Tabla de contenidos para Issue 130 en AudioTechnology

Last issue, I wrote an article about The Rubens’ recording in their own studio, which they built inside an old WWII bunker. The record, LO LA RU is a spectacular slice of Australian pop, and The Bunker’s semi-trailer-fitting, arched ceiling makes for a fascinating space. Bass player for the band, Will Zeglis doubles as the Bunker’s in-house engineer. It’s his Soundtracs console that went down with a noise issue, two weeks before Run The Jewels’ producers, Wilder Zoby and Torbitt Schwartz, were due to arrive from New York. It came right down to the wire, with the technician able to diagnose the issue and fix it the day before the sessions were due to start. Zeglis was so stressed about the incident, he got physically sick. Terry Demol was that…

Steven Schram was two hours into a mix that was coming together swimmingly when he found himself in deep water. “Things were really cooking, then I heard a squishy sound. I looked behind the screen and there was an inch of water coming through the studio wall. I was thinking, ‘I can still finish this mix. Just 10 more minutes!’ When the power board started to lift off the floor, I figured it was time to get out.” The top of the hot water service had blown off, but with the screen in his way, he’d been sitting there mixing not realising he was slowly sinking. He quickly shut down the studio and turfed all his gear out the door, managing to save everything except the acoustic treatment and rugs.…

Neumann isn’t celebrating 90 years in the biz by a string of lucky coincidences, assures president of Neumann, Wolfgang Fraissinet. Throughout its long history, the German microphone manufacturer has been delivering on one key proposition: riding at the edge of physics to help turn natural sound into pieces of art. That’s not going to change; but Neumann, as a company, must. Recently, we caught up with Fraissinet during his Australian visit to talk about the future. AT: What’s 90 years of Neumann really mean for the company? Wolfgang Fraissinet: The 90-year anniversary provides a good opportunity to talk about our history and even more importantly, talk about where we are going. Being 90, there’s a danger of being viewed as a little bit dusty and old — almost 100 years…

1. I will often ‘hard tune’ some of the doubles and layers in Autotune and slightly reduce or increase the scale offset amount for different layers. This gives them an incredible tightness with some width and depth due to the slight pitch offsets. 2. 7 On doubles and layers, I also use the ‘create vibrato’ section in Autotune at a very slow rate to make sure it never holds a constant pitch offset. This acts like a slow phaser/flanger that’s ever so slowly modulating changes in pitch.…

APRA AMCOS’s SongHubs is a global program. As well as Australia’s capital cities, invitees can find themselves flying across oceans to hubs like LA, Nashville and London, or India, Toronto, and the latest addition, Brazil. Milly Petriella, APRA AMCOS Director of Member Relations, said APRA AMCOS’s songwriting camps often happen in conjunction with a partner, like a festival, or existing camp, to spread the funding resources and manpower. Milly: “We often tag onto festivals, so we host SongHubs in London when Great Escape is on and there’s already 30-40 Australian bands attending. LA and Nashville are a no-brainer. In Melbourne, we’re doing one or two a year with Creative Victoria, and host Brisbane in conjunction with Bigsound. The Bali Songwriting Invitational is a standalone camp we partner with. They provide…

PRICE Consoles 16+1 fader SQ-5: $5499 24+1 fader SQ-6: $6499 32+1 fader SQ-7: $7999 DX168 16-in/8-out Stage Box: $2999 CONTACT TAG: (02) 9519 0900 or info@tag.com.au PROS Flagship DSP processing onboard Interfaces with dLive & Qu gear Sounds punchy & clear Completely flexible routing & layout CONS MADI not available yet SUMMARY There’s not much the SQ hasn’t taken from the flagship dLive system; same 96k processing and latency, same engine core, can use the same preamps. The only thing it’s lower on is screen real estate and size… one of those is a bonus.…

There are a few potential issues to watch out for when connecting devices via Thunderbolt 3. The first is to check all connecting cables have the Thunderbolt lightning icon. The actual connector type is known as USB-C but not all USB-C cables are Thunderbolt-enabled. Mac computers with TB1 and TB2 ports can run the Apollo X range using a TB2-to-TB3 adapter. When purchasing an adapter ignore the fact that the data direction arrow points the wrong way, the adapters transmit data just fine in both directions. Unfortunately, PC users will need a TB3-equipped computer to run the new Apollos. For those contemplating expanding an existing system, the new models will interface with older Apollo units equipped with the Thunderbolt 1, 2 or 3 option cards, UAD-2 PCIe Cards, Apollo Twin…

The Zoom F1 is a palm-sized recorder with the ability to slot six different modular microphone options onto it thanks to Zoom’s proprietary 10-pin connector. The unit can sit on a tripod, clip to your talent’s belt or slide onto a camera’s hot-shoe. The F1 records two channels of audio at up to 24-bit/96k resolution in BWF-compliant, WAV or MP3 formats. Two AAA batteries will give you a maximum of 10 hours operation and it records directly to microSD or SDHC cards. A headphone output provides real-time monitoring or an audio feed for your camera, while a line input lets you connect an external source — such as a lavalier mic or even a wireless mic receiver. We received an F1 with the SGH-6 shotgun mic. Recording with the SGH-6…

Arturia’s original KeyLab range featured some of the best and most comprehensive MIDI controllers for their price. Yet Arturia ups the ante with KeyLab Mk II. What’s new? In short, quality and control — there’s more of both. Not only is KeyLab Mk II’s chassis made out of metal but so are the pitch and mod wheels. The keyboard looks especially sleek in the brushed black finish and I wouldn’t hesitate repping it on stage. The 16 multi-purpose RGB-backlit pads feel as good as Maschine’s. The keybed has a nice fast action. Plus you get a slather of DAW control with both Transport- and Track-specific buttons, and a helping of MIDI geekery like Chord mode and MIDI channel selection In keeping with Arturia’s dedication to merging the analogue and digital…

Andy: Hugo and Jimmy love to DJ. The CDJ decks are a natural extension of who they are, so it makes sense for them to be part of their live stage setup. They’re very stable. We take an S/PDIF digital output from the decks straight into the stage box (via a Neutrik impedance box that allows it to run as AES3). The output sound quality is good and works for us. Having the stems on the CDJ decks also means Hugo and Jimmy can mix from one song to the next, as well as loop sections if they so desire — bearing in mind there’s no sequence or timecode content from Ableton Live that it needs to sync with. Fraser: Prior to taking on FOH duties I was mixing monitors…

After the flood, Chris Fatouros from Exponential Acoustics completely re-treated Schram’s Bangkok Ninja Academy studio with all new acoustic treatments. Here’s Chris: “We repositioned Steve’s DIY broadband absorbing panels to optimise their performance among the new set of treatments. “We added six custom-tuned, corner membrane absorber bass traps with three different centre tunings — 35, 50 and 75Hz — with an effective absorption about one octave either side of the centre frequency. When used as a set, the different tunings cross over to cover a wide low frequency bandwidth. “They absorb much lower frequencies than bass traps using only porous absorption. They’re targeted at reducing the effects of modal problems, and evening out the bass response around the room. They also improve low end transient response as the modal frequencies…

Whatever PC-based software or hardware you have, the first port of call for assistance should always be the manufacturer/developer’s website. Many host online forums where you can interact with other users, and hopefully a company representative will also pop in from time to time when an ‘official answer’ is required. Others simply have support links on their websites, where they post official FAQs regarding issues that may crop up for each product they have, as well as news about updates and so on. However, when you are combining hardware and software from different sources, and neither company can provide you with answers, sometimes help can come from unexpected quarters. Time for a shout-out to those enthusiastic third parties (i.e. other users like you and me), who devote so much time…

dBTechnologies released the new S218 dual 18-inch neodymium subwoofer alongside the L212 announcement as the perfect partnership of tops and lows. The S218 response descends down to 28Hz and features much of the same innovations as the L212 such as a switched mode power supply with PFC, Dante compatibility, and NFC proximity sensors to inform Aurora Net of each sub’s position. Onboard DSP includes a cardioid stack preset button which automatically processes the sound of the backward sub in gradient inverted stack configurations to reach maximum cancellation on the rear side.…

While reviewing the SQ7, it was up to firmware version 1.2. Just recently, Allen & Heath released a 1.3 update. It was too late to really test out the new features, but they’re worth mentioning. Allen & Heath has spruiked the SQ7 as a do-it-all console; equally at home at monitors — with its 12 stereo mixes for in-ears — as it is for FOH. However, there was no dedicated level control for an engineer’s cue wedge. The new firmware will allow monitor engineers to assign the master fader to that role. This lack of monitoring control was also apparent on the FOH side, where the only outputs for the PAFL were the headphone output and the RTA. Occasionally you want to PAFL to your main system, or at least…

Universal Audio’s own plug-in Century Tube Channel Strip diverges from its typical path of meticulously digital modelling classic hardware. While utilising a tube topology in the preamp stage and an opto-style limiter for dynamic control, it has no historical progenitor in the analogue hardware world. The Century is optimised to work hand in hand with UA’s Unison mic preamp modelling system, and as such this plug-in is very much aimed at the tracking stage of the recording process and offers a streamlined set of controls for quick and easy tonal and dynamic massaging on the way into your DAW. The Tube Preamp section sports the usual controls with the high pass filter being noteworthy for its smoothness and usability. The EQ has fixed high and low bands at 10kHz and…

PRICE DZR10: $1999 DZR12: $2099 DZR15: $2199 DZR315: $2699 DXS15XLF Sub: $2499 DXS18XLF Sub: $2699 CONTACT Yamaha: 1800 331 130 or au.yamaha.com PROS Efficient, multi-use design Big volume numbers 96k DSP Performance CONS No mic/RCA ins SUMMARY Yamaha’s DZR speakers sit at the top of the company’s portable speaker range. Louder is better, even if you don’t use it, and Yamaha has these revved up to the max with sound quality to match. Loads of level, with effective 96kHz DSP processing to keep it all nice and tidy.…

PRESONUS ATOM $249 | www.presonus.com Presonus jumps into a whole new product category with the release of its new Atom production and performance pad controller. Atom has 16 RGB-backlit pads on it and comes bundled with Studio One Artist production software to let you both create and perform. If you’re not a Studio One user, Atom is compatible with most other music production and performance applications. The little performance powerhouse offers flexible control of virtual instruments and real-time triggering of samples and loops using 16 full-size, velocity- and pressure-sensitive RGB pads that can send polyphonic aftertouch, channel pressure, or MIDI CC messages, plus 20 buttons, four programmable rotary encoders and eight pad banks that can be assigned in multiple ways. It also includes MVP Loops content custom-designed for Atom. The…

Fraser Walker: I rely on a Waves Soundgrid pack for my processing. I have an instance of the F6 dynamic EQ across the CDJ stereo playback channel. The F6 is side-chained to the vocal group and it’s also set to ‘midside’. I’ve got the sidechain frequency band in the mid, and I’m leaving the sides unaffected. The result is I’m carving out a middle pocket while leaving the HF on the sides alone. It’s the only way I can make this show work. It sounds natural yet at times I’m pulling almost 9dB out of the HF in that pocket. It doesn’t sound like it because you’ve still got that frequency content left untouched in the sides — psycho-acoustically it doesn’t sound carved but you’ve created this pocket for the…

SOOTHE-ING VOCALS The first move Schram makes with vocals is to make it pink so he can find it. For the lead vocal he had a high pass going into an LA3A, then made a ‘pretty standard’ move on a Pultec EQ. After that, he used one of his favourite plug-ins, Oeksound’s Soothe. “I can’t live without it now. Especially across violins and acoustic guitars, it’s just incredible.” It’s designed to dynamically smooth out any harshness while bringing out clarity. It also works down low. Basically, magic. Schram set it to work on the low mid 250-300Hz area and the 6-7kHz ‘ess’ band. It’s followed by another LA3A (“because one’s never enough”) into a dynamic EQ doing a similar thing as Soothe to keep it from having to do all…

At present, there are two 96k stage boxes available for the SQ series — the DX168 and DX32 expander rack with four available I/O slots. I was sent the DX168, a 16-in, 8-out unit. Because it was built as an extender for the dLive system, it has the same preamps as the main rack. There are marginal spec differences between the stage box preamps and those on the SQ console itself, and they also have the same gain staging. In its natural form — like Allen & Heath’s 48k AB128 — it comes with a metal handle at one end, with all corners protected by chunky rubber bumpers. It can also be rack mounted with an optional kit. There are red phantom power LED indicators located next to each input…

PRICE Expect to pay Apollo x6: $3299 Apollo x8: $3999 Apollo x8P: $4999 Apollo x16: $5499 CONTACT CMI Music & Audio: (03) 9315 2244 or sales@cmi.com.au PROS Upgraded DSP, converters & clocking SMPTE standard +24dBu operation Compatible with older Thunderbolt-equipped models Talkback mic built in 5.1 and 7.1 monitoring capability CONS Thunderbolt cable not supplied Still uses older processing cores Not compatible with older PCs No plans for surround UAD-2 plugs SUMMARY The Apollo line continues to flourish with the latest hardware upgrades improving sonic and DSP processing performance. New surround monitoring, +24dB operation and built-in talkback mic add even more pro-requested features to an already impressive product.…

While not available at the time of writing, soon all DZR models including the subs will be available as extra-cost Dante-equipped versions. Dante I/O (two in/two out) enables integration with Yamaha CL/QL/TF digital consoles and other Dante devices to provide remote control of complex systems. Sample rate conversion allows it to work with 48kHz devices. Dante break-IN and break-OUT function allows analogue I/O to combine with Dante I/O for more flexibility while Yamaha’s ProVisionare software for iPad control is also Dante compatible. Simple patching with Yamaha consoles via Cat5 cable can save set up time and keeps the signal digital all the way to the speakers, avoiding an extra visit to the converters.…