Jerry Ibbotson works out the kinks with this compact wireless microphone system…

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This is showing my age, but do you remember Sony’s original Walkman Pro cassette recorder? This little baby was beloved of radio documentary makers in the days before DAT, Minidisc and then solid state. It might not have had the ultimate quality of a reel-to-reel Nagra but you could put it in your coat pocket. It’s come to mind just now because I’m mulling over the very blurry line between pro and consumer kit.

A cynical radio station engineer once told me that things like the Sony were professional because they’d been painted black and had the word “Professional” written on them. So where does gear like RØDE’s Wireless Go fit in? It’s a wireless microphone system that is tailored towards DSLR shooters (a corner of the market I’ve looked at quite a few times in AMI over the years). It’s easy to use but claims to offer excellent results, so is it professional or consumer? And does it matter anyway?

The kit comes in a neatly packaged box, akin to a new phone. Slide it open and you get the small receiver, the combined mic/TX, an audio lead and two USB C charge cables. There is also a pair of small, clip-on windshields for the microphone (one to wear and one for spare).

The initial instructions are minimal: there is an illustrated quick guide on the box, but further information can be downloaded from RØDE. You turn each of the units on by pressing a soft-touch button. The TX has two blue lights that show that the battery is charged and that it’s connected to the receiver. It also has a socket to plug in an optional lavalier mic (on a 3.5mm TRS minijack). Of course, there’s also the built in omni-directional condenser microphone, which I assume most users will go for.

On the identically sized receiver is a small, colour LED screen which shows the amount of charge in the batteries of both units, the signal strength between the two (the 2.4gHz transmission system claims a range of 70m, line of sight) and the audio output level to the camera or recorder. This is adjusted via a three-stage control on the bottom of the receiver.

The built-in mic has a maximum SPL of 100dB and a frequency range from 50Hz to 20kHz. It’s designed to be clipped onto clothing like a conventional personal mic, except it’s a small square slab, rather than a microphone. But there is, of course, no wiring leading anywhere. It may well be visible to the camera/viewer but it’s small and neat enough to be barely noticeable.

On test, I opted to use it with an audio recorder rather than a camera, as I wanted to be better able to monitor the sound and also wanted the recording quality to be as strong as possible (my SLR is competent with sound but not much better). I used my Roland R26 which has, amongst other things, a minijack input. 

With everything hooked up, the first thing I noticed was the strength of the audio signal coming through to the Roland – a promising sign. I set the recorder going, pulled off my headphones and went for a wander with the mic unit clipped to my shirt, just below my chin. I left the room and chatted as I walked about.

The recording was excellent. The mic has a very strong sound to it and didn’t show any signs of picking up rattle as I moved around. Even when I was in another room, there was no drop-out and the level and quality were consistently good. Given this is running on a wireless system, I might have expected some deficiencies but there weren’t any.

The Wireless Go is not aimed at sound recordists working on big budget productions in film or TV. Its target users are vloggers, YouTubers, onstage presenters and the like, and for them it offers a one-box solution to better audio. Given the number of YouTube videos my kids have made me endure where the mic is clearly camera mounted and several feet from the presenter, I’d say it would instantly improve most recorders by several hundred per cent. It’s a novel approach, putting the mic and transmitter together, and for those target users it should be a great addition to their arsenal of kit. It’s more visible than a small personal mic but I don’t think that would be an issue to the final audience in these circumstances. Plus there is always the option of using a separate lavalier.

RØDE have done it again. They seem to have single-handedly colonised the world of prosumer audio kit with more and more products that offer quality sound without the cost, faff and intimidating complexity of higher end gear. I can think of a number of uses for the Wireless Go beyond those I’ve already listed and certainly away from just video sound. If you need a small wireless mic solution that’s literally press-and-go, it’s worth a look.

Key Features

> Ultra-compact form factor

> Digital 2.4GHz transmission

> 70m line-of-sight range

> Dual-purpose clip-mount

RRP: £199

www.rode.com

The Reviewer

Jerry Ibbotson has worked in pro-audio for more than 20 years, first as a BBC radio journalist and then as a sound designer in the games industry. He’s now a freelance audio producer and writer.

The post Review: RØDE Wireless Go appeared first on Audio Media International.

On November 13, Björk kicked off the European portion of her critically-acclaimed Cornucopia tour, deploying a d&b Soundscape immersive sound system as the show scales up dramatically from its debut in New York’s new arts centre – The Shed – to a comprehensive run of large scale arena dates including London’s 02 arena.

Cornucopia is Björk’s most elaborate stage production to date, incorporating stunning visuals, intricate stage movements and a fully integrated immersive sound design.

Cornucopia’s sound was designed by Björk and FoH sound engineer John Gale, supported by Southby Productions, and Steve Jones from d&b, utilising the d&b En-Scene object-based mixing and En-Space room emulation software, running on the DS100 system processor and a comprehensive d&b KSL speaker system as an integral part of the concert performance design.

“Björk wanted the sound for Cornucopia to create an otherworldly sensory experience for the audience that draws all the visual, aural and virtual elements together,” said Jones. “By utilising Soundscape from the studio all the way through to the show performances, she has delivered on that impressive vision.”

While already utilised in many major musical productions, installations, festivals and concerts, the Cornucopia tour marks one of the most ambitious and extensive applications of the Soundscape system. Björk’s creative vision, combined with d&b’s vision for designing high quality audio experiences, provided the opportunity to bring Cornucopia’s multi-sensory world to large-scale arena-based audiences.

To date, Cornucopia shows in the US and Mexico have received universal critical acclaim from audiences and critics alike for its stunning visuals and unmatched audio quality.

To get a look at the Cornucopia Tour click HERE to see it in action.

www.dbaudio.com

The post d&b Soundscape powers European leg of Björk’s Cornucopia Tour appeared first on Audio Media International.

The November issue of Audio Media International is now available to read online.

In this issue, Colby Ramsey visits the HQ of Austrian manufacturer LEWITT to preview its new flagship microphone ahead of the company’s 10th Anniversary.

Meanwhile, we hear from award-winning sound designer and re-recording mixer Bernhard Zorzi about rebuilding naturalistic soundscapes on Sea of Shadows, and speak to veteran recording engineer John Kurlander about his experiences and memories working with The Beatles at Abbey Road Studios.

In our Live Profile, Guillaume J. Schouker reports from the Les Francofolies’ 35th anniversary celebration, while Colby Ramsey speaks to producer and composer Tony Succar to find out more about his new recording studio.

Product reviews this month include gear from Quested and Zoom, while our Opinion section includes pieces on producing/mixing immersive audio for theme park rides and the pro audio industry’s ever expanding self build DIY culture.

Read all this and more in the November issue of AMI here.

The post Read the November issue of AMI online now appeared first on Audio Media International.

This summer, British ska band Madness celebrated 40 years of musical capers with a big anniversary gig at London’s Kenwood House, playing with a full orchestra for the first time. Andy Coules, who was on monitor duties, gives us the lowdown…

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It’s hard to believe that it’s been 40 years since seven lads from Camden first fused reggae, punk and pop into their own unique “nutty sound”. In the ensuing years Madness have successfully managed to knit themselves into the fabric of British life with an impressive string of hits accompanied by memorable videos and suitably anarchic appearances on Top Of The Pops. They continue to produce original music and perform to large crowds across the globe and decided to celebrate this special anniversary with a string of shows under the banner of Madness XL.

As a band they’re no strangers to doing unusual and elaborate gigs, from their pioneering Madstock shows to the London Olympics closing ceremony and onto the roof of Buckingham Palace for the Queen’s Golden Jubilee, but one thing they’ve never done before is perform with a full orchestra. So in a welcome return to the borough of Camden they decided to do just that to a sold out crowd at Kenwood House on the 15th of June.

My role in this enterprise was to be the monitor engineer as well as the audio liaison for the various elements required in addition to the usual production – handled ably by production manager Pete Hosier. Front of house duties were to be performed by the legendary Ian Horne who has worked with the band since the very beginning (earning him the affectionate title of “Dad”). Therefore Ian, Pete and I sat down to figure out just how we were going to pull off this adventurous gig.

The regular version of the band is a tight 10-piece touring outfit featuring the six band members augmented by a three-piece horn section (trumpet, trombone and baritone sax) and a percussionist (who also does backing vocals). This standard configuration accounts for 44 inputs and 22 monitor outputs, eight wedge mixes and eight IEM mixes (for band and techs).

The orchestra is the Heart of England Philharmonic led by Helen Fitzgerald, a 40 piece ensemble comprising three percussionists, four French horns, two trumpets, three trombones, a tuba, flute, oboe, clarinet, bassoon, harp, keys, two double basses, three cellos, four violas and 12 violins. The orchestral arrangements, as well as a new overture, were written by noted composer David Arnold and conducted by Nicholas Dodd.

The two key decisions we made at the outset were that we wanted a microphone on every individual instrument and that we would have two consoles at FOH and on monitors (one for the band and one for the orchestra). We felt this was the best way to go as it would allow us maximum flexibility in mixing but also enable us to spread the workload so that we had engineers focusing on the main band and the orchestra separately. To that end we engaged Dennis Fernandez and Paul Keeble to man the second desks at FOH and monitors respectively. Dennis would sub mix the orchestra for Ian and Paul would do the same for me in monitor world. The show was also due to be recorded by Patrick Phillips and Oli Jacobs from Real World Studios, so we needed to take their needs into account.

At regular shows we employ a passive 48-channel two-way split to duplicate the usual input channels to FOH and monitors so we added a second 48-channel split for the orchestra feeding into the second desks at both positions. We then added a third split of all 96 channels to accommodate the recording (as they would be taking a full multi-track of all inputs). Our usual desks of choice are an Avid Profile at FOH and a Yamaha CL5 on monitors so we just doubled up with the same models for Dennis and Paul to operate; Patrick and Oli brought in an SSL L500 to feed their Pro Tools rig.

In addition to the regular monitor setup we needed to add monitors for the conductor and orchestra while trying to keep stage levels as low as possible, so I decided to deploy audio hot spots using small speakers that I could tightly control to put sound where it was needed without too much spill. In the end we used a combination of L-Acoustics 5XTs and X8s mounted on microphone stands and distributed throughout the orchestra. Being as I was already using 25 of the CL5’s mix buses (22 for the band’s wedges and IEMs plus three for cue wedge/IEMs), that left me with seven to service the orchestra so I decided to do it by section with individual mixes for the conductor, percussion, brass, woodwind, harp/keys, violins and one for the low strings (i.e. violas, doubles basses and cellos) with a monitor speaker for each pair of musicians.

So the plan we came up with involved 50 musicians generating 90 inputs being fed into five mixing desks, two of which combined into the main stereo mix – one for the recording and two supplying 32 monitor outputs running nine in-ear monitors and 32 monitor speakers, all of which was operated by six sound engineers. It was clear that this was not going to be your average gig.

In preparation for the show we had three days of rehearsal booked in – the first to set up and test the equipment, the second with just the band and the third with the band and orchestra together. Our supplier for the audio equipment was SSE (co-ordinated by Miles Hillyard) who’ve been working with the band for many years, so are familiar with their requirements while being able to expand to accommodate all the additional elements.

Once the stage was marked up (we only just fit in the room, I had to breath in to get to the monitor desk!) and the band was set up we started putting together the audio gear. Everything went reasonably smoothly and soon we were able to start line checking. One very important issue that Miles identified was that because the recording guys weren’t arriving until the third day, we needed to put a dummy load on their part of the split to make sure that our gain levels stayed the same throughout and didn’t drop when they connected their desk. To that end he supplied a bank of preamps that we connected from the outset to ensure nothing wavered.

Day two went well – it was pretty much business as usual with the regular band, although one thing we did do was install a Perspex acoustic screen behind the drums to help reduce the inevitable spill that would be picked up by the strings. On the morning of day three the orchestra rehearsed on their own which gave us an opportunity to line check them and start building the mix. In terms of microphones, we used AKG C414s as overheads for the percussion and Beyer M88s on the timpani. The brass all had Shure Beta 98Hs, the woodwind and strings all used DPA 4099s and the harp had a pair of Schertler DYN pick-ups. At FOH Dennis sub-mixed the orchestra into eight stereo stems comprising high strings, low strings, hi horns, low horns, woodwind, percussion, harp/keys and FX (i.e. a selection of reverbs) which Ian incorporated into his mix. In monitor world I had Paul supply me with five stereo stems comprising percussion, brass, woodwind, harp/keys and strings which gave me maximum flexibility to send whatever was needed to wherever.

In the afternoon we finally got the band and orchestra together and the main issue we had with the monitoring was the spill from the drum kit (despite the Perspex barrier), which was most noticeable for those band members with in-ears who were keen to hear the orchestra, but ended up with muddy mixes. Being an enclosed room this was always going to be a problem. The simple solution was to turn down the orchestra but I tried to feather those mixes so that there was more of the instruments further from the drum kit and less of those close in order to convey at least an impression of what the orchestra was doing.

On the day of the show, the load in was delayed because of issues with getting the truck on the dock – which was the last thing we needed – but somehow we managed to get everything set up and ready in time for the sound check. We were fortunate to be able to have a full run through of all the songs featuring the orchestra which gave us ample time to make sure everything was functioning as it should. There was still an issue with spill from the drum kit but the risers (which elevated the orchestra behind the band) and the open air stage helped make it manageable.

I am both pleased and proud to say that the show went off without a hitch. It sounded fantastic and everyone was really happy with their on-stage sound as well as the overall performance – all of the hours of planning, preparation, practice and perseverance paid off brilliantly. I didn’t really relax until the last song of the set when the orchestra donned fezzes and launched into a spirited rendition of “Night Boat to Cairo”, leading to a fireworks display which capped off an intense week and a truly spectacular show.

The secret to successfully completing an ambitious project like this will always be to assemble the right team of people. Without the help of Paul, Dennis, Pete, the experience of Ian and the backing of SSE it could quite easily have been a total nightmare, but their combined skill and experience ultimately made it a surprisingly straightforward event.

The post Live Profile: 40 years of Madness at London’s Kenwood House appeared first on Audio Media International.

Jerry Ibbotson gives us his verdict on this handy little studio tool…

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It’s amazing how, even after spending vast sums of money on a studio build, there are always things that can be improved. I can remember on more than one occasion, walking into a real smart studio to find odd bits of acoustic foam and even books wedged into place to cut out reverberation, particularly under studio monitors. I’ve done it myself too, finding odd ways to lift speakers up a fraction to get a better sound.

That’s the idea behind IsoAcoustics’ Iso-Puck Minis. These are small, circular pods that fit under monitors to separate them from their supporting surface. The idea is to create a sharper (as in, more precise) audio image and cut down on reflections or interference from the stands, console or desktop that the speakers are on. I find I do a lot of audio work from home these days, with all the convenience of a laptop and compact gear, but that means less than perfect acoustics and a desk that I know is adding its own little something into any edit or mix.

So there was an element of personal curiosity when I opened the small box containing eight Iso-Puck Minis (it looks like a box of chocolates the ambassador might spoil you with). Their construction is a mix of plastic and rubber and each one is made of two main sections, one sitting inside the other. It means they float ever so slightly, to absorb vibrations like a damper – you can see this working if you squidge one between finger and thumb (each one fits in the palm of your hand).

I used them under my own monitors and their application couldn’t be easier, you simply place one at each corner of the speaker. That’s it. I wasn’t expecting biblical results but there was a noticeable difference in the sound. It was slightly sharper and clearer and more in focus. The boominess that I was aware of before from my less-than-perfect setup was reduced. I was listening to a spoke-voice project with interviewees recorded in different locations with varying acoustic qualities. Those differences, which I am aware of more when listening with headphones, were now clearer through the speakers (as they should be). Previously, my listening environment had been creating a level playing field that was a distortion of the real audio.

So far, so impressive. I then did a rather odd thing and turned my monitors on their sides. There are plenty of circumstances where studios do place speakers in landscape mode, for all sorts of reasons, so I thought it was worth a try to see how they sounded. I’m glad I did, as the results were even more pronounced. I’ve since been writing this review with audio playing literally at my left hand and the longer it runs, the more I can hear the Iso-Puck Minis at work. By separating the speakers from the work surface, I am genuinely more aware of the audio on its own.

The Iso-Puck Minis aren’t just designed for monitor use, they can also be placed under amps, turntables, mixers and mic stands. In fact, in any situation where you want some extra separation between surfaces and equipment. Obviously, they can’t work miracles and there’s no substitute for having a good studio. But there are plenty of scenarios where you want that extra 5 per cent, where you need to just tweak the sound. And there are equally situations where you are outside the studio and need help to improve the sound you’re either recording or monitoring (or both).

I can recommend the Iso-Puck Minis. Given you could put eight of them in a kit bag with no fuss or slip them under monitors and then forget they are there, they have to be worth a try. In the fight for better sound, they’re a mighty little dagger in your arsenal.

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Key Features

> Discrete low-profile speaker decoupler

> Each puck supports up to 6lbs

> Easy to position on any surface

> Comes in a set of eight to cover a pair of speakers

Pricing: £99.99/$99.99 including VAT for a pack of eight

www.isoacoustics.com

The Reviewer

Jerry Ibbotson has worked in pro-audio for more than 20 years, first as a BBC radio journalist and then as a sound designer in the games industry. He’s now a freelance audio producer and writer.

The post Review: IsoAcoustics Iso-Puck Mini appeared first on Audio Media International.

French speaker/studio monitor manufacturer Amadeus presented HOLOPHONIX – an audiophile quality sound spatialisation processor – back in 2018, and today there are several large venues equipped with the system. Franck Ernould visited the Chaillot National Theatre in Paris to learn more…

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The HOLOPHONIX system was an ambitious project for Amadeus. It brings together several spatialisation techniques, including Wave Field Synthesis, High-Order Ambisonics, Distance-Based Amplitude Panning, and more – enabling intuitive placement and movement of sources in a 2D and/or 3D space.

It was co-designed with the Paris-based IRCAM institute, an Amadeus long-time partner, and integrates many spatialisation algorithms developed there. Michel Deluc, Amadeus senior designer, worked closely with software designers Thierry Coduys, Guillaume Jacquemin (who developed the IanniX graphical sequencer) and Johan Lescure to imagine HOLOPHONIX’s graphic interface.

The hardware is an audio server with keyboard, mouse and monitor connectors, and is operated via a web browser graphic interface. The HOLOPHONIX Controller application is compatible with all devices operating systems with a web browser, including iOS, MacOS, Windows, and Android-based environments. It offers a three-dimensional visualisation of the venue, easing live monitoring and user interaction with all sound objects, speakers, and other various parameters. Regular 2D venue drawings can also be imported into the GUI and shown as axonometric projections; appearing to be rotated to show all three dimensions.

The HOLOPHONIX processor offers a quasi-unlimited number of spatialisation buses, each one able to run one of the 13 different sound algorithms available, designed at IRCAM-based STMS Lab, including: Higher-Order Ambisonics (2D, 3D) with A-format and B-format compatibility, Vector-Base Intensity Panning (2D, 3D), Vector-Base Amplitude Panning (2D, 3D), Wave Field Synthesis, Angular 2D, k-Nearest Neighbor, Stereo Panning, Stereo AB, Stereo XY and Binaural. 3D reverberation algorithms are included too.

HOLOPHONIX is OSC-compatible, Dante-compatible, and can also be configured on request for MADI, RAVENNA, or AES67 formats. The input/output matrix of the HOLOPHONIX processor allows the user to choose the rendering mode for each of the incoming channels. It natively handles 128 inputs and 128 outputs in 24-bit/96kHz resolution, but can be extended to 256 or 384 inputs and outputs.

The HOLOPHONIX signal path is based on five elementary objects: physical inputs, virtual sources positioned in space on-screen, spatialisation buses using their own algorithms, direct routings to send signals to amplifier channels, and loudspeakers (spatial position is precisely documented in the software).

To create a HOLOPHONIX session, the first step is to position the speakers in the graphical interface, exactly as they are placed in the room. Virtual objects (sources) must be created, each assigned to a physical (Dante) input and sent to spatialisation buses (up to six for each source), then output buses are affected to physical output channels.

The user can automatically spread multiple objects on a surface, customise an object’s appearance, and manipulate speakers on-screen to optimise their placement according to the selected spatialisation algorithm etc. A binaural rendering algorithm is available to help engineers and producers prepare their production using a conventional pair of headphones, giving them the experience of a full 3D image of their mix, and to design sound object trajectories. The processor also includes around 100 head-related transfer functions (HRTF), available in the SOFA file format.

The Chaillot Case

One of the first HOLOPHONIX systems was installed in Paris’ Théâtre National de Chaillot, under the supervision of Marc Piéra, a long-time Amadeus user. A former electro-acoustic composer, musician and sound engineer, Piéra then worked as a freelance electro-acoustic multi-diffusion consultant for prestigious French institutions like Bibliothèque Nationale, Museum national d’histoire naturelle, Théâtre de la Cartoucherie, Théâtre de la Cité Internationale… and he often specified Amadeus speakers.

In 2015, he was hired permanently as a sound department manager by Théâtre de Chaillot, hosting two halls: Jean Vilar and Firmin Gémier. When Piéra arrived, the sound system installed in Jean Vilar hall (50 x 50 x 20 m, 1270 seats, almost no acoustic treatment) was pretty limited: two speakers suspended above the stage, two others in bleachers. Part of his mission was to install a new modern audio system in the place, which hosts more and more contemporary dance shows and less ‘regular’ theatre plays. The new consoles are SSL L200/L300, and Dante networks have been implemented in the two halls.

In Jean Vilar hall, Piéra began thinking about line arrays, but he found out 22 speakers were needed by side to cover the whole audience, and the sweet spot problem remained. He then thought about WFS, trying a system composed of Amadeus speakers and a Sonic Emotion processor. “It was pretty good, but there was a problem in the first rows, stereo was too large. Then Amadeus had the idea to implement a sort of giant soundbar on the stage edge, with PMX 4-derived speakers. This was much better, even if nothing was optimised yet, and we definitely chose to go the WFS way,” said Piéra.

126 Speakers

As things went by, trying to optimise his system while adding speakers, Piéra was disappointed by the Sonic Emotion processor’s slow evolution. As he can write software, he even considered creating a WFS open-source system from scratch. Amadeus people liked the idea, and soon after, they launched the HOLOPHONIX project, based from the beginning on multiple algorithms. “This was a good idea, as WFS excels in extended sweet spot, but is not adapted for quick sound source movements – a domain where HOA is interesting,” Piéra added.

Progressively, Piéra implemented a real immersive system, with Dante networking and Powersoft amplifiers: eight speakers at the rear, a first Surround line following bleachers (10 speakers by side), then a second Surround line with seven speakers by side, plus ceiling speakers, 11 in-fill speakers and the stage ‘soundbar’. “In all, there will be 126 Amadeus speakers in the hall, mainly C15, C12, C10s, plus three MAESTRO subs by side,” he revealed. By the way, C15 speakers were developed specifically by Amadeus for Firmin Gémier hall (not a HOLOPHONIX configuration yet), then made available commercially.

The HOLOPHONIX system has been operational since December 2018. This summer, Piéra supervised the installation of ceiling speakers, and he’d like to integrate his TTA voice tracking system with the HOLOPHONIX processor, as OSC compatibility is now available. The system is now complete, and the results are impressive: sound comes from nowhere, with an excellent presence and ambience, and even if in-fill speakers are needed in some places, not included in the immersive system, audiences enjoy being at the heart of the sound in an extended sweet spot – even if production sound designers are still shy using the possibilities of the system.

HOLOPHONIX is also used in La Scala Théâtre, Les Champs Libres cultural center in Rennes, Théâtre du Vieux-Colombier, and several places will be equipped soon.

The post Review: Amadeus HOLOPHONIX appeared first on Audio Media International.

Andy Coules is impressed by these powerful in-ear monitors from Singapore-based manufacturer Stealth Sonics…

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Stealth Sonics is a company founded by a group of audiologists, engineers and musicians almost 10 years ago in Singapore and has been serving the audio needs of musicians, audio professionals, audiophiles and patients in South East Asia ever since. Having established themselves in that market their stated aim is to bring their knowledge and expertise in precision tuned in-ear monitors (IEMs) to the whole world, which is how I came to hear about them. Their approach is unique insofar as they combine innovations in the medical, music, acoustics and aerospace fields to create IEMs that not only strive to produce the highest sonic accuracy but also afford hearing protection and reduce aural fatigue.

They offer two main product ranges, Universal and Custom, the former being off the shelf generic IEMs and the latter being custom moulded. Both lines come in two, four and nine driver varieties and it was the custom moulded nine-driver model, the C9, that I got to grips with.

The process involved the usual visit to an audiologist to get impressions taken (with exacting requirements to include the full helix and to go beyond the 2nd bend of the ear canal) which were then sent off to Singapore. They offer an impressive range of colours for the shells, including the usual glitter options and for the faceplates there is much to choose from including metallic, glitter, various patterns and wood effects. I know a lot of people like to choose different colours for each IEM to help differentiate which one goes where but for those who like to have matching IEMs they offer the option to put your name on the inside of the shell in different colours (typically red for right and blue for left) which is not seen once they’re inserted. This is a nice touch and as someone who’s worked with live acts using a high number of IEMs, having the names written on them is a fantastic idea.

The science behind the IEMs is explained in detail on their website using a range of trademarked titles which emphasise the use of precision techniques and proprietary technology.

For instance, Iso-Stealth refers to the fact that they work with an international network of approved audiologists to ensure the ear canal impressions are precise enough to position the IEM as close to the eardrum as possible, enabling consistent sound at lower SPLs with less ear cavity interference. SonicFLO Acoustics takes advantage of aerospace industry knowledge and fluid dynamics research to improve airflow performance as well as ensure optimum sound isolation in a range of environments (the custom IEMs claim isolation of -36dB). Stealth Damping employs extra large bores and venting features that preserve airflow while managing resonance to produce a tight low end without boominess. Stealth Kompozit refers to the composite material and medical grade lacquer which produces an IEM that is soft but resilient and rugged yet snug with a durable and water resistant fit, enabling them to be worn comfortably for long periods if need be. Then there’s the Klarity valve, which is a one way valve designed to release the pressure build up in the ears that occurs after long term use of IEMs which results in ear fatigue. Last but not least is the Ultra Hard Impact Shell which is designed to withstand pressures arising from accidental dropping and is backed up by a video of some IEMs being dropped from a great height (and surviving).

When I first popped them in I noticed the isolation is indeed good, comparable to a decent pair of memory foam ear plugs but without the rapid drop off in the top end, suggesting that even when unplugged they would function well as ear defenders.

My first test was to listen to pre-recorded material and I was instantly impressed by the clear and precise sound. The top end is crisp, the middle well balanced without being aggressive and the bottom end remarkably tight and precise. If anything they quickly revealed flaws in the listening material, not to mention the playback device so I switched from my phone to my Astell & Kern player and soon found myself seeking out recordings known for their high production values. I ended up listening to the 24 bit 96kHz uncompressed WAV files that I use for critical reference listening and it was only then that I fully appreciated the sheer clarity and precision of the sound.

I next listened to live instruments in a gig setting and the sound was as consistently good as I expected it to be; on a wireless connection it revealed the limitations of FM transmission a bit too readily but that’s not really the sort of thing most people would notice. At one point I turned them up as loud as I was prepared to go – the quality remained consistent and didn’t even start to break up in any way. Overall the sound is superb with very little colouration, the frequency response is impressively flat at all volume levels and the balance is nicely even. They present the audio without adding anything and as such they act as excellent reference monitors.

The two most common uses of high end in-ear monitors are critical listening to recorded material (usually during the recording process) or for on-stage monitoring of live performances. I would say that the C9s perform better in the former role than the latter – the flat response, clarity across the frequency spectrum and crisp bottom end make them excellent in this role. When I spoke to Raj at Stealth Sonics he confirmed that the nine-driver model is more flat and designed for engineers and studio work whereas the four-driver model is aimed at musicians who want a more “punchy” sound.

This is not to say that the C9s are no good on the live stage; in many ways they’re superior to most of the alternatives out there but some people may prefer something a little bit “warmer”. I would certainly be happy using them in both environments as they’re superior to any other IEMs I’ve tried.

Key Features

> Isolation: -32dB

> Frequency response: 18Hz – 40kHz

> Sensitivity: 108dB SOK @ 1mW

> Impedence: 16 Ohms @ 1kHz

RRP: $1499

www.stealthsonics.com

The Reviewer

Andy Coules is a sound engineer and audio educator who has toured the world with a diverse array of acts in a wide range of genres.

The post Review: Stealth Sonics C9 IEMs appeared first on Audio Media International.

Microphone manufacturer TELEFUNKEN Elektroakustik is introducing the new Alchemy Series at AES for the first time.

The Alchemy Series is TELEFUNKEN’s next generation of large diaphragm tube condensers. The new models feature unique sonic profiles developed from the ground up and will begin shipping this spring. The voicings of the new Alchemy Series are the TF29 Copperhead, TF39 Copperhead Deluxe, TF47, and TF51.

The Alchemy Series combines vintage microphone elements with modern fidelity and reliability. The models boast newly designed custom head grilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers.

All systems ship in a compact protective case for easy transport and storage. Included are two modern mount options, microphone dust cover, high-flex 7-meter cable, and an American-assembled power supply.

Don’t forget to visit TELEFUNKEN at Booth #231 at AES New York from 16-17 October 2019.

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Stephen Bennett rounds up all the latest and greatest features from the industry standard Digital Audio Workstation…

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A few months ago, I resurrected a 1989 Digidesign Sound Tools system. This piece of audio technology history consisted of a piece of audio hardware coupled to the Sound Designer II software, which allowed the user to perform the almost unheard-of manipulation and editing of digital recordings at CD quality via hard disk streaming. The software under review here, Avid Pro Tools 2019, is the thirty-year anniversary great-grandchild of that venerable system. 

Pro Tools itself has been part of the audio establishment since 1991 and the fact that it continues to earn the epithet ‘industry standard’ is testament to the software’s features and stability and, if you work in any kind of professional capacity, you will be using Pro Tools somewhere along the line.

One of the things that has helped Pro Tools maintain this position is that updates to the programme have been incremental. Avid don’t throw in dozens of untested new features in each update, but develop the program slowly over time – though there have been one or two major upheavals, including the move to ‘native’ processing. This can prove frustrating for users, but it does mean that you can reliably use Pro Tools in the most demanding of situations without worrying if it will fall over – imagine having to debug some problem or other with a radical new feature at the dubbing stage of a major motion picture days from release.

Avid has changed nomenclature for their software updates, so we now have a date rather than a version number – 12 was the last of those. While this does make sense as Avid have moved to a subscription system, it does mean for those who like to keep their software around for a while (the ‘perpetual’ purchase option) the new naming system is a constant reminder how out of date your software is! But it does also mean that it is much more likely that users will keep Pro Tools up to date, which can only streamline support and release resources for development of the software itself.

Pro Tools is available in several flavours to suit budgets and applications. The free Pro Tools | First allows new users to see what all the fuss is about; Pro Tools offers the industry-standard program and Pro Tools | Ultimate unlocks the most advanced tools. The latter, as you may expect, offers more audio, MIDI, Aux, Video and Instrument tracks and more inputs. You also get more extra content, such as extra plugins and sounds, and access to immersive audio mixing capabilities like Dolby Atmos and Ambisonics. Which version you choose depends upon your application and the attached audio hardware you have, but both can record audio at up to 192 kHz with 32-bit dynamic range resolution. You’ll need an iLok account to authorise Pro Tools, but you can use the former’s cloud feature, so you don’t require an iLok dongle (to potentially lose!) and use the software.

There have been some changes since the 2018 version – reviewed in AMI in April 2018 – and version 2019 now supports up to 1024 MIDI tracks. It once looked, with the move to In the Box (ITB) workflows that MIDI as an independent protocol via the 5-pin DIN socket was on the way out. However, the move to USB over MIDI and the resurgence in MIDI controlled hardware instruments and processors – not to mention controllers and complex orchestral libraries that require MIDI control – has meant that the venerable protocol has one again taken centre stage in audio production duties, so this increase will be welcomed by soundtrack composers and musicians. As is usual, the number of audio tracks available decreases as the sample rate increases, but 128 and 384 tracks at 48kHz and 32 and 96 at 192kHz for Pro Tools and Pro Tools | Ultimate respectively should prove adequate for most audio duties. If you require more audio tracks, you can upgrade the voice counts of Pro Tools | Ultimate at extra cost or move to Pro Tools | HDX with its associated hardware. 

One of the most important issues for us Mac users is that Pro Tools 2019 is now Mojave compatible. For those not used to the Pro Tools way of doing things you may be wondering why Avid has taken so long to support an operating system that is just about to be superseded by Catalina. But Avid know their market well and professional composers and dubbing engineers rarely live on the cutting edge, technology-wise, with system stability a more important criterion than being ‘first’. This compatibility is welcome however and Pro Tools 2018 was very stable on my ageing Mac Pro as well as feeling significantly snappier and more effective of resource use. 

The ‘basic’ Pro Tools now supports Avid’s well respected Heat ‘analog’ emulation plugin that was previously only available to Ultimate users. Although an extra cost option, Heat is often part of the reason many people say they prefer the ‘sound’ of Pro Tools-derived mixes, so it’s a welcome tool in the arsenal of non-Ultimate Tool-ists (as I’ve decided to call them).

There have been a lot of ‘tweaks’ to Pro Tools 2019 that, depending on your application, will be either game-changing or relatively unimportant. Simple things, like improving the ease in which Tracks can be named, can improve workflow no end, so it’s good to see that Avid has addressed this in the latest upgrade. HD Native is now Thunderbolt compatible on Windows and you can adjust more features in real-time without any interruption of workflow. The Timeline can be adjusted without interrupting playback or external MIDI device data streams and creating new Tracks, modifying sends and inserts no longer impedes your workflow. Avid’s collaborative Link feature is now integrated into Pro Tools, as is support for network-based multi-seat site licensing. Improvements in performance have also been introduced for those working with HDX and HD native Pro Tools systems.

One of the reasons that Avid has moved to a subscription model is that they can roll out updates and bug-fixes more frequently and there has been quite a few since version 2018 was introduced. These include Track Presets to allow the user to save and recall configurations, MIDI chord analysis, integration of the previously optional MachineControl – for the control of hardware such as the Sony 9-pin, VideoMedia V-LAN, and non-linear video recorders/players – and various other optimisations and enhancements.

This incremental upgrade and update procedure will allow Avid to bring in new features in a stable and predictable fashion – though it does mean that it’s more difficult for the company to announce each version with a great fanfare! As for usage, Pro Tools was installed, work was done in the familiar Avid fashion, and without any crashes or other incidents that sometimes get in the way with new versions of software from rival DAWs. This is just as it should be.

We’ve come a long way since Digidesign’s first steps into the audio editing world, but Pro Tools is still at the top of its game and, with the HDX hardware, Avid is continuing a trend set so long ago by Sound Tools. For those on subscription, 2019 will be automatically delivered to your digital door. For the rest of us, it’s never too late to enter the reassuring world of Pro Tools.

Key Features

> Double your MIDI track count

> Create more fluidly during playback

> Name tracks faster

> Support for macOS Mojave

> Get easy multiseat licensing

SRP: From $249 per subscription

www.avid.com

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The Reviewer

Stephen Bennett has been involved in music production for over 30 years. Based in Norwich, he splits his time between writing books and articles on music technology, recording and touring, and lecturing at the UEA.

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Genelec has expanded its ‘The Ones’ series of point source monitors with the addition of the new 8351B and 8361A coaxial three-way monitors alongside the complementary W371A Adaptive Woofer System.

The new 8361A three-way coaxial monitor offers what the company describes as the most advanced acoustic performance of any studio monitor currently available – with high dynamic range, superior directivity and imaging and a short term SPL of 118 dB with peak levels even higher.

The 8361A features two newly-designed Acoustically Concealed Woofers – designed to generate high SPL output with extremely low distortion – and brand new MDC coaxial midrange and tweeter drivers which provide smooth directivity, low distortion, high SPL and extended frequency response up to 40 kHz. Like all models in The Ones range, the 8361A’s Minimum Diffraction Enclosure eliminates colouration and its entire front baffle acts as a Directivity Control Waveguide. Efficient proprietary Class D amplification is complemented by advanced DSP processing, including delay equalisation and 20 precision EQs for room compensation.

Meanwhile, the newly upgraded 8351B shares much of the technology of its other Ones siblings, drawing inspiration from the electronic design of the 8341A and the driver technology of the 8361A. It has been designed to improve on the performance of its predecessor by offering increased SPL, additional room compensation EQs, equalised delay and enhanced HF response.

The W371A Adaptive Woofer System on the other hand is designed specifically to complement 8341, 8351 and 8361 monitors, and in conjunction with these models is designed to create a series of full-range monitoring solutions with unrivalled neutrality and levels of control over directivity and the effects of room acoustics. Standing at 1100 mm (43 1/4 inches) high and featuring dual high performance woofers, one forward-facing and one rear-facing, the W371A introduces a palette of novel ways to custom tailor system performance carefully to the room over the critical lowest four octaves.

Augmenting the dual woofers of The Ones coaxial models with a complementary W371A yields four woofers in total per channel, and these are combined using advanced acoustic measurement to reduce destructive cancellation and standing wave artefacts – through a host of tools including crossover frequencies, polar response and directivity.

As part of Genelec’s Smart Active Monitoring family, all models in The Ones range integrate with Genelec’s GLM software application, which can configure, calibrate and control entire Genelec smart monitoring systems.

Commenting on the launch, Genelec managing director Siamak Naghian said: “No other family of studio monitors can offer this level of coherency, control, neutrality and sheer ability to adapt to any acoustic environment. From the ultra-nearfield precision of the 8331A to a full-range system comprising the 8361A and W371A, our point source technology is now fully scalable, broadening its appeal still further and maintaining The Ones’ position as the industry’s benchmark for truthful reference monitoring.”

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