Resolution Awards Winners’ Supplement 2017

AUDIO FOR BROADCAST, POST, RECORDING AND MULTIMEDIA PRODUCTION

V16.7 OCTOBER 2017

Product Awards DAW Avid Pro Tools 12.8 HD Analogue-mixer/controller SSL Nucleus2 Dynamics processor Warm Audio WA-2A Plug-in iZotope Neutron Microphone Schoeps MiniCMIT Interface(ADC/DAC) Antelope Orion 32 HD Preamp Grace Design m108 Processor CEDAR Cambridge v11 Recorder JoeCo Bluebox BBWR24B Monitoring PMC BB6 Digital mixer/controller Calrec Brio 36 EQ Thermionic Culture The Swift Creative Awards Broadcast Sound Mixer Tudor Davies Music Production Producer/Engineer Joe Barresi Film/Post Sound Mixer Mike Prestwood Smith Production Sound Mixer Tim Fraser Audio Facility Abbey Road Mix Stage, London Orion Studio HD is the newest star in Antelope Audio’s latest audio interface an already established line of top audio comes fully equipped with our full interfaces. Now with HDX connectivity library of Real-Time FPGA FX. Not only it’s a preferred choice for the higher is that vast array of EQs, compressors, level Pro Tools setups. With extended guitar amps and cabinets plus AuraVerb analog I/O, 12 Class A Mic Pres and reverb coming to you for free, but also enhanced conversion, Orion Studio features authentic models of legendary HD can fit any DAW workflow and units from BAE, Grove Hill, Gyraf Audio, recording and producing environment Lang and more are yet to come. thanks to a fast speed USB 3.0 port.

50+ INTEGRATED REAL-TIME FPGA VINTAGE FX Orion32 HD including BAE, Gyraf Audio and Lang classics Upgrade to a higher tier HD.

64 Channels I/O Extended Connectivity Simultaneous streaming of 64 I/O channels HDX, USB3, MADI, ADAT, S/PDIF, 8x DB25 24-bit, 192 kHz audio via HDX & USB 3.0 Mastering Grade Monitor Outs Supreme Clocking High Monitoring DA included using chips from Powered by Antelope’s 64-bit Clocking our popular Pure2 Mastering Converter Technology with 2 Word Clock or Loopsync Outs, Word Clock or LoopSync & Antelope Software Control 10M/10MX Atomic Clock Inputs Routing, mixing, real-time effects processing via OS X & Windows compatible app Powerful FPGA Custom FPGA for powering multiple monitor mixers and real-time effects processing, measuring only 2 samples of inaudible latency!

www.antelopeaudio/orion32hdwww.AntelopeAudio.com RESOLUTION AWARDS

AWARDS 2017 AWARDS 2017 •WINNER• •WINNER• DAW ANALOGUE MIXER/CONTROLLER Avid Pro Tools 12.8 HD SSL Nucleus2 REWARDING QUALITY AND INNOVATION REWARDING QUALITY AND INNOVATION Avid Pro Tools Solid State 12.8 HD Logic Nucleus2 Orion Studio HD is the newest star in Antelope Audio’s latest audio interface an already established line of top audio comes fully equipped with our full interfaces. Now with HDX connectivity library of Real-Time FPGA FX. Not only it’s a preferred choice for the higher is that vast array of EQs, compressors, level Pro Tools setups. With extended guitar amps and cabinets plus AuraVerb analog I/O, 12 Class A Mic Pres and reverb coming to you for free, but also enhanced conversion, Orion Studio features authentic models of legendary HD can fit any DAW workflow and units from BAE, Grove Hill, Gyraf Audio, recording and producing environment Lang and more are yet to come. thanks to a fast speed USB 3.0 port.

t may seem strange that Resolution readers have voted for such a mature product as Pro Tools, but there’s a good reason. Avid’s 12.8 update was a very significant upgrade to the audio production standard, a long-awaited fulfillment of 50+ INTEGRATED Iusers’ wish lists. REAL-TIME FPGA VINTAGE FX Post production mixers were pleased Dolby Atmos mixing had Orion32 HD finally been added, along with support for Avid Nexis for Pro Tools including BAE, Gyraf Audio HD. Until now, mixing in Dolby Atmos required extra plug-ins and t may not be quite as massive as the legendary SSL Desks found in and Lang classics complex routing workflows to accommodate the multi-channel and the top studios like Abbey road or the Record Plant. But at a fraction Upgrade to a higher tier HD. object-based audio format. Avid and Dolby partnered to deliver of the price, this compact controller gives you the essentials, or an inclusive suite of workflows, including: a 3D Panner with “nucleus”, of the SSL experience for a modern digital studio. Height Controls for adjusting signal height manually as well as IThe unit can control up to 3 DAWs at once via ethernet with HUI automatically with shaped pan guides; 7.1.2 and 7.0.2-channel and MCU protocols, there’s even a built in keyboard emulator for DAW 64 Channels I/O Extended Connectivity surround track, plug-in, and bus support; a new “Theater” view control and macros. NucleusRemote software is bundled for setting up for the pan window providing a dimensional, rotating theatre- your profiles, along with licences for Audinate Virtual Soundcard and Simultaneous streaming of 64 I/O channels HDX, USB3, MADI, ADAT, S/PDIF, 8x DB25 perspective panner; Atmos Renderer Communication and Object the Duende Native Essentials Bundle. 24-bit, 192 kHz audio via HDX & USB 3.0 panning enabling connection to up to 128 inputs, with a total of The centre section offers function control, transport and an Mastering Grade Monitor Outs 118 Objects from Pro Tools directly to a Dolby RMU or to the Dolby analogue input and monitoring section. This area has two channels Supreme Clocking High Monitoring DA included using chips from Atmos Renderer software. of SSL SuperAnalogue mic preamplifiers, each has a gain pot and Powered by Antelope’s 64-bit Clocking our popular Pure2 Mastering Converter A key, and pragmatic, feature of the Atmos integration is the buttons for phantom power, -20dB pad, high impedance input, phase ability to edit and rough mix using all of the object-based workflows invert, 80Hz high-pass filter and insert. These inserts can also be used Technology with 2 Word Clock or Loopsync in Pro Tools, but without needing to be actively connected to a to process a final mix sent in via Dante and recorded back similarly Outs, Word Clock or LoopSync & Antelope Software Control Dolby renderer. Object routes are automatically folded down to an with the Mix button. There is input blending via a pot for zero latency 10M/10MX Atomic Clock Inputs Routing, mixing, real-time effects processing output of your choice for monitoring until a renderer is connected. tracking and buttons for a variety of Mono modes. All this is topped via OS X & Windows compatible app Support for Avid Nexis shared storage eliminates the time wasted off with a set of LED meters that can show Control Room Output (pre Powerful FPGA moving files between systems, resulting in faster turnarounds and monitor level), Input levels or Mix Return level. increased productivity. With Pro Tools 12.8, you can now increase When Russell Cottier reviewed the Nucleus2 in our 2017 March Custom FPGA for powering multiple your efficiency working with teams who may have members issue, he concluded: ‘The SSL Nucleus2 offers a mind-boggling degree monitor mixers and real-time effects around the world, with Cloud Collaboration projects that can include of customisation and, despite a few design niggles, it is a very powerful processing, measuring only 2 samples of up to 10 collaborators in addition to the owner of the project. All in system for the in-the-box engineer, as part of a networked production inaudible latency! all, a worthy update which guarantees Avid’s software will remain team or as a centre section for a small to medium sized studio. SSL’s at the heart of audio post production.’ n adoption of Dante should-future proof this machine somewhat.’ n

ALSO NOMINATED: Tracktion Waveform, Harrison ALSO NOMINATED: AMS BCM-10/2 Mk2 , A-Designs Mixbus version 4, iZotope RX6 postproduction suite. Mix Factory, Schertler Arthur.

www.antelopeaudio/orion32hdwww.AntelopeAudio.com October 2017 resolution 45 RESOLUTION AWARDS

AWARDS 2017 AWARDS 2017 •WINNER• •WINNER• DYNAMICS PROCESSOR MICROPHONE Warm Audio WA-2A Schoeps MiniCMIT REWARDING QUALITY AND INNOVATION REWARDING QUALITY AND INNOVATION Warm Audio Schoeps WA-2A MiniCMIT

choeps made their first foray into the world of shotgun microphones in 2005, with the introduction of the CMIT 5U. This was followed by the SuperCMIT — an AES42 compatible Sdigital shotgun microphone featuring two capsules and additional DSP to help enhance directivity. The newest addition to the product family is the MiniCMIT which aims to offer the same sonic signature in an altogether more compact package. The capsule and interference tube on all three microphones is identical. Measuring 151 mm in length and weighing in at a featherweight 78 g, the MiniCMIT sports the same blue (in order to aid concealment for Chroma key compositing if boom is in shot during movie filming) anodised finish as the rest of the range. Its shorter overall length when here’s a good reason this homage to the 1960s Teletronix compared with the CMIT 5 is partly due to the absence LA-2A Leveling Amplifier, the WA-2A, was voted winner of the electronically by our readers. Just as in any other trade, certain tools in switched high pass, pro-audio have “design classic” status. There have been proximity cut and high Tmany attempts at improving the hammer over the years, but shelf filters. There’s most carpenters prefer to have a traditional claw hammer in their simply a fixed HPF (70 toolbox. The tried and tested design has endured: it works well and Hz 24dB/octave) that’s it’s clear how to operate it. There have been several LA-2A replicas permanently in circuit. made by different manufacturers over the years, but Warm audio Polar pattern is super- have manufactured a classic tool at a smashing price. cardioid, the published There are three controls on the front panel. A Compress/Limit spec sheet suggests an switch sets the ratio and knee — Compress gives you a soft knee off-axis response that is and a 4:1 ratio, whereas Limit gives you a (supposed) ratio of very smooth across the infinity. With the ratio set, you juggle the output Gain and Peak frequency range right up Reduction (threshold) controls until you have the desired amount to the 120 degree point. of gain reduction and the desired signal level flowing to the next In his review of this mic device in the signal chain. Simple as. Despite the relatively complex in Resolution V15.8. Jon electrical behaviour, it’s all automatic, so operating the LA-2A is Thornton found that: incredibly easy and intuitive. ‘Accurate booming gives Warm Audio have made a good effort to replicate the original a wonderfully natural sound in an design as far as is possible, at an incredibly reasonable price. outdoor environment, with excellent Without hand-winding, it would be impossible to replicate the rejection off axis. But even if the boom original Teletronix transformers, Warm Audio have used the is a little off or late on the talent, there’s no objectionable colouration respected Cinemag USA devices. They’ve also used the Kenetek to the sound.’ T4B Opto-Attenuator, a $99 (to you and I) drop-in replacement Jon praised the MiniCMIT, declaring it ‘sounds much better in this manufactured to imitate the original as nearly as possible. When application than most other shotguns I’ve used. I keep coming back to you add in the 4 tubes, PCB, power trafos, assembly and testing ... the word “natural” — but it’s the adjective that springs to mind most, it’s hard to understand how the WA-2A can sell for an incredibly coupled with a reasonable balance of direct / diffuse sound that makes reasonable street price of $899. Every audio pro deserves to own for fairly convincing interior dialogue pick-ups, almost out of the box. a design classic, and this is certainly equipment which lives up to Certainly there’s much less need for EQ and processing to fit the lines Warm Audio’s motto: “Serious Gear, Seriously Affordable”.’ n than I’m accustomed to.’ n

ALSO NOMINATED: Maag Magnum K, Rockruepel ALSO NOMINATED: Audio-Technica AT5047, limit.one, Gyraf Gyratec XXIV: G24. Bock 5ZERO7, Sennheiser Digital 6000.

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AWARDS 2017 •WINNER• INTERFACE (ADC/DAC) Antelope Orion 32+ HD REWARDING QUALITY AND INNOVATION Antelope Orion 32 HD

ntelope Audio has the MADI and ADAT to create been in the convertor additional backup recordings and clocking if you wanted to, perhaps for manufacture business a live rig. Afor over 20 years now. A little Antelope has provided out- over a year ago they started of-the-box audio processing releasing Thunderbolt interfaces with its comprehensive suite including the Orion 32+ of FPGA effects, providing which was covered in 2016 hardware models of some of (Resolution V15.2) by Russell the most desirable vintage Cottier. The Orion 32 HD (Resolution V16.3) is the effects with near-zero latency. These plugins are latest in the Orion series, sporting similar topology to included with any of Antelope’s interfaces, completely the Orion 32+ but with a sleek black look. However free. The following Antelope Vintage FX models are the Orion 32 HD offers something quite different in included with the Orion 32HD: terms of connectivity. No Thunderbolt, but the key Equalizer “legends” — VEQ-STU 089, VEQ-STU selling point of the Orion 32 HD is not just the 64 169, VEQ-STU 900, VEQ HA32C, BAE 1023, BAE channel USB 3.0 interface but the additional mini 1084, NEU-W492, NEU-W495, VEQ-4K Black, VEQ- HDX ports on the rear that offer access to the 32 4k Brown, VEQ-4K Pink, VEQ-4K Orange, BAE- analogue and 32 digital inputs and outputs plus 32 1073, VEQ-HLF, VEQ – 1A, VMEQ-5, LANG PEQ2, digital ins and 32 digital outs. VEQ-55A, UK-69, NEU-PEV, INTEGRATED EQ. So what is the benefit of having the HDX connectors Modelled “Vintage” Compressors — BA-6A, SMT- and USB 3.0? Well, Antelope have focused on a gap 100A, FET-A78, ALT-436C, Stay-Levin, VCA160, in the market for visiting producers bringing laptops Tube176, X903, Gyratec X, Grove Hill Liverpool, into studios. The whole HD system can be wired in ANTELOPE FEEDFORWARD COMPRESSOR, FET-A76. as normal with the Pro Tools rig, yet simultaneously Reverb — Auraverb Reverb “Leveraging Unique the USB 3.0 system can be used to record to, and Algorithms and Proprietary FPGA Chip for Smooth stream from an additional computer. So for example and Clear Sound”. you can stream audio from your HD rig, whilst At £3049 the antelope Orion 32 HD is by playing back synced audio from a native DAW on the no means a budget interface, however the small same or another computer. Audio can be passed live footprint of the unit belies the extensive onboard I/O to all digital outputs, and there is almost unlimited and processing. Russell conclude in his review that scope for streaming stems or multi-tracks from one this is an excellent sounding interface, and compared computer to another, all in a real time rather than to other Pro Tools compatible convertors you get a lot using a file based system. Of course you could use of bang for your buck. n

Contact ANTELOPE AUDIO, BULGARIA Website: www.antelopeaudio.com

ALSO NOMINATED: Tracktion Copper Reference, DPA d:vice, RME Fireface UFX+.

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AWARDS 2017 •WINNER• PREAMP Grace Design m108 REWARDING QUALITY AND INNOVATION Grace Design m108

race Design’s new m108 is an eight-channel the eight mic preamp outputs, the USB interface can mic preamp which can be remote-controlled return a stereo monitoring signal for auditioning at in a variety of ways. The m108 is also an the headphone amplifier, and so the unit can serve eight-channel A-D converter, with AES and as a basic, but very high-quality audio interface. To GADAT outputs, and adds a powerful reference-grade facilitate monitoring when recording through the headphone amplifier with a built-in stereo monitor M108, an optional analogue output card can be mixer. It boasts a class-compliant USB 2.0 interface as installed, providing a pair of TRS balanced outputs. standard, allowing it to serve as a basic computer audio In the absence of this option, audio can be monitored interface and there’s an expansion slot for additional through the front-panel headphone jack. I/O option cards, with a Dante interface available. The stereo output options present several choices On the rear, there are eight XLR input jacks that of source signals. Either can be fed a post-DAW, USB can accept mic or line-level signals. Each mic preamp return from the host computer (though this source has a generous gain range of -6 to 69 dB. The M108 can be subject to latency). A low-latency blend of can be used as a purely analogue mic preamp, while input signals can be created instead, using the M108’s outputting through a balanced DB25, 8-channel integrated mixer, and that can be fed to either or both output. Alternatively, the signals can be A/D- outputs. converted and fed to digital output connectors. The The m108 Control Software application allows internal A-D converter supports all the familiar base, for control of up to 12 m108 preamplifiers using the double and quad sample rates up to 192kHz, and Ethernet control port on the m108. Each preamplifier provides AES3-formatted outputs on a second D-sub in the system will have a dedicated control panel for (also conforming to the AES59 wiring standard). A operating the microphone preamplifiers, ADC, and pair of ADAT lightpipe sockets is also provided, and clocking parameters. The control application allows these deliver all eight channels in duplicate at base for the creation of channel groups as well as saving sample rates, reducing to four channels on each using and recalling presets. The application runs under S/MUX2 at double sample rates. Although the 176.4 Windows (7,8.1,10) and Mac OS (10.11). The m108 and 192 kHz rates are not supported over ADAT, they has a built-in web browser controller allowing remote are on the AES3 outputs. 0dBFS equates to +24dBu at control from most web enabled Mac, Windows, iOS the balanced analogue outputs. A pair of BNC sockets and Android devices. cater for word-clock, and the input termination can Grace have the market for clean 8 channel preamps be switched between 75ohm or a high-impedance with digital conversion included pretty much to (daisy-chain) mode. themselves: this is not a preamp for adding colour, The USB 2.0 socket allows direct asynchronous it is a reference tool that delivers precisely what the connection to a computer or iOS tablet. In addition to mics capture. n

Contact GRACE DESIGN, USA Website: www.gracedesign.com

ALSO NOMINATED: AEA RPQ2, Kahayan 12K72, Chameleon Labs 7603.

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AWARDS 2017 •WINNER• RECORDER JoeCo Bluebox BBWR24B REWARDING QUALITY AND INNOVATION JoeCo Bluebox BBWR24B ritish manufacturer JoeCo most affordable BLUEBOX, the has tapped into the BBWR24B our readers voted for increasing trend to record delivers 24 balanced line inputs, and re-purpose live shows, 16 Adat Lightpipe inputs (with Bsplitting signals to live mixers. SMUXII support for higher sample Whether it’s a rock act playing the O2 dome rates) and 24 balanced outs. or a reality show mixed live from a flypack, In a studio environment, BLUEBOX can producers increasingly expect access to be used as a low-latency audio interface individual voices or other inputs isolated carrying up to 24 channels of 24bit/96kHz from the original mic or instrument for later post production. JoeCo have audio in both directions simultaneously over USB 2.0. If the DAW a range of devices to get the job done, including their Blackbox recorders, crashes, BLUEBOX keep running, utilising its on-board recording function BLACKBOX multitrack players, and the newer BLUEBOX range. BLUEBOX to ensure that none of the source recordings are lost, even if power fails! has been designed specifically to act as an audio interface for a workstation (The unit can accept a regulated dc input from a 12V battery powered cart.) whilst making a safety backup of every recording. Multitrack audio is An optional XLR BreakOut Box (BOBIN), is available, supplied with captured directly to a USB2/3 drive. three 25way D-sub to D-sub cable looms which plug directly between the There are three BLUEBOX models, the BBWR24MP delivers 24 upper row of D-sub connectors on the back of the BBWR and the D-subs channels of individually switchable mic/line inputs with preamps on every on the BOBIN. You can then use the XLR-F connectors on the BOBIN to channel while the BBWR08MP has 8 channels of mic/line inputs. The plug your microphones or line sources into the unit. n

ALSO NOMINATED: Lectrosonics PDR , Tascam DR-100 MKIII , Aaton Digital Cantar Mini.

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AWARDS 2017 AWARDS 2017 •WINNER• •WINNER• PROCESSOR PLUG-IN CEDAR Cambridge v11 iZotope Neutron REWARDING QUALITY AND INNOVATION REWARDING QUALITY AND INNOVATION CEDAR iZotope Cambridge v11 Neutron

he new Cambridge Version 11 offers some dramatic additions and improvements to CEDAR’s flagship audio restoration system including a software version (called DNS Two) of the DNS 2 hardware unit, a vastly improved eutron is iZotope’s intelligent channel strip that assists with TDeClip-2 module and Trinity Enhance, which is derived from the mix setup. The plugin is available in two flavours: Neutron CEDAR Trinity surveillance system. and Neutron Advanced, the latter offering individual plugins DNS Two builds on the power and simplicity of the industry- for the modules within the Neutron channel strip, and up to leading DNS One dialogue noise suppressor and introduces a new N7.1 multichannel processing. algorithm that excels at removing the background noise that often Pressing the Track Assistant button and playing audio will allow the accompanies dialogue. Rather than taking a spectral fingerprint of plug-in to analyse the audio. Users can select between Subtle, Medium the noise, as many less effective noise reduction systems do, DNS or Aggressive modes plus a further option of Broadband Clarity, Warm Two divides the incoming signal into multiple frequency bands that and Open or Upfront Midrange. The plugin also offers a pop-up history are adaptively analysed without user intervention. The algorithm window whereby users can roll back modifications to the controls plus suppresses the noise independently in each of these bands, and just a Settings pop-up which allows selection of different behaviour for three simple controls are needed. each module of the plug-in. DeClip-2 improves upon the previous Declip by improving the There are five modules in total: an Equaliser, two Compressors, an algorithm and adding an adaptive Auto mode. With Auto engaged Exciter and a Transient Shaper. The order of these can be changed by it will automatically track the signal amplitude, find the clipping dragging and dropping and Track Assistant will get you started with points, set the clipping gates in real time, and output a clean result what it believes to be the correct signal chain. There is a blend control with restored dynamic range. This allows for true “set it and forget for each module for parallel style processing. it” operation and you can therefore use it with confidence in the Neutron also offers a very clever masking identification tool within Batch Processor. the EQ module. When selected the Masking button offers a drop down Trinity Enhance is derived from CEDAR’s Trinity 2 surveillance menu which includes all instances of Neutron in the current session, system, and provides a toolset of four filters – Speech, Noise, identifiable by the names that you entered in the top left-hand corner. Background and Motor — designed to tackle the extreme audio Selecting another instance brings up this masking channel EQ curve challenges typical of surveillance work that is less concerned with below the current selected EQ. When audio is playing white bands tonal quality and more concerned with intelligibility. flash to display locations where masking of your selected channel by CEDAR Cambridge Version 11 continues the tradition of quality, the masking channel occurs. Tweaks to the masking channel EQ will excellence and ease of use that allows the company’s end-users immediately take effect in the respective plug-in, and there is even to meet or exceed client demands. If you want the best, there’s no an inverse link option between nodes of the masking and selected other option.’ n channel EQs. n

ALSO NOMINATED: Bricasti M12 Monitor Controller, ALSO NOMINATED: McDSP EC300 , Audioease Indoor, Riedel Bolero, DirectOut MADI.9648 Liquidsonics 7th Heaven

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AWARDS 2017 •WINNER• MONITORING PMC BB6 REWARDING QUALITY AND INNOVATION PMC BB6

he BB6 builds on the exclusively to the 15-inch bass design of PMC’s respected driver in the XBD cabinet for BB5 monitors. The new the ultimate in control, headroom models feature PMC’s and bass definition — a total of Thand-built, precision-matched 5625W of power per channel. 34mm soft-dome tweeter and As with the QB1-A Main 75mm fabric mid-range driver Monitor, the BB6 incorporates coupled with the latest generation advanced DSP to optimise the of the Radial low-frequency driver, response of the drivers, maximising built specifically for use with PMC’s their dispersion, guarantees a ATL (Advanced Transmission 24dB-per-octave crossover, and Line) designs. The BB6 features a provides non-invasive protection 15-inch Radial driver; teamed with using modelled excursion limiting. the ATL, these exhibit a claimed The DSP also provides shelving EQ flat response down to 17Hz. The for in-room integration, along with LF drivers have been engineered four presets, which are ideal for with an exposed exoskeleton to personal settings when multiple dissipate unwanted heat, thereby users have access to the system eliminating the detrimental effects or if a particular custom balance of power compression — so is required. These can be accessed they can be driven for extended via a wired RJ45 desktop remote periods at high output levels control with a backlit display while preserving definition, and and jog wheel, which is supplied without exhibiting tonal changes as standard with all the new or distortion. BB6 is available models. The remote also allows as single-cabinet (BB6-A) and input switching and shelving EQ twin-cabinet (BB6 XBD-A) active adjustments to be made from the versions. The latter provide an listening position without the need ultra-smooth in-room response to constantly refer to the rear panel and offer 3dB more headroom (the of the monitors. BB6 XBD-A will produce a claimed The cabinets used play integral 131dB). Dedicated centre-channel roles in the high performance of versions of the BB6 are available the BB6; aside from incorporating for multi-channel systems, but the Advanced Transmission subwoofers are not required, as Line itself, the construction of the 20-60Hz sub-bass frequency the enclosure aims to eradicat range is already comprehensively audible cabinet colouration. covered. Instead, all the new and audible cabinet talk. Highly systems incorporate dedicated braced, resonance-damped Medite “Point One” inputs to accommodate the LFE channel is used with offset HF and MF drivers, radiused from surround mixes, such as the effects channel in edges and acoustically absorbent StealthBaffles at film soundtracks. the boundaries, as employed in the QB1-A design, Each channel of the new BB6-A is powered by a to minimise edge diffraction effects. These details single Control 1200 (supplying 275W of power to the were formulated with the aid of pioneering acoustic high-frequency driver and 550W to the mid-range research and measurements undertaken by PMC in unit) and a Power 2400 unit, which, as its name anechoic environments at the UK’s National Physical suggests, supplies 2400W to the bass driver. The Laboratory, using opto-acoustic laser interferometry BB6 XBD-A has an additional Power 2400 dedicated to map the sound field and acoustic dispersion. n

Contact PMC, UK Website: www.pmc-speakers.com

ALSO NOMINATED: Genelec “The Ones” 8331, Neumann KH80 DSP, Hedd Type 20.

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AWARDS 2017 •WINNER• DIGITAL MIXER/CONTROLLER Calrec Brio 36 REWARDING QUALITY AND INNOVATION Calrec Brio 36

hen Rob James reviewed this digital Brio to allow for further I/O to be connected. A mixer in our January 2017 edition, Hydra2 module can be fitted to connect to and he opened his review by saying ‘It’s a share audio over Calrec’s proprietary network. This scaled down, self-contained, miniature means Hydra2’s sophisticated management facilities Wbroadcast console in one box ... plug it in and away can be utilised for network-wide control, including you go. It’s also at an unprecedented price point for interfacing with multiple Video and Audio over Calrec at £19,995 (€27,950 Euros or $34,500).’ We IP networks such as SMPTE2022, Dante, AES67, suspect Rob’s words neatly summarise many of the Ravenna and Soundgrid. reasons our readers found to vote the Brio to the top Brio inherits the vast majority of the wealth in this category. of broadcast experience Calrec have acquired over At only 892mm wide with a 36 dual-layer fader decades. The console benefits from Calrec’s proprietary surface, Brio is entirely self-contained with analogue Bluefin DSP code which uses FPGA chips for DSP, and digital I/O, and GPIO, built into the surface. 64 in this case one. The key difference with Brio is a “legs” are assignable as mono, stereo or 5.1 Input dedicated brand-new processing board. This has a Channels. There’s a 6 band EQ available on every large FPGA, which does the DSP, routing and internal Input Channel, Group, Aux and Main path: 4 band I/O interface. By keeping everything within a single full PEQ and 2 band LF/HF filters, 12 or 24dB/ chip, reliability and latency are improved. An IMX6 octave. An Expander/Gate/Ducker, with key input processor handles the user interface and an X86 and sidechain EQ is also on every Input Channel and processor is the brains which controls the whole Group path. An Expander/Gate and Compressor are system. There are a couple of input output cards provided for every Aux, and a Multiband Compressor which provide the on-board audio I/O and GPI/O. on every Main. Two Automixers are available to all These communicate internally with the processor mono Input Channels and Groups. board using Hydra2. Brio does fs1 44.1/48kHz or Part of the appeal of the Brio has been it’s ease fs2 88.2/96kHz with exactly the same capabilities of use, and the minimal training required to bring regardless of sampling rate. The DSP is run at twice audio pros up-to-speed on operation. Setting up a the speed to achieve the higher sampling rates. Brio mix-minus is a simple matter of pressing the Access preamps and DACs have 24dB dynamic range, other button on the relevant control strip, selecting the Calrec consoles have 28dB. There is considerable mix-minus output, mono or stereo and routing to headroom in the DSP and when you do approach auto mix-minus on the touch screen. 64 mix-minus 0dBFS it rounds off rather than hard clipping. or direct outputs are available as a pool. There is an Since Brio was launched at NAB nearly 120 off-air conference bus which enables participants to consoles have been delivered to 19 countries to listen and talk to each other when their faders are customers such as Video Europe, Telegenic and NEP closed. The Contribution screen shows what is routed in the UK, Dome Productions in Canada and Astro to where, and aids in finding routing mistakes quickly. Awani in Malaysia. This is a full broadcast console in Additional expansion I/O slots are fitted to the miniature. n

Contact CALREC AUDIO, UK Website: www.calrec.com

ALSO NOMINATED: Lawo mc²96, PreSonus CS18 AI, DiGiCo SD12.

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AWARDS 2017 •WINNER• EQ Thermionic Culture The Swift REWARDING QUALITY AND INNOVATION Thermionic Culture The Swift

ach channel’s row old “blanket removal” trick of EQ controls starts particularly well. from the left with a The Treble section is Bass band using a another Baxandall shelf, Econtinuous +/-11dB pot, and again with a +/-11dB pot, and a choice of 50 or 100Hz a choice of 7kHz or 12kHz. on a toggle switch. Designer After this is an Air knob which Vic Keary has based the is a pot with a range of 0-10, main electronics around a providing a beautiful sheen 1950s EMI desk, but with from 7kHz upwards – its peak extended frequency response is at 30kHz; this section is at the top and bottom. This passive. The final control is a is a Baxandall type active shelving EQ which sounds switched 12dB per octave High Pass Filter with 12Hz, broad and smooth. 24Hz, 48Hz and 68Hz options. The next band is a (passive) Mid Cut with a The Swift is a fabulous general purpose EQ with continuous pot, and four frequencies chosen with a generally broad characteristics, but it still manages switched knob: 350Hz, 700Hz, 2kHz and 7kHz, and to pack a punch. It has a big sound and there is a three Q settings which allow a maximum range of 15, smoothness to it without feeling gloopy, with well 10 or 5dB. A similarly featured Mid Lift is next, this chosen frequencies and gain ranges. With a clearly is also passive and loosely Pultec-based. The centre arranged front panel it is certainly quick and easy to frequencies are 1kHz, 2kHz, 3kHz and 4.5kHz, the set. Subtle yet very pleasant enhancement is easy different Q settings allow a maximum lift of 17, 10 or to achieve. If you push it hard, The Swift achieves 8dB in the H, M or L positions respectively. The range dramatic tonal changes without sounding unpleasant. of adjustment on both Mid sections is great for subtle Few recordings will not benefit from some sort or unsubtle tonal changes, but if 15 or 17dB seems a of enhancement when using this EQ. Even just lot, even at full-tilt it sounds pretty smooth. running signal through it, perhaps with just the bass A Presence knob follows, which gives a broad filter engaged, seems to “solidify” things. The sonic preset lift to mid/high frequencies, and is based on performance is remarkable, with an unbelievably low a design of Vic’s from 1963, previously used in his noise floor, incredibly low distortion, and a massive own mixing desks. It acts partly as a high pass shelf frequency range. Unlike some modern pretenders curve, then goes to a broad peak, followed by a drop who think valve warmth means hyping up the drive at the upper audible range of the curve, with peak and distortion, Vic Keary has made The Swift as clean frequencies of 0.9kHz, 2kHz or 4kHz. These are all as a whistle, whilst sounding big, solid and grown up. useful for adding clarity, the 4kHz especially doing the It’s got wings, and is a fast track to great sound. n

Contact THERMIONIC CULTURE, UK Website: www.thermionicculture.com

ALSO NOMINATED: Kush Audio Clariphonic MS, Elysia xfilter, SPL PQ Mastering Equalizer Model 1540/1544

October 2017 resolution 53 RESOLUTION AWARDS

CREATIVE AWARDS 2017 CREATIVE AWARDS 2017 CREATIVE AWARDS 2017 •WINNER• •WINNER• •WINNER• AUDIO FACILITY MUSIC PRODUCTION PRODUCER/ENGINEER BROADCAST SOUND MIXER Abbey Road Mix Stage Joe Barresi Tudor Davies REWARDING AUDIO CREATIVITY REWARDING AUDIO CREATIVITY REWARDING AUDIO CREATIVITY

A true master producer, Originally a musician, mixer and engineer, Davies fell in love Barresi has worked on with audio and turned records from the heaviest to broadcast sound, of bands including starting his career at the Queens Of The Stone Age, BBC. After 10 years, Slipknot, Soundgarden, Davies became a much The Melvins and Tool. sought after freelancer with his company, Barresi grew up in New York City and at the Tudorsound Ltd. Since 2008, Davies has done age of seven took up guitar, eventually going the Glastonbury John Peel Stage broadcast on to study classical guitar and music theory mix, he recently mixed the Foo Fighters’ at the University of South Florida. Barresi performance in 5.1. But Tudor is probably best moved to LA and was catapulted through the known for doing sound on Later ... with Jools industry after engineering a demo for GGGarth Holland — the UK’s most cherished BBC2 Richardson. Barresi is possibly best known for TV music show — which recently celebrated producing the debut album for Queens Of The its 25th anniversary with a broadcast from Stone Age. Maybe it’s Barresi’s musicality, or the Royal Albert Hall. ‘I work on the show his analogue approach, that brings a sense of with Sound Supervisor Mike Felton, he’s the space and heaviness to his records. His hands- senior mixer who has mixed it since day on and performance-based recording makes a one, and I’ve been his co-pilot since 2003,’ s part of the “biggest transformation Barresi production stand out from other heavy says Davies, who recently tweeted: ‘Friday I since the studios were founded records. Joe is highly respected in the industry, walked out of a back stage door with Darius. in 1931” and including a wider an “engineer’s engineer”: the big acts in The awaiting crowd went wild. I guess news investment programme that saw heavy music keep coming back to him. n of my #Resolution nomination has got out.’ n Athe construction of two new music studios, Abbey Road this year opened a state-of-the- ALSO NOMINATED: Fraser T Smith, ALSO NOMINATED: Andy Groves, art mix stage with Dolby Atmos Premier Studio Greg Kurstin, Two Inch Punch (Ben Ash). Keron Steele, Colin Hassell. Certification and IMAX audio compatibility. In the past, Abbey Road Studios has been at the heart of some of the most iconic movie score recordings including Raiders of the Lost Ark, Lord of the Rings, Harry CREATIVE AWARDS 2017 CREATIVE AWARDS 2017 Potter, Hunger Games, Spectre (James Bond) •WINNER• •WINNER• Jason Bourne and . Now the facility can also FILM/POST PRODUCTION SOUND MIXER offer world class post-production to its movie SOUND MIXER Mike Prestwood Smith Tim Fraser clients. REWARDING AUDIO CREATIVITY REWARDING AUDIO CREATIVITY The new Mix Stage is equipped with a dual-engine USP AMS Neve DFC3D 40 Fader When we interviewed Our readers have console, plus an Avid S6 M40 with 32 faders. Mike for our June 2017 voted for a soundman The hybrid structure of the mixing console, issue, he was completing renowned for his work which was conceived by Abbey Road Kingsman Golden Circle: both of feature films and engineers, and made possible by a Frozen he’d been enjoying mixing television — and music Fish Designs customised frame, allows the Prince’s original multitrack as well. In TV, Tim has seamless interchange of DFC3D and AVID S6 for the fight scene recently been on set for buckets for flexibility that can be tailored to choreographed to the tune the Netflix pickup of any client requirements. Let’s Go Crazy, in which Eggsy is being Charlie Booker’s Black Mirror, with a bigger There are 5 playback systems, 1 HDX3 pummeled by a villain with a metallic arm and budget than the original C4 series and a starry 192 channel and 4 HDX2 128 channel Pro pursued by three cars. The movie has already new cast. In movies, Tim recently handled Tools rigs. 2 HDX3 192 channel systems grossed $123m: there are very few mixers production sound for Peterloo directed by act as recorders, while a Dynaudio M3F who’re trusted to work on the top Hollywood Mike Leigh (for whom he also worked on the speaker system provides the Dolby Atmos franchises, and Mike is one of them. Billy biographical drama of eccentric British painter monitoring. A Colin Broad Synchronizer ties Elliot provided him with the first of his eight “Mr. Turner”). He’s no stranger to Hollywood audio together with the Christie CP4220 4K BAFTA nominations — and the phone hasn’t blockbusters either, having worked on Bourne Digital cinema projection. stopped ringing since. He subsequently won 5, World War Z and Captain Phillips. In 2013 Even the famous studios cannot rely on a BAFTA for Casino Royale and garnered an Fraser won a BAFTA Television Craft Award reputation alone, and the new build shows Academy Award nomination for his work for Sound on the BBC’s big Shakespeare owners Universal Music are serious about on Captain Phillips. Mike was re-recording adaptation under the series title The Hollow keeping the facility at the apex of audio mixer for Patriots Day, Deepwater Horizon, Crown. Tim also makes something of a habit production. Isabel Garvey, managing director Mission: Impossible — Rogue Nation, Iron of working on projects with a musical theme, at Abbey Road Studios, said: ‘We are investing Man 3, The Hunger Games, Quantum of from being the mobile sound mixer at the in our core business to ensure we maintain Solace, Harry Potter and the Order of the Brit Awards, to Robbie Williams Live and Abbey Road as a vibrant recording studio.’ n Phoenix ... and many others. n REM Unplugged. n

ALSO NOMINATED: Goldcrest, London; Decoy ALSO NOMINATED: Juan Peralta, ALSO NOMINATED: Simon Hayes, Studios, Suffolk;Dream Asylum Studios, Miami. Greg Gettens, Peter Gates. Brian Milliken, Simon Bysshe.

54 resolution October 2017