequencies available. We were also very impressed with the 9000 Series on the presenters.”

Kay was also grateful for Sennheiser UK’s backup and support.

“Having Mark and Tim there was a great knowledge resource. It gives you great confidence when someone is present that you can ask questions of when required. The show took a great deal of planning and factoring in redundancy and, as a result of that, the reliability of the equipment and Sennheiser UK’s support, the whole event went remarkably smoothly,” he concluded.

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Audio Pro International, in association with AllStudios, presents the latest instalment of our Studio Spotlight, which focuses on London’s Ravenscourt Studios this month…

Ravenscourt Studios in West London is a unique sound and music production facility owned and run by Australian producer and engineer Sam Farr.

Situated in Ravenscourt Park – just a few minutes from the tube station and a 15-minute walk from Shepherds Bush – the studios opened in 2011 and provide a broad spectrum of services, ranging from music production and audio post production to songwriting sessions, mixing and remixing, voiceover recording and sound design.

Farr explained why he chose to launch a new studio at a time when many others in London are struggling: “To be honest, setting up a studio is something I have always wanted to do, so when the opportunity arose I grabbed it. Although I’m aware that big studios are finding it hard to command the higher rates necessary to cover their overheads, the market for smaller studios is really growing.

“At Ravenscourt we cater mostly for songwriters, producers and developing artists, people who bring in their own laptops running Logic or Pro Tools and maybe a vocalist or musician to record. We can also accommodate bands and small string sessions. In fact, whether you need a fully equipped room for a day, or if you prefer to bring in your own equipment for a month or more, our three studios can accommodate pretty much any kind of session requirement you have. All the rooms are sound-proofed, with booths or live rooms, air-conditioning, wireless internet, 24 hour access, security alarms and shared use of the kitchen and toilets. There are even tie-lines between all the studios for maximum flexibility.”

Studio One is the largest suite at Ravenscourt with a 15’3 x 14’9 control room and 18’8 x 15’5 live room. Until recently, both rooms were leased exclusively as a dry hire suite to a high-profile songwriter. However, they have now been completely refurbished and are available for recording sessions, including live band tracking, small string sections and overdubs. The control room centres around a brand new Audient ASP4816 analogue console, with a 24 I/O Pro Tools HD Native rig and a choice of PMC or Yamaha NS10 monitors. There are also tie lines through to Studio Two, which provide additional recording spaces with backline (Mapex/Pearl Export drum kits, various guitars, basses and keyboards) available on request.

Studio Two is the smallest studio in the premises, and is ideal for programming, songwriting or vocal overdubs. It can easily be used as two separate programming rooms with its 10’4 x 9’10 control room and 9’7 x 7’3 booth large enough to fit a drum kit. A Universal Audio Apollo Quad interface (Thunderbolt ready) and a Universal Audio LA-610 channel strip have been recently added to the spec. Farr commented: “It’s a great little writing/programming room based around a Mac Pro running Pro-Tools 10/11 and Logic 9. Monitoring is via Quested and KRK with preamps from Universal Audio. There’s also a fully weighted Roland keyboard plus various instruments available at no extra cost. Both rooms can be used as additional recording spaces for Studio 1.”

Studio Three is the largest songwriting room in the complex and is available for short or long term lease. Fitted with a Pro Tools HD2 rig, Quested monitoring, pre-amps from Universal Audio, Focusrite and Avid, and various instruments, Studio 3 is set up for music production and is usually occupied by Farr himself (although clients are more than welcome to bring their own engineer). The studio has a relaxed and comfortable vibe and is perfect for getting ideas down as quickly and easily as possible. The control room is 15’8 x 10’6, with a 14’6 x 8’6 booth. Various guitars, basses, samplers and keyboards are available at no extra cost.

Recent clients to have recorded or mixed at Ravenscourt include Rita Ora, Maverick Sabre, Aluna George, One Direction, Wretch 32, Iggy Azalea, Olly Murs, Ellie Goulding, Noah Francis and producers/writers Quizz & Larossi, Jamie Scott, Jim Eliot, Wayne Hector, The Invisible Men, The Nexus, Ash Howes, Jakwob, Katie Taylor, Chloe Leights, Natalie Sims and Cass Lowe.

Ravenscourt also provides an audio post production service (mixing, foley, tracklaying, voiceover recording, casting, library music sourcing, music production and ISDN).

Farr and ex-Sarm Studios colleague Edd Hartwell have also set up London Studio Engineers – a pooled resource of self-managed freelance engineers and assistants, all fully qualified to run the Neves and SSLs in the big studios, but also able to bring those same projects back to a more affordable studio for overdubs and mixing. The LSE roster includes Edd Hartwell (Tony Visconti, Guy Massey, Stephen Lipson, Jim Abbiss, Trevor Horn, The Noisettes, Ed Sheeran, Jeff Beck, The Kooks, The Prodigy, Kt Tunstall and Yes); Mark Lewis (Robbie Williams, Michael Jackson, Mark Ronson, Fabolous, Matt Cardle, Basement Jaxx, Kassidy, Lux, Dive Bella Dive and Missing Andy); Joe Fields and Sam Farr.

For more information on Ravenscourt Studios, includig links to contact details, click here.

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Red TX was at the O2 Arena in London recently to capture broadcast audio for ‘Unity – A Concert For Stephen Lawrence’.

The event featured performances from some of the biggest names in UK music, including Rita Ora, Beverley Knight and Jessie J (pictured), Emeli Sande, Ellie Goulding and Ed Sheeran. The concert was arranged to mark the 20th anniversary of Lawrence’s death in southeast London.

Paul Dugdale, who was directing the project on behalf of ACME TV, made the decision to bring Red TX on board for the project – he had worked with Red TX earlier on this year when the firm was made responsible for recording The Rolling Stones in Hyde Park. For the ‘Unity’ concert, which went out on BBC 2, red TX utilised its main Red 1 outside broadcast vehicle, with engineers Tim Summerhayes and Ollie Nesham behind the controls.

“We knew the event was going to be challenging due to a tight schedule and the shear amount of artists and tracks involved,” Dugdale commented. “As a director, it’s such a blessing having someone like Tim involved, not only because I know he’s great in those high pressure situations, but that you know the finished product will come out sounding amazing, too.”

Summerhayes added: “We recorded the concert as live because we had enough time to create snap shots during the sound check. We also had some time the following day to tidy up the audio before delivering it to The Farm where it was dubbed and made ready for broadcast on the evening of Tuesday October 1st. Although there were a large number of artists involved, it was a relatively straightforward project and we were all really pleased with the results.”

The gig was put on as part of the SL20 Campaign, which is celebrating Lawrence’s life with a number of awareness-raising events throughout 2013. All funds raised will go to The Stephen Lawrence Charitable Trust, which aims to improve the lives of young people from disadvantaged backgrounds.

Picture credit: Des Willie

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