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REVEALED REVIEWS / Nick Ryan: interactive sound reaches millions REPORT / DPA 6060: how tiny can you tackle? / Bigger, faster, stronger: game audio QC mic modelling bundle Source-Connect in effect / Wimbledon 2018: AoIP with NEP & Calrec / Antelope Discrete 8: / Foley across oceans: roving reporter / Lawo: remote production for World Games / Sennheiser Memory Mic: / audio@ibc special

| £5.50 V17.6 | September 2018

The

Interview

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Resolution V17.6 September 2018.indd 1 HELLOHELLO MEDIA PACK | 2019

The voice of pro audio

In 2019, Resolution is the greatest opportunity for editorial and marketing, across print, online and social media

or over 16 years, Resolution has new editorial opinions, and, goddammit, been the discerning pro-audio a sans serif font on the editorial pages! practitioner’s magazine of choice Resolution now has a twice-monthly Fbecause it is unique. And, newsletter which regularly has an open although you can’t technically have levels rate of 33.7%. But we can do more! of uniqueness — last year, Resolution In April, for the first time, we became more unique. introduced an online NINTH issue sent A new publisher — Dave Robinson, to the entire database, covering events the longest-serving editor of Pro Sound and launches from NAB and Prolight + News Europe/PSNEurope to date — Sound. It had an incredible uptake: acquired Resolution, knowing it was a 9,000 views on hosting platform issuu. fantastic opportunity to build on the com, and hundreds of hours of read- title’s history: to update and improve it, time. We’re doing that again! both in print and online, while respecting For 2019? We’re planning to increase the superlative reputation and loyal the reach of the magazine into following built up over years of essential educational establishments, grow our “Resolution: WOW! A big job to take on. But, we’ve done great things for the title reading. readership in the USA, and reveal an in 2018: smarter design, regular The year 2018 saw a refreshed and exciting addition to the Resolution newsletter, refreshed format, sharper renewed Resolution: a high level of portfolio later in the year… writing, social media defibrillation... technical expertise; features and reports Resolution, printed eight times a year, there’s plenty more to do. Bring on 2019!” on cutting edge technology; is trusted, read from cover-to-cover, and Dave Robinson, publisher/owner supercharged editorial writing. Not only retains its shelf-life for months after [email protected] that, but a clearer and sharper design; publication.

Key strengths of Resolution International bright young thing AWA R DS 2019 Distributed to 75 countries! REWARDING QUALITY AND INNOVATION Resolution Awards 2019 Generic.indd 1 10/12/2018 12:03 Musclebound Resolution Awards 2019 Writing that is read, rated and retained by the readership. We cover the broadcast, The prestigious Resolution Awards recognise quality and innovation in professional audio music, post, recording and media production sectors, providing analysis, technology equipment. Products are nominated in profiles, interviews, reviews, news and opinion from the practitioners. categories by a panel of experts across disciplines and are voted for exclusively by the readership of Resolution magazine. All over the world The Resolution Creative Awards recognise the Reaching the markets of Europe, the Middle East, South America and the USA. achievements of individuals in music recording, Bolstering the education readership and encouraging new talent. broadcast and post. Nominations are, again, drawn up by a panel of experts across disciplines and are voted for exclusively by the readership All we hear is... of Resolution magazine. The definitive route to broadcast sound practitioners. OnlyResolution is dedicated to Nominees and winners always receive strong putting audio in focus at the biggest broadcast convention with: (September) editorial support. Nominations are announced in the JUNE issue and the winners announced in OCTOBER. Winners achieve the accolade of Resolution Awards 2019 inclusion in the Resolution Awards Winners Rewarding quality and innovation in products and creativity in end-users and facilities. Supplement in the October issue. Both awards are judged exclusively by Resolution readers. Winners are announced in a supplement in the October issue. THE TEAM MEDIA PACK | 2019

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esolution editor Nigel Jopson heads up a team of appointments. The products section serves up a slice of current highly-regarded writers and commentators, equipment releases and updates. consistently creating an outstanding editorial mix every Sections you can expect to see in the redesign: Rissue, in print and online. Craft — Craft articles concern themselves with the ‘how to’ Resolution writers have amassed a unique perspective and aspect of what readers do for a living. depth of product experience over the years — in the recording Reviews — The Resolution reviewers have amassed a wealth studio, in broadcast, in post-production — so we can always pair of experience that is unmatched anywhere in the industry. Our the right reviewer with the most appropriate piece of kit. people know our stuff! Resolution is targeted at people who buy and use your Technology — Resolution is ahead of the pack in its approach to equipment for a living. It satisfies the information requirement of new and existing technologies. modern practitioners with a uniquely focused package of Broadcast — We remain a definitive route to broadcast sound content. News and analysis cover industry sales, contracts and practitioners!

Tim Oliver Phil Ward Nigel Jopson, editor Tim’s been a freelance Phil Ward has been As a record producer and recording engineer, Nigel worked with engineer/producer for editor of both Pro artists including , Bauhaus, Jack Bruce, Paul Carrack, over 35 years, starting Sound News (PSN) , Julian Cope, The Cult, Marianne Faithfull, The his career in the heady Europe and Music Trade Go-Betweens, Cyndi Lauper, John Mayall, Joni Mitchell, Van days of Manchester in News, and is now Morrison, The Scorpions and … he took up the pen the 1980s working with a freelance writer for for Resolution magazine in 2002. the Stone Roses, Happy Lighting & Sound International, AV Mondays and New Order. He’s had a Magazine, Installation, Pro Audio Asia Russell Cottier Dennis Baxter base at Real World for ten years and for and Pro Audio Middle East. Russell is a record A multi Emmy the last three has been involved in the producer and mixer as Award-winner, Dennis management of the commercial studios. Erica Basnicki well as a pro-audio has worked in the Erica stumbled into the journalist. He’s worked broadcast industry for John Broomhall world of writing for the with chart-topping and over 30 years as a John has worked in a pro audio industry after award-winning acts including the Royal sound designer and sound mixer. He variety of roles completing her audio Philharmonic Orchestra and Sly & has engineered the sound for the (composer, sound engineering education, Robbie. Russell is primarily based at Commonwealth Games, World Cup, designer, producer, and hasn’t looked back. Parr Street Studios, Liverpool. NASCAR, and hundreds of other music supervisor and She writes extensively about live and sporting events around the world head of audio) on studio sound, and has a keen interest in Dan Daley including the Atlanta, , Salt dozens of videogames including F1 GP, emerging audio applications such as Dan — hit song Lake, , Beijing, Vancouver and Guitar Hero, American Idol, and Forza AR/VR and spatial audio. composer and a former London Games. Motorsport. pedal-steel punk, Mike Aiton recording studio owner George Shilling Simon Clark Mike Aiton was weaned and engineer — lives in George is a producer, Simon Clark is a at the BBC over 30 New York City and engineer and musician freelance location years ago. He is mainly Nashville, rendering him culturally with a CV including Yazz drama recordist and found in his enriched but politically conflicted. (The Only Way Is Up), head of location sound Twickenham dubbing The Soup Dragons (I’m recording at the suite, Mikerophonics, Gijs Friesen Free), Steve Winwood, National Film & TV thrashing gear to within Gijs is a sound engineer Mike Oldfield, James Brown, Frank School in the UK. an inch of its life. In his spare time he & sound designer with Turner and Tony Iommi (Black Sabbath). takes therapy for his poor jazz guitar an (online) audio post playing and his addiction to skiing and production studio. He David Kennedy Easier to read and Nikon lenses. works as a broadcast Ten years ago, David clearer design

music engineer for all became a freelance / Review major Dutch radio stations, and has dubbing mixer and has mixed for artists like Jason Mraz, Jess mainly worked on Glynne and Joss Stone. broadcast docos ever since. His greatest Kevin Hilton achievement has to be making many Kevin trained as a radio hundreds of hours of factual NT SF1 journalist and worked in entertainment intelligible for the RØDE finds the new Soundfield mic has some reporting, technical viewing public. JON THORNTON operations, production innovative features and presentation before Jon Thornton rugged looking, but two of the pins hat the Freedman Group, owner are much thicker than the rest and becoming a magazine Jon is an engineer, of RØDE Microphones, engage first, ensuring that any acquired Soundfield in 2016 damage caused by not having writer. educator and writer. He didn’t come as a major them lined up exactly is extremely T unlikely. The supplied 3m cable surprise. The Australian company has been Head of Sound has been relentlessly expanding its breaks this out to four standard XLRs. Each of the four capsules requires its product range to include solutions and elevation views — very effective in Ed Lister Technology at The own phantom power via these XLRs, for audio capture beyond the studio visually showing where audio energy is so duly plugged up and gain- for some time, always looking for being recovered. It’s a very Ed is a highly-seasoned Liverpool Institute for matched in a studio, initial sonic approaches that embrace new comprehensive package, and must rank impressions emerge. The capsules freelance broadcast Performing Arts since workflows. Mics specifically as one of the best software solutions are very neutral sounding, and even designed for DSLR video and mics out there currently. camera operator its inception in 1996, to leverage the power of four up, overall noise is very low. Put together with the microphone, it working with the likes increasingly ubiquitous mobile devices Auditioning a single capsule confirms allows some tremendous results to be helping to deliver the next generations contribute to a growing product that voicing is minimal, but both the achieved with the minimum of fuss. of ITV/BBC, while also of audio professionals. He has written for portfolio. With the renewed interest in published specs and initial impressions Capturing a 25-strong choir in a (very) ambisonic capture in light of VR/AR/MR suggest a very gentle, consistent HF rise reverberant enclosed atrium space, and producing high-end Resolution since v1.1. applications, the product-fit seems a — which is entirely sensible given the subsequently decoding this to 5.1 was very good one. likely placement of such a microphone straightforward, and it was easy enough content for the web. The NT-SF1 is the first product to relative to source. to just pull the general focus towards emerge from this collaboration. At first the choir a little more using the SBR glance, you’d be forgiven for thinking A-Format signal processing plug-in. There’s great sense of solidity to that it was simply a re-badged version in software the sound, and almost no obvious of the Soundfield SPS200, but you’d be Like the SPS200 and other new artefacts from the processing. The completely wrong. Granted there are ambisonic mics such as Sennheiser’s beam forming ‘shotgun’ virtual pick-ups some visual similarities, but then again Ambeo, there is no dedicated hardware weren’t quite as effective here as they there are only so many ways that a processor here, but all post-processing were with some busy urban exterior tetrahedral capsule array can be laid of the raw A-Format signal is locations I recorded — they tended to out. But it really is a very different beast accomplished by the ‘Soundfield by just result in a colouring of the under the hood, as RØDE has brought RØDE’ (SBR) plug-in. This is available in reverberant field if used overly much. its considerable manufacturing AU, AAX and VST formats for both Mac The overwhelming conclusion you experience to the party. and PC as a free download. I used it draw is that RØDE has managed a The capsules themselves are a new successfully with both PT HD and nearly perfect balance here between design. Featuring ½ inch diaphragms Reaper during the review. Like the mic price, performance and ease of use. It’s they are true condenser cardioid itself, there’s a certain amount of déjà vu not the cheapest tetrahedral capsules manufactured in-house in on first glance, as the core functionality microphone out there, and by no means Sydney. The capsule housing and the and layout is similar to Surround Zone 2, the most expensive. But the build rest of the microphone are albeit with a big design makeover for quality, sonic performance and manufactured in solid brass, and the the user interface. Inputs can be simplicity of the whole system makes A-Format or B-Format (AmbiX and the (just) sub £1000 street price look whole assembly feels extremely solid and rigid. Hold it in your hand, and the FuMa), and it will decode to all channel like a bit of a bargain. balance point suggests that there’s a formats from mono to 7.1.4, or considerable heft to that capsule array. transcode to AmbiX or FuMa. VERDICT The exposed array with its narrow Navigating the interface is extremely mounting spindle might look fragile, but easy, with plenty of options for controlling channel angle, elevation, it really isn’t. PROS Very solidly built; SBR plug-in is Included in the kit is a spherical level, the virtual pickup pattern that comprehensive and versatile; windshield and sock for added generates them, and the relative point quiet and neutral sounding; of audition. good choice of multi-pin protection outdoors, and a dedicated connector rubber shock-mount. Even with all of There are a couple of notable features: the first is the ability to derive these accessories added, the whole CONS Might not be quite as instantly thing is neat and compact looking. shotgun pickup-types using ‘location ready’ as some other Connection to the microphone is via a beamforming techniques. This allows offerings 10-pin XLR; as long-time SPS200 users, specific sources from the sound field to we’ve found the Achilles heel in that be picked out with a quite remarkable en.rode.com/ntsf1 microphone was always the relatively / Four RØDE TF45C degree of accuracy. The second is the capsules in a fragile 10-pin connector employed. The pulsing blue indication around both plan tetrahedral array / 21 connector here is not only much more November/December 2018

30/11/2018 16:16

Resolution V17.8 November-December 2018.indd 21 AUDIENCE/PRINT MEDIA PACK | 2019

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Rest of the World: 7.5 Reaching 7,500 readers in Europe% andPRINT BY COUNTRY beyond PRINT: North America: 7% Rest of t he World : 7.5 Rest of the World: 7.5% • Readers who specify and buy equipment North America : 7 North America: 7% UK & Ireland: 45.5% Rest of t he World : 7.5 • More readers in education and the USA North America : 7 UK & Ireland : 45.5 UK & Ireland: 45.5% • Distributed in 75 countries Europe: 40%

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DIGITAL: A database of 10,000 names!

Reaching the online audience The Resolution twice-monthly newsletter distils ONLINE BY COUNTRY* pro-audio developments and products releases Ge rmany : 9 into an easy-to-read and accessible package. Since its launch in February, we have seen the UK : 30 average OPEN RATE (OR) rise from 30% to 33.7%, with the average CLICK-THROUGH RATE Othe r : 31 (CTR) rising from 4.4% to 4.9%.

USA : 19 Back catalogue T he Ne the rlands : 10UK 30% Resolution has a rich archive of reviews and UK USAUSA The Netherlands Other 19%Germany interviews, and in 2018 we began sharing this with NETHERLANDS 10% the readers, via www.resolutionmag.com and GERMANY 9% the issuu.com hosting site. This move has OTHER 31% increased awareness of the brand, ahead of a planned launch later in 2019… watch this space!

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Editorial Craft choosing difference, thank you for celebrating diversity”. Voters were evidently charmed by Nigel Jopson the chicken dance moves of the choreography, whilst some pundits claimed the song’s lyrics: Tel: +44 7985 154548, email: [email protected] “I’m not your toy, You stupid boy” proved apt for the first post #MeToo Eurovision. Not to be left out, Eurovision stalwarts Ireland managed Dave Robinson (publisher) to add a touch of controversy, getting Mango TV’s contract to screen Saturday’s finale Tel: +44 20 8694 2979, email: [email protected] cancelled by the EBU (European Broadcasting Union), after the Chinese broadcaster censored the modest-by-modern-standards segment of two Irish men dancing together.

Advertising On-site technical support Being backstage at the Altice Arena in the Chris Cope — European Sales lead-up to the show was to enter a rather special world of rules, respect and fairness-for- all. “Please stand with your backs to the Tel: +44 203 289 8015, mobile: +44 7962 336300, passageway, a delegation is coming through!” … as a rather surprised posse of Moldovan singers email: [email protected] saunter past. As a technical supplier to Eurovision, audio specialist Sennheiser supplied Digital 6000 wireless microphones and 2000 Sean Leslie — European Sales series wireless monitors to the world’s largest live music event, hosted by Rádio e Televisão de Tel: +44 7925 096590, email: [email protected] (RTP). With rehearsals on-going since 22 April, the equipment was in constant use in ’s Altice Arena and the ESC press centre. Jeff Turner — US Sales Volker Schmitt, director customer development & application engineering at Sennheiser, plus a Tel: +1 415 455 8301, email: [email protected] team of five were on site to provide technical support for the wireless systems. Eurovision sound With 43 participating nations, the Dean Cook — Artwork submission 63rd featured live Welcome boys, too much noise — NIGEL JOPSON gets his broadcasts of the two semi-finals on the 8th Tel: +44 1273 467579, email: [email protected] Smarter kimono on and 10th May and the grand finale on 12th May. national pride in being at Lisbon’s Altice Arena All artists were equipped with Digital 6000 layout hether you love or laugh at the performing to an audience of more than 200 microphones, and use either SKM 6000 world’s biggest music show, the million fans worldwide — is palpable. handhelds with MD 9235 dynamic capsules, or modern era of Eurovision offers The event is a genuine showcase of SK 6000 bodypacks with Sennheiser headmics. slick production, high quality inclusivity — I spotted some Turkish fans madly I asked Sennheiser’s Kevin Jungk if custom W waving flags as Israel’s ’s quirky equipment had been deployed: “To be honest, www.resolutionmag.com vocals and a musical mêlée with a surprise a minute — from Estonian pOpera — to Finnish X entry ‘Toy’ was named as winner. Fans come we are using all off-the-shelf products from Factor 2016 veteran Saara Aalto singing her from all over the world to support their home Sennheiser, we try to do that as much as piece whilst upside down on a wheel. When country, but are just as likely to jump up and possible to give confidence to our customers,” Resolution Magazine, you’ve done voice work for Pokémon (as Aalto down over another performance. Accepting her he explained, “the only custom modification we has) it’s all in a day’s work, I guess… It’s easy to prize in the Altice Arena, Netta told the made was on our SL Headmic, because it had 144 Crosslet Vale, London SE10 8DL, UK smile from afar, but backstage at the show the Eurovision hosts: “I’m so happy, thanks for an omni capsule — not suitable for here — we excitement from performers — the real joy and put a cardioid HSP-4 capsule on instead.” / IEM mixing position The performers can choose between handheld and headset, and during rehearsals the technical staff figure out which setup they’re most comfortable with. Estonia’s Elina Nechayeva [who — appropriately enough — sings ‘La Forza’], is a classically trained opera singer. “Her vocal is roughly 50dB louder than the rest of the singers,” Jungk revealed, “we had to make a slight adjustment to the headset to move it a little further away from her mouth! This is because we use exactly the same beltpack setting for everyone, we don’t start adjusting individual packs, so we try to find a setting which is neutral and workable for everyone. At the moment we have a -6dB input

sensitivity for everyone. Some nation’s singers Larmann Ralph images, Performance Jopson; Nigel images, backstage and Equipment Photos: have a deviation of just 2 or 3 bars on the meter, then Elina Nechayeva goes full scale! With

/ IEM mixing position

46 / May 2018 21/05/2018 16:48

Resolution V17.3 May 2018.indd 46