People & Music Industry: Recent Episodes
Sound On Sound
Welcome to the Sound On Sound People & Music Industry podcast channel. Listen to experts in the field, company founders, equipment designers, engineers, producers and educators.
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In celebration of the 75th anniversary of the Audio Engineering Society, President Bruce Olson talks to Hugh Robjohns about their history, their role in developing standards across the industry and entrance requirements for new members.
Chapters
00:00 - Introduction
00:27 - A Brief History
01:33 - Who The Society Is For
02:46 - Entrance Requirements
04:16 - Bruce Olson Background
07:54 - Developing Standards
11:15 - Membership Benefits
15:16 - Attending Conferences
18:37 - Job And Training Opportunities
20:26 - A Fast-Moving Industry
21:48 - The Future Of Audio
24:13 - Encouraging Diversity
26:30 - AES Membership
Bruce Olson BiogBruce C. Olson is the founding member of Olson Sound Design LLC, a consulting firm specializing in acoustical and technical systems design for music and theatre facilities.
As the President of the Audio Engineering Society, Chairman of the AES Standards Committee, and having served as the Chairman of AES SC-05-05, Vice-Chairman of AES TC-EMC, AES Governor, President of his local ASA chapter, Chairman of his local AES chapter, Bruce is actively involved in the latest technology in audio and acoustics. As the Founder and President of AFMG Services North America LLC, his invaluable knowledge and over 20 years of involvement with AFMG make him the number-one expert for AFMG programs on the American continent.
Mr. Olson continues as an active musician and is a member of the Bend In The River Big Band. He is a member of AES, ASA, IEEE, SMPTE, Syn-Aud-Con, and has been an invited speaker for sessions, workshops, and seminars for the AES, AIA, ASA, InfoComm, NAMM, NSCA, Syn-Aud-Con, and USITT.
https://aes2.org/http://olsonsound.com/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Doug Rogers is President of EastWest, the Soundsonline website and owner of EastWest Studios. Here he chats to Sam Inglis about what it takes to develop their award winning sample library releases and how you can access everything via their subscription service, Composer Cloud+.
00:00 - Introduction
00:35 - The Beginnings Of Composer Cloud+
05:19 - The Scale Of Production
08:24 - Benefits Of Subscription Services
10:48 - Individual Sounds On Demand
13:24 - Developing OPUS
18:08 - The Orchestrator Tool
20:40 - The Development Of MIDI
23:59 - AI And The Musician
28:00 - Anyone Can Make Music
31:36 - Working With Top Engineers
36:46 - Outro
Doug Rogers Biog
Music producer and EastWest founder Doug Rogers is the recipient of many industry awards, including "Recording Engineer of the Year". The Art of Digital Music named him one of "56 Visionary Artists and Insiders".
In 1988 he founded EastWest, a sampled instruments library who have to date received over 120 international industry awards. The early releases were co-produced with Bob Clearmountain and in 1991, Rogers released the first collection to include MIDI driven drum loops. The first multi-velocity sampled piano collection, Ultimate Piano Collection, was released in 1995, followed by GigaSampler in 1997, a collaboration with Nemesys that pioneered the use of streaming from hard drives.
In 2003 he co-produced with Nick Phoenix the first surround sound virtual orchestra, Symphonic Orchestra, engineered by 11-time Grammy nominated classical recording engineer Keith Johnson, and recorded in a state of the art concert hall and followed that release with Symphonic Choirs. This and its predecessor, Voices of the Apocalypse, were the first music software products to enable users to type in words for the choirs to sing. This was followed in 2007 with EastWest/Quantum Leap Pianos, that was also produced in surround sound.
In 2005 Rogers established a software development division for EastWest and released the first 64-bit virtual instruments that became the new standard. More recent releases have featured top engineers and co-producers, including Shawn Murphy for the Hollywood Orchestra series, David Fridmann for The Dark Side and Fab Four with Beatle's engineer Ken Scott.
https://www.soundsonline.com/
Chapters
00:00 - Introduction
00:26 - 30th Anniversary
01:02 - The First Product
03:24 - The Launchpad
06:58 - Automap
09:25 - Friendly Relations
13:08 - The BassStation
17:50 - Hands-On Control
19:07 - Analogue Sound Modelling
21:41 - The Resurgence Of Analogue
30:43 - From The Rack To The Desktop
34:33 - Moving Away From Computers
38:02 - The Focusrite Group
45:25 - 40 Years of MIDI
Novation BiogIn 1992, Ian Jannaway and Mark Thompson founded Novation Electronic Music Systems and created the MM10, a keyboard controller designed to be used with the Yamaha QY10 music workstation. BassStation was launched in 1993 and was used by many top artists of the day. ASM (Analogue Sound Modelling) technology was introduced in 1995 and designer Chris Huggett joined the team full-time in 1998, with the popular Supernova synth being released that year.
30 years later, while still creating grooveboxes, controllers and synths, Novation is now part of The Focusrite Group, along with Adam Audio, Focusrite and Sequential.
https://novationmusic.com/en
Chris Calcutt Biog Chris Calcutt has been the Product Specialist at Novation for over a decade. Despite coming from a more traditional background of classical music composition and playing the trombone, Chris has always been heavily involved and passionate about music tech.
As a kid, Chris would play with synthesizers and a four-track on the living room floor and has since gone on to work with Novation, collaborating closely with the product developers, designing and building new and innovative electronic instruments.
Chris is responsible for representing multiple brands under Novation's parent company, The Focusrite Group, working with their European distribution partners to deliver training, product presentations, and live performances both online and at in-store events.
Chris also produces and performs live as -CALC- and is an active member of the experimental electronic music scene in Brighton, UK.
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters
00:00 - Introduction
00:39 - Joining Pearl
01:58 - Rune Rosander
06:05 - The Microphone Market In The 1950s
07:19 - How Mics Were Made And Tested
08:26 - The Rectangular Capsule
11:18 - The ELM Microphone Range
14:10 - Valve To Solid State And Back Again
17:19 - The Milab VIP-50
18:36 - Why Design Matters
19:34 - Manufacturing Today
20:55 - The Importance Of Good Components
22:20 - Why Pearl Mics Are Never Obsolete!
Pearl Milab BiogFounded in 1941, Pearl Microphones is one of the oldest continuously operating microphone manufacturers in the world. To this day, every Pearl microphone is built entirely by hand in Sweden and delivered with its own individual frequency chart.
Pearl is perhaps best known for its unique rectangular microphone capsules, originally developed by the company’s founder Rune Rosander in the 1950s. Today, the brand offers a wide selection of condenser microphones based on rectangular capsules and also a range of MS-stereo and surround microphones. Pearl’s microphones have been particularly embraced by the world of classical music and can be found in opera houses and with symphony orchestras all over the world.
In 2017, Pearl was acquired by its previous sister company Milab Microphones and today both Pearl and Milab microphones are built side-by-side in the same workshop in Åstorp in southern Sweden.
https://www.milabmic.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters
00:00 - Introduction
00:17 - Getting Started Creating Audio Products
01:08 - The Necessary Training
02:01 - Algorithm Development
05:40 - The User Interface
07:26 - Vintage Emulation
09:30 - 20 Years Of Plug-in Development
11:32 - How Useful Is Machine Learning?
14:10 The APB (Analog Processing Box)
17:07 - Analogue Electronics
18:31 - Component Tolerances
20:28 - Emulating Tubes
21:51 - Combining Signals
23:04 - The Capabilities Of APB
24:58 - Extending The Capabilities Of APB
25:46 - APB For Atmos
26:30 - APB For Mastering
28:11 - Other Analogue Effects
31:02 - Using The APB For Saturation
32:02 - Future Developments At McDSP
McDSP BiogMcDSP is an innovative Emmy award-winning Silicon Valley audio software and hardware company founded in 1998 by Colin McDowell.
McDSP technology can be found in pro audio plug-ins for popular digital audio workstations including Pro Tools, Logic, Cubase, and Avid live sound systems. McDSP audio algorithms are also used by companies such as Audiokinetic, Bioware and Microsoft, and in consumer products like the LouderLogic iOS audio player.
In 2019 McDSP introduced the world's first programmable analogue processor, the APB-16. The McDSP Analog Processing Box (APB) combines the flexibility of software plug-in control with the fidelity of premium analogue processing. Options include compressors, mastering limiters, transient enhancement devices, multi-channel and multi-band applications.
https://www.mcdsp.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters
00:00 - Introduction
00:34 - Immersive Audio
02:07 - Loudspeaker Density
05:44 - Automating Calibration With GLM
08:10 - Choosing Your Speaker System
11:27 - Mixing Immersive Music
13:29 - Aural ID For Audio Professionals
18:45 - Mixing For Different Surround Formats
20:57 - Improving How Audio Is Received
22:19 - The Future Of Immersive Audio
Genelec BiogFor over 40 years, Genelec studio monitoring solutions have delivered truthful, neutral sound reproduction — enabling engineers and creatives to make accurate and reliable mix decisions, even in challenging rooms.
Founded in Finland by childhood friends Ilpo Martikainen and Topi Partanen, the company’s first monitor, the S30, instantly became the blueprint for Genelec’s future direction. Its active design delivered consistent performance, total reliability, and the ability to adapt to the acoustic environment it was operating in.
Genelec’s growing range of Smart Active Monitors work closely with GLM calibration software, allowing each monitor to be completely optimised for the room, producing mixes that translate consistently to the outside world - from stereo to immersive.
For headphone users, Genelec’s latest Aural ID software development delivers a more truthful, reliable and completely personalised listening experience, allowing the user to switch between monitors and headphones seamlessly.
Aki Mäkivirta Biog Aki Mäkivirta joined Genelec in 1995. He originally worked for the Nokia Research Centre and teamed up with Ari Varla of Genelec during a joint venture between the two companies, where Mäkivirta demonstrated how to replace analogue filters with digital processing using the 1031A nearfield monitor. As a result, Mäkivirta joined Genelec to pioneer the creation of the original 8200 series of Smart Active Monitors, before becoming R&D Director in 2013.
https://www.genelec.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters
00:00 - Introduction
00:30 - Lewitt Audio Beginnings
04:42 - Creating Unique Products
08:19 - Engineering Focussed
09:34 - Circuit Control | Remote Control
11:37 - The LCT 1040 Microphone
13:35 - Working With External Engineers
14:25 - Expanding Into Other Areas
15:29 - The Electronics
16:28 - Industry Areas Needing Improvement
18:59 - Recording Environment Acoustics
19:56 - Company Expansion
23:29 - An International Team
27:12 - Development and Innovation
31:15 - The 10 Year Warranty
Lewitt Audio Biog
Designed and engineered in Vienna, Austria, LEWITT microphones set new standards in sound capture as a modern, innovative alternative to traditional technologies. Founded in January 2010 by entrepreneurial audio pioneer Roman Perschon, LEWITT is a dedicated and diverse team of audio experts with a passion for quality and in-house engineering capabilities to focus entirely on customers' needs. Today, LEWITT is considered one of the fastest-growing microphone brands with a diverse team of over 100 employees with offices in Europe, China, and the US. Each microphone model results from a consultative process including many of the world's most respected producers, sound engineers, and musicians – the growing worldwide community of audio enthusiasts who trust the sensational sound of LEWITT.
Roman Perschon, the CEO of LEWITT, studied Electronics and has been in the audio industry for 20 years. Twelve years ago, he founded LEWITT to push microphone design forward. Today, the brand is primarily oriented towards the user's needs.
Moritz Lochner, COO and Head of Product Management at LEWITT, studied Audio Engineering and gained experience in the studio, live, and broadcast. He joined LEWITT in 2015 and quickly evolved to a leading personality within the company.
https://www.lewitt-audio.com/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Chapters
00:00 - Introduction
00:19 - CEDAR Audio Beginnings
01:45 - The National Sound Archive
06:15 - Cleaning Up Old Recordings
08:12 - Working In Real-Time
10:36 - Developing Rackmount Units
11:52 - Making User-Friendly Products
14:27 - Building A Team Of Developers
17:06 - Introducing Machine Learning and AI
21:25 - The Move Into Post Production
25:34 - The Invention Of Spectral Editing And Retouch
29:26 - Algorithmic Technology
36:10 - Involvement In Forensics
39:02 - Blind Source Separation And AudioTelligence
44:04 - Future Opportunities
CEDAR Audio Biog
CEDAR Audio is committed to furthering the science and art of noise suppression, audio restoration and speech enhancement in all of their forms, and actively pursues research into each of them. The company pioneered real-time audio restoration, spectral editing, zero-latency dialogue noise suppression, and many other processes that are now industry standards. It has worked closely with the world’s most famous studios, record companies and bands to ensure that they obtain the highest audio quality, not just from vintage material but also from audio recorded today that suffers from some sort of noise problem. If you enjoy a trip to the cinema, you're almost certainly listening to sound that has been perfected using CEDAR and, from the newsrooms of major broadcasters to reality TV, to studio-based shows, to sporting events such as the Olympics, the World Cup and Premier League football, CEDAR is the standard for noise suppression. The company is also proud to include many of the world's archives and libraries as well as law enforcement agencies and security organisations as customers and friends.https://www.cedar-audio.com/
Gordon Reid Biog
Gordon Reid is the Managing Director of CEDAR Audio and has helped guide the company to an Emmy®, an Academy Award®, two Cinema Audio Society Awards and numerous other accolades. He is widely known in the fields of audio restoration, noise suppression for post and broadcast, audio forensics and speech enhancement, and he co-founded AudioTelligence, which develops technologies for applications ranging from hearing assistance to advanced surveillance systems.
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Chapters00:00 - Introduction
01:43 - Hugues Vinet and IRCAM
02:38 - How IRCAM Has Changed
06:02 - Partners and Community
09:03 - Music Styles and Technology
10:56 - Working With Ableton
12:56 - Musical Developments
18:49 - Sound Design
23:05 - Defining Sounds
26:04 - Using Different Tools
28:07 - AI Development
Hugues Vinet BiogHugues Vinet is Director of Innovation and Research Means at IRCAM, a world-leading institution associated with the Centre Pompidou in Paris, which is dedicated to music production and research. He has managed all research, development and innovation activities at IRCAM since 1994. He co-founded and ran for several terms the STMS (Science and Technology of Music and Sound) joint lab with the French Ministry of Culture, CNRS and Sorbonne Université.
Hugues previously worked at the Groupe de Recherches Musicales of National Institute of Audiovisual in Paris, where he managed the research and designed the first versions of the award-winning real-time audio processing product, GRM Tools. He has coordinated many collaborative R&D projects, including recently H2020 VERTIGO in charge of the STARTS Residencies program managing 45 residencies of artists with technological research projects throughout Europe. Hugues is currently in charge of the artistic residencies program of the MediaFutures project. He also curates the Vertigo Forum art-science yearly symposium at Centre Pompidou, and participates in various experts bodies in the fields of audio, music, multimedia, information technology and innovation.
Main Ircam site - https://www.ircam.fr Ircam Lab Software - https://www.ircamlab.com Free Ircam Technologies - https://forum.ircam.fr/collections/detail/technologies-ircam-free
Music Credits:
Répons by Pierre Boulez
L'esprit des dunes by Tristan Murail
Côte des Bars - by sound designer Roque Rivas for Krug Champagne
Paul Tingen BiogPaul Tingen has been a contributor to Sound On Sound since 1990. In addition to his regular artist and producer interviews, he began writing the Inside Track: Secrets of the Mix Engineers series in January 2008.
He is also the author of a book, Miles Beyond: the Electric Explorations of Miles Davis, 1967-1991 (Billboard Books), a producer, and a guitarist with one album to his name.
Paul maintains two web sites: www.tingen.org and www.miles-beyond.com, and an Instagram page: @paultingenmusic
Chapters
00:00 - Introduction
01:01 - Working With Headphones
07:45 - Beds and Objects
12:26 - Storing The Data
15:39 - Practical Applications
20:15 - Musicians Using Atmos
23:42 - Musical recommendations
David Gould Biog
Director, Audio Content Solutions
In his role at Dolby, David is responsible for creating products and solutions that will enable and inspire the music and audio post production community to create content in the Dolby Atmos format.
Prior to joining Dolby in early 2012, David was a Senior Product Manager at Avid Technology, where he was responsible for Pro Tools software. David started his career in London as a recording engineer at Abbey Road Studios, specialising in orchestral film scoring; he joined Avid in 2005 where he held various positions in technical sales before moving into product management.
Dolby Atmos
Dolby Atmos goes beyond the capabilities of stereo and surround sound, unlocking a richer, fuller, and more immersive experience. Artists can now place individual elements of a song, revealing details with unparalleled clarity and depth.
https://professional.dolby.com/music/create-music-in-dolby-atmos/
Production Suite 90-day free Trial download: https://developer.dolby.com/forms/dolby-atmos-production-suite-trial/
Getting Started - Pro Tools: https://professionalsupport.dolby.com/s/article/Dolby-Atmos-Music-Getting-Started-with-Pro-Tool-Ultimate
Getting Started - Ableton: https://professionalsupport.dolby.com/s/article/Dolby-Atmos-Music-Getting-Started-with-Ableton-Live
Getting Started - Logic: https://professionalsupport.dolby.com/s/article/Dolby-Atmos-Music-Getting-Started-with-Logic-Pro
Tutorial video series: https://www.dolby.com/institute/tutorials/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
ChaptersTim Carroll
00:00 - Introduction
00:31 - From Musician To Manager
04:43 - Changes In The Market
07:20 - The Scarlett Range
10:20 - Removing Barriers To Creativity
11:29 - More Home Studios
15:03 - The Chip Shortage
18:10 - Why There's Not A Focusrite DAW
23:32 - The Family Of Brands
27:24 - Sustainability In The Audio Industry
Will Hoult
29:43 - Role At Focusrite
30:40 - The Intimidation Factor
32:58 - Driver Performance And Latency
36:56 - Simplicity And Product Longevity
39:47 - USB As The Dominant Protocol
43:09 - The Challenges Of Designing Mic Preamps
46:39 - Determining The Number Of Inputs
50:19 - Rackmount Vs Desktop
52:24 - The Benefits Of Upgrading Your Interface
Focusrite BiogFocusrite is an award-winning recording and production equipment brand established in 1985. The initial focus was on high quality recording and production equipment for industry professionals, but in 1989 they began to broaden the range of products to serve a wider customer base of professional, commercial and hobbyist musicians.
Novation Electronic Music Systems Limited was acquired in 2004 and extended the Focusrite range and customer base into the electronic dance music segment of the market. Since then Focusrite has continued to innovate, with the introduction of Launchpad in 2009 and the Scarlett USB Audio Interface range in 2010, one of the top selling product lines for home studio recording. In 2019, Focusrite acquired ADAM Audio and Martin Audio, adding professional studio monitoring and touring speaker systems to the range.
Optimal Audio was launched in 2021, an initiative from Martin Audio which aims to make the world of commercial audio installation less complex. Optimal Audio manufacture high-quality loudspeakers, amplifiers and controllers for commercial audio applications. Focusrite also acquired Sequential, the respected American synthesizer manufacturer led by legendary electronic instrument designer and Grammy winner Dave Smith. The acquisition brings the total number of Focusrite Group brands to eight.
https://focusrite.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters00:00 - Introduction
00:19 - David Blackmer
02:24 - The Prototypes
03:31 - Phase Response
06:14 - Live Vs Studio Sound
08:23 - Miniature Capsules
10:26 - Back-Electret Mics
12:13 - Benefit Of High Polarisation Voltage
12:36 - The Electronics
14:54 - Adapting The Tech For Different Uses
17:18 - Manufacture In The USA
19:22 - Innovation And Development
22:15 - The Ethos
23:37 - Aesthetics
24:47 - The Rest Of The Recording Chain
Earthworks Audio BiogEarthworks Audio was originally founded to design and manufacture audiophile loudspeakers by David Blackmer who had previously invented the DBX noise reduction system and was the founder of dbx.
David Blackmer’s goal when starting Earthworks was to make the best sounding speakers on the planet. When the journey began, he used measurement tools that were accepted to be the world standard. After the first few steps he realised that the measurements he was getting were not as good as he believed they could be. He analyzed these tools carefully and realised that new standards would be necessary if he were to even come close to achieving the results he knew were possible.
The first tool he designed to this new standard was an omnidirectional microphone. This led to the manufacture the OM1. David now thought that he could get back to designing his “dream” loudspeaker. His colleagues, however, persuaded him to design other microphones and preamplifiers. These products would soon set a new world standard for realism in the art of recording music. While the years passed and these new microphones and preamplifiers were being manufactured, David constantly worked on his goal of designing the best sounding loudspeaker for true audiophiles. He died in 2002 leaving the company in the hands of his family.
While they no longer make the loudspeakers, the principles that David first envisioned when the journey began can still be seen in their microphones. Precision engineered and hand assembled, Earthworks microphones represent the pinnacle of technology and art in microphone design. Each microphone is hand-tuned and tested to ensure the purest and most realistic capture of your sound, be it live on stage, recording in the studio or out in the field.
https://earthworksaudio.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters00:00 - Introduction
00:15 - Working With NASA
02:20 - The Mars 2020 Mission
05:20 - Preparing Equipment For Space Travel
07:53 - The Seven Minutes Of Terror
11:45 - The Surface Of Mars
17:08 - Atmospheric Pressure
19:33 - Building Robust Microphones
DPA Microphones BiogDPA Microphones draw on more than six decades of world-class microphone design experience, starting back in the 1950s, when their predecessor, Brüel & Kjær, developed the first, precisely accurate measurement microphones. In 1992, Ole Brøsted Sørensen & Morten Støve left Brüel & Kjær and developed their first product, the 4006 Omnidirectional Microphone.
DPA mics became popular across a number of sectors, including the theatre market, who needed a solution that, while still capturing clear sound, was flexible and easily concealable. DPA also collaborated with the Danish hearing aid manufacturer Muphone, who were looking to create better sound in smaller units. DPA minimised the capsule size into a miniature package that was so clear sounding and yet unobtrusive, it could support creative expression on the stage and work began on creating headset versions of the miniature mics. After years of shared success, DPA and Muphone merged in 2005.
Since 2015, DPA has intensified its focus on new product development and has increased its investment into research, creating concealable miniatures, flexible headsets and top-of-the line vocal microphones. CORE by DPA was introduced in 2017 in the miniature lavalier and headset capsules. This preamplifier technology minimises distortion and expands dynamic range.
Each microphone is assembled by hand at DPA's factory in Denmark. During the process, which can take up to 200 steps, each one is calibrated up to 15 times before final approval.
https://www.dpamicrophones.com/https://mars.nasa.gov/mars2020/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters00:00 - Introduction
00:19 - Robin Porter Background
02:50 - Working With Rupert Neve
06:19 - The 88R Console Design
09:04 - How The 88R Differed From Other Consoles
14:46 - Voltage Mixing vs Current Mixing
20:18 - Improving Dynamic Range
23:24 - Benefits Of Analogue Over Digital
25:01 - The Role Of The 88R In Immersive Mixing
28:00 - Other AMS Neve Products Using 88R Tech
32:00 - Expandable Products
33:00 - UK Manufacture
35:24 - The Next Generation Of Engineers
AMS Neve BiogEngineering led and dedicated to advancing the art and science of recording, AMS Neve is a privately owned, British manufacturer that focuses on providing the best possible audio tools for creative professionals, in both the analogue and digital domains.
Historically, AMS Neve is the fusion of two distinct companies – Neve, which was founded in 1961 by British electronics design engineer Rupert Neve, and AMS, which was founded in 1976 by electronics engineer Mark Crabtree. After undergoing various ownership and management changes, it became wholly owned by Double Oscar® winner Mark, who has run the combined company since 1992.
With a reputation for innovation, attention to detail and for creating the world’s finest sounding, longest-lasting analogue and digital consoles, AMS Neve stands at the pinnacle of professional audio design and engineering. Its products consistently top the desirability list among discerning artists, producers and facility owners and for more than 50 years it has driven significant technological advancements in the audio field.
https://www.ams-neve.com/
Robin Porter Biog
Robin Porter was 18 when he joined Neve in 1973 and, apart from a brief sabbatical to study engineering and acoustics at university, he has been with the company ever since. During his career he has held a number of different positions – from working in the Test department to engineering in the custom engineering department and eventually moving into Analogue R&D.
He has been instrumental in the design of many of Neve’s most iconic products including the 88 Series of consoles, the Genesys and Genesys Black consoles and the recently released 8424 summing mixer. The projects he is most proud of include designing the Aux module for Sir George Martin’s Air Monserrat console, on which he was also Test engineer, and the design of the 88R console and SP2 scoring system, which is used on 80% of all film music recorded today.
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters00:00 - Introduction
00:22 - History
08:42 - Field-Programmable Gate Array (FPGA)
11:29 - AFX Technology
13:14 - Creating Emulations Using FPGA
17:40 - Recruiting Programmers
18:43 - Synergy Core
20:30 - The Product Range
23:06 - Using FPGA in Your DAW
26:56 - Different Applications
31:29 - Ethernet Audio
33:41 - AFX2DAW
34:56 - Modelling A Vintage Processor
42:05 - The Most Difficult Item To Model
45:24 - Modelling Vintage Microphones
50:46 - Future Of Audio Interfaces
55:48 - Ending
Antelope Audio BiogAntelope Audio is an award-winning company founded by Igor Levin, that delivers high-resolution sound to acclaimed recording studios worldwide. The company’s rise to fame can be traced back to their innovative master clocks and multi-channel audio interfaces. With real hardware-modelled effects running on the advanced Synergy Core processing platform and the most renowned clocking technology in the audio industry, the company is pushing the limits of detailed digital audio and signal processing.
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).https://www.soundonsound.com
Chapters00:00 - Introduction
00:30 - Mark's studio
06:29 - Beginning work with the Beach Boys
08:09 - Making the early Beach Boys records
12:17 - Making stereo from mono
16:00 - Copyright releases
18:49 - The tapes we have, and those we don't...
22:44 - Good Vibrations - remixing without all the tapes
24:56 - AudioSourceRE
Mark Linett Biog
Grammy award winner Mark Linett began his career creating psychedelic lighting shows while in college and went on to run his own PA hire company, Nightshade and Dark. In the early 70s he spent a couple of years in L.A. working at a range of studios, including Artist Recording, Paramount and Mystic, before returning to New York, where he worked for Ed Chalpin. Mark's big break came when he was asked to fill in for the sound engineer on a Frank Zappa tour, which led to a further two years of work touring Frank Zappa, ELO, Earth Wind & Fire and Journey.
Returning to studio work in L.A., Mark was able to build some good connections at Amigo Studios, working with Paul Simon, Rickie Lee Jones, Michael McDonald and Eric Clapton. When Amigo closed, Mark went freelance, working out of his own home studio which he named Your Place Or Mine. While Mark has worked with artists such as the Red Hot Chili Peppers, his most well-known collaboration is with Brian Wilson of the Beach Boys. He has spent two decades remixing their back catalogue and working on previously unreleased material. The Smile Sessions won a Grammy Award for Best Historical Album.
Chapters00:00 - Introduction
00:18 - Why Studio Monitors
01:39 - Development Process
02:53 - Technology Choices
06:49 - The Use Of DSP
09:32 - Debut Product
11:24 - Using Simulations
12:32 - Three Way Monitor
13:31 - Design Challenges
14:41 - Designing The Box
16:06 - New Design Woofer and Amplifier
17:26 - Future Plans
19:31 - Sub Speaker Positioning
20:25 - Ending
https://www.kaliaudio.com/
Kali Audio BiogA new startup in 2018, Kali Audio was launched by Nate Baglyos (Director Of Marketing) and Charles Sprinkle (Head Of Acoustics), who had both previously held senior positions at JBL.
Based in California with each of their product ranges being named after a town or city in the region, Kali Audio brings together a wealth of engineering experience and a passion for creating high quality studio monitors at a lower price point.
The debut range, Lone Pine, was released in May 2018 and consists of the LP-6 and LP-8 powered monitors. Since then, Kali Audio have introduced their IN Series 3-way monitors, the WS-12 sub-woofer and the Mountain View bluetooth receiver module.
Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!http://www.cydoniacollective.co.uk/
Chapters00:00 - Introduction
00:27 - A Background in Chemistry
03:26 - Setting Up A Repair Service
04:55 - Specialising In Ribbon Microphones
07:58 - Dispelling Ribbon Microphone Myths
10:48 - The Extinct Audio BM9
11:52 - Launching The Business
14:34 - A General Purpose Microphone
15:57 - Stories Behind The Scenes
17:05 - Future Plans
19:21 - Ending
Stewart Tavener BiogStewart Tavener first became interested in audio equipment in his teens, recording with a four track tape recorder and a couple of borrowed microphones, which included an old Reslo PR and a Shure dynamic. It wasn’t long before he broke the Reslo but he held on to it with the aim of repairing it one day. As the internet grew in popularity in the mid 90s, a few groups dedicated to old audio equipment appeared and Stewart received good advice from a number of fellow enthusiasts, including Dave Royer and Mark ‘Marik’ of Samar audio.
On learning the basics, Stewart started to look for other microphones to fix. Up until the 1970s the UK had some excellent audio manufacturers including Reslo, Grampian, Film Industries, STC and Lustraphone, but these companies had not been able to compete with new products from AKG and Shure. With no spare parts available these old ribbon mics were available for little cost and Stewart purchased as many as he could. This hobby eventually became a full time job in 2007, when he set up Xaudia to repair microphones for other owners. Over the next few years, he repaired and upgraded ribbon mics every day and estimates having worked on 400 to 500 microphones each year for ten years.
In 2017, Adam Watson came on board and together they launched their own range of microphones under the Extinct Audio brand. These new microphones would be redesigned from scratch and manufactured locally. Most of the parts are made in the workshop in York, or by an engineering partner in Manchester, while the packaging is created by another UK company. All of the assembly for Extinct Audio microphones is carried out in-house.
https://www.extinctaudio.co.uk/http://xaudia.com/
Drew Stephenson BiogDrew Stephenson is a singer-songwriter, home recording enthusiast and occasional SOS contributor. He also looks after digital communications for one of the largest UK building societies, specialising in corporate podcasts, animations and video content.http://www.drewstephenson.com/
Chapters00:00 - Introduction
00:21 - Company History
02:57 - Focusing On The Pro Audio Market
04:15 - Technology As The Foundation
05:00 - In-House Design And Production
09:44 - Exploring Different Technologies
12:52 - Coaxial (MDC™) Drivers
14:22 - Directivity Control Waveguide (DCW™)
20:31 - Consistency Across The Range
22:36 - DSP And Calibration
26:34 - Aural ID And Immersive Audio
32:00 - Tech In Development
33:25 - Sustainability In Music Tech
38:25 - Equipment Built To Last
39:53 - The Right To Repair
42:05 - Ending
Genelec BiogFor over 40 years, Genelec active studio monitors and subwoofers have delivered truthful, neutral sound reproduction — enabling engineers and creatives to make accurate and reliable mix decisions, even in challenging rooms.
Founded in Finland by childhood friends Ilpo Martikainen and Topi Partanen, the company’s first monitor, the S30, instantly became the blueprint for Genelec’s future direction. Its active design delivered consistent performance, total reliability, and the ability to adapt to the acoustic environment it was operating in.
The following decades have seen a string of technically innovative Genelec releases, from the now-legendary 1031A nearfield model to the latest coaxial point source models from The Ones family. Genelec’s growing range of Smart Active Monitors work closely with GLM calibration software, allowing each monitor to be completely optimised for the room, producing mixes that translate consistently to the outside world.
Siamäk Naghian travelled from his native Iran to settle in Finland in the 1980s and continue his studies. After graduating, he went on to hold senior positions at telecommunications giant Nokia before joining Genelec in 2005 as R&D Director. Siamäk has been Genelec’s Managing Director since 2011.
Andy Bensley joined Genelec as Regional Business Development Manager in 2019. Based in the UK, Andy has huge experience in analysing and tuning the in-room performance of loudspeaker systems in a wide range of studios – from the smallest bedroom to the largest post production studio.
https://www.genelec.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).https://www.soundonsound.com
Chapters00:00 - Introduction
00:27 - 50 Years Of Eventide
01:04 - The Early Days
02:52 - Introducing Digital Technology To The Studio
04:20 - H910 Harmonizer
07:49 - The Birth Of The Effects Unit
09:23 - Eventide Everywhere!
10:58 - The Strangest Use For A Harmonizer
11:33 - Auto-Tune Before Auto-Tune
12:50 - SP2016 Array Processor
15:21 - Eventide's Weirdest Product
16:51 - Rare Items / The S1066 Effects Unit
18:52 - Adapting Algorithms22:35 - Physion / Structural Effects
24:21 - The Use Of Software In All Tech
26:12 - Audio Networking
27:30 - Ending
Eventide BiogEventide have spent the past 50 years creating technical solutions for various industries. Richard Factor initially founded the business in 1971 to create custom-made solutions for studio engineers. The first product was a tape search unit for the Ampex MM1000, built for New York Producer Steve Katz to assist his workflow in the studio. This led to Ampex themselves requesting units and a range of small electronic projects followed. One of those projects became the 1745 Digital Delay Line with the introduction of RAM and later, pitch change. In 1972 Tony Agnello joined the company and developed the H910 Harmonizer® which became a huge success and was followed by the H949 with ‘deglitch’ feature, allowing for cleaner pitch control. At this time they started to develop products for the broadcast market, including the Monstermat and the Mono Stereo Matrix unit. This led on to them developing HP compatible RAM boards, HPIB buffers and ethernet cards. In the 80s they returned to their original idea of developing a general purpose digital audio processor utilising DSP and the Eventide SP2016 was created. Following a move to larger premises, Eventide became involved in developing moving maps for aviation use. They also solved another problem for the broadcast and customer service industry by creating the Logging Recorder, a DVD-RAM storage media. Today their tech is used extensively within the broadcast, music, aviation and customer service industries.https://www.eventideaudio.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).https://www.soundonsound.com
Chapters
00:00 - Introduction
00:59 - How Did You Get Involved With The Spatial Audio Forum?
02:51 - Why 3D Can Work With Modern Tech
05:26 - How To Make Binaural Work For Everyone
07:47 - Immersion or Accurate Representation
08:17 - The Practicalities Of Recording in Surround
10:09 - Recording An Orchestra in 3D
13:56 - The Tools For Rendering 3D Sound
16:40 - Music Artists Using 3D
17:15 - The Audio Mix Can Change Depending On Where You're Positioned
19:09 - Abbey Road and Dolby Atmos
20:36 - How To Get Started Mixing For Spatial Audio
22:42 - Get Started Using Standard Recording Equipment
25:22 - The Spatial Audio Forum
26:19 - A Timescale For Spatial Audio Becoming Standard
27:17 - Ending
Mirek Stiles - Head of Audio Products, Abbey Road Studios
Mirek Stiles started working at Abbey Road Studios as a recording engineer in 1998, working on a diverse range of projects including The Lord of the Rings trilogy, The Beatles Anthology, Muse, Kanye West, Nick Cave and the Bad Seeds and Paul McCartney. Mirek also worked as a Digital Producer in the Abbey Road Interactive department on a range of Blu-ray titles including Roxy Music, Ringo Starr and Reservoir Dogs.
Today, Mirek runs the studio’s Audio Products department leading development of a range of software and hardware releases based on Abbey Road’s historic recording IP with partners Waves Audio and Chandler Limited. Mirek also sits on the board and acts as an advisor on the Abbey Road Red incubation programme and is currently exploring and experimenting with Spatial Audio over headphones, ambisonics, spatial microphone arrays and game engine workflow. Recent projects include collaborations with film and video game composer Stephen Barton (Jedi: Fallen Order), joint research with the University of York and University of Huddersfield and chairing the Abbey Road Spatial Audio Forum, bringing together members from gaming, broadcast, VR, music production and film.
Mirek’s expertise spans over 20 years within the studios, from analogue and vintage recording workflows through to the latest immersive medias including 6 Degrees of Freedom Virtual Reality and Dolby ATMOS capturing and rendering options.
https://www.abbeyroad.com/spatial-audio
https://unity.com/
https://www.unrealengine.com/en-US/
https://www.matthewball.vc/all/themetaverse
https://en.wikipedia.org/wiki/Six_degrees_of_freedom
https://www.universityxp.com/blog/2020/8/20/what-is-player-agency
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Chapters
00:00 - Introduction
01:34 - Industry Growth Areas
03:12 - Job Candidate Qualities
06:13 - Academic Training vs Practical Experience
09:59 - A General Interest in Sound
12:39 - The Usefulness of Music Production Courses
14:47 - The Three Routes Into The Industry
17:21 - Alternative Career Paths For Musicians
20:09 - Developing Networking Skills
21:31 - Ending
*This interview was recorded pre-covid and therefore the answers are reflective of this.
Richard Wear Biog
Richard is Managing Director and founder of global executive search firm Interfacio, who specialize in the media technology sector, based in London and founded in 2002. Richard held previous roles as Director and General Manager of English Professional Audio OEM and finished product business, Celestion, part of the Hong Kong based Gold Peak organization, and was global product lead for Fostex Corporation of Japan where he spearheaded the development and introduction of a number of ground breaking digital audio products for the location sound, broadcast and post-production markets.
Richard graduated from Warwick University, England in 1986 with a BSc Hons in Engineering Science. But as a musician with a strong interest in music recording and production he was drawn naturally into a career in sales and marketing in the professional audio business, initially selling high value and bleeding edge audio and production technology to recording and post-production studios, broadcasters and the location sound industry. During this time Richard worked closely in a product management role with engineering teams in Japan, the United States and United Kingdom and lead sales, marketing and distribution activities worldwide with a particular focus on North America, Europe and APAC.
Through his work building and managing the Interfacio business Richard is continuously engaged with a wide variety of industry leading brands, manufacturers and partner companies across the broadcast, music, lighting, professional and consumer audio sectors as they progress their strategic product development, marketing and global sales objectives.
https://interfacio.com/
Paul Mac BiogPaul Mac is a journalist, technical author, and marketing / content professional who started out in audio engineering and acoustics working in some of the most prestigious studios around the UK. He was the Editor of Audio Media magazine for 14 years and now writes and produces content across a wide range of entertainment and production technology subject areas.
Chapters
00:00 - Introduction
00:31 - Career Beginnings
07:24 - Going Freelance
11:15 - Personality
12:17 - Working In A Team
13:39 - Challenges Of Being Freelance
15:39 - Not Limiting Yourself
17:43 - Make Yourself Employable
20:46 - Ending
Dean James Barratt Biog
Dean James Barratt is a Grammy nominated mix engineer based in London, UK who has worked with numerous artists and on film and television soundtracks. He has credits on tracks by Jess Glynne, Nina Nesbitt, Craig David, Ray BLK, Shy FX (including Jorja Smith and Rag N Bone Man remixes) and Meridian Dan.
Dean has a strong love of reggae and dub breaks and has been a part of the club and bass music scene, mixing for the likes of Skream, Benga, MistaJam and Ministry of Sound.
Film & TV credits include work on Human Planet, Midnights Children, Blindsight and The Namesake.
He’s also recorded and mixed the soundtracks for the Games Enslaved and Heavenly Sword.
https://www.deanjamesbarratt.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
Chapters
00:00 - Introduction
00:18 - The Team Behind The Company
05:50 - The Business Structure
06:51 - Large Company, Boutique Approach
08:53 - Joining The Focusrite Family
10:24 - ART (Accelerated Ribbon Technology)
13:00 - Why ART Is Only Used For Tweeters
14:12 - Hearing More
16:14 - T, A and S Series Ranges
17:52 - Features Of Each Range
19:48 - The Benefits Of DSP
22:31 - Will Headphones Replace Monitors?
25:01 - Monitors For Home Studios
27:25 - The Advantage of Subwoofers
30:23 - Respecting The Competition
32:29 - Ending
ADAM Audio BiogADAM Audio GmbH is a market-leading manufacturer of professional monitoring loudspeaker solutions. Our customers include renowned recording studios and music producers all over the world. Our international team at the Berlin-based HQ and offices in the USA and China live their passion for music. We constantly drive ourselves to bring fresh ideas and new technologies to our high-quality products to meet the needs of and recording enthusiasts and professionals alike.
Since mid-2019, ADAM Audio has been part of Focusrite plc which houses five additional, highly respected pro audio brands: Focusrite, Focusrite Pro, Novation, Ampify, and Martin Audio. As a member of a rapidly growing global family, we seek opportunities and innovations to really make an impact and play a significant role in the way that music is created today – and tomorrow.
Sam Inglis Biog
Editor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
Chapters
00:00 - Introduction
00:43 - Education and Beginnings
02:35 - Developing The First Product, Storm
04:35 - Making Music Tech More Accessible
06:52 - The Challenges Of Selling Early Software Products
09:04 - Recreating Classic Synths in Software
11:43 - Important Moments in Arturia's History
14:11 - Making Soft Synths For iOS
16:48 - The Move Into Hardware Instruments
18:38 - Origin Modular System
20:33 - Developing The MiniBrute
23:08 - The Steiner-Parker Filter
25:05 - MatrixBrute and PolyBrute
27:37 - Breaking Into The Interface Market
31:14 - Creating Tactile Instruments
34:10 - The Future Of Arturia
35:52 - Utilising New Technology
36:57 - Developing For The End User
38:39 - Ending
Arturia Biog
Based in the French city of Grenoble, Arturia have built on their roots as pioneering developers of virtual instruments to become one of the world's leading manufacturers of analogue, digital and software synthesizers, controller keyboards and audio interfaces.
Launched in 1999 by college friends Frédéric Brun and Gilles Pommereuil, the company initially started out by developing software that could accurately emulate retro analogue synths. In 2003 they started to work with some of the major manufacturers, turning out softsynth versions of classic Moog, Roland, Yamaha and Sequential Circuits synths.
In 2012 they launched their first hardware range with the MiniBrute, later followed by the MicroBrute, MatrixBrute and PolyBrute.
20 years after launch, the company continues to grow and their product line now includes a wide range of softsynths, apps, controllers, audio interfaces and hardware synths.
Sam Inglis Biog
Editor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
Chapters
00:00 - Introduction
00:20 - Career Background
01:18 - Courses At Huddersfield Uni
02:20 - Working Across Departments
04:03 - Music Industry Connections
05:50 - Work Experience Placements
08:01 - Accreditation
08:44 - Developing People Skills
10:42 - Ending
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions (www.mynetaur.com) – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.Metal Music Manual (instructional book for producing contemporary metal music)
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
This podcast was originally recorded for SOS by Paul MacDonald.
Chapters
00:00 - Introduction
00:39 - Tracking vocals
02:49 - Favourite mics and preamps
05:43 - EQ and compression
07:30 - The artist headphone mix
08:50 - Recording in the control room
10:00 - Leaving the vocals until last
11:02 - Guiding and coaching the vocal performance
13:19 - Vocals recorded remotely
15:18 - Submitting vocal tracks for mixing
16:45 - Sending a comped version
17:24 - Full takes then working through sections
19:02 - Track mixing order
21:29 - Not using vocal presets
23:25 - Using analogue and digital
24:18 - Analogue EQ and compression
25:38 - Setting up compression
27:00 - Automating dynamics
30:35 - Drawing in the automation
31:36 - Processor plugin order
33:05 - Vocal tuning
35:21 - Choosing a reverb or delay
38:44 - Synchronising delays to song tempo
39:26 - Treating BVs as an instrument
41:15 - The Mix Consultancy
45:14 - Ending
Dom Morley Biog
Dom Morley is a Grammy Award-winning producer, mixer and engineer, who has worked with Amy Winehouse (Back To Black), Mark Ronson (Version, Record Collection), Richard Ashcroft (These People, Keys To The World), Nick Cave (Grinderman), Sting (Live at Durham Cathedral), The Police (pre-production for their world tour), Adele, Morrissey, JP Cooper, Estelle, Live8 (DVD), Rag'n'Bone Man, The Staves, Rumer, Keane, Birdy, Lemon Jelly, Jeff Beck, Sting, I Am Kloot, The Verve and Underworld amongst others.
Dom is involved in sound design, providing all the sounds for the 'Dirty Modular' Kontakt instrument (Samplephonics), Stranger Synths, Modular Synthwave and the Roland CR-78 Synth Explorer (Loopmasters).
He is also the founder of The Mix Consultancy (an online service offering feedback and advice on your mix) and tutors MA students in Music Production at Leeds College of Music.
https://www.dommorley.com/
https://www.themixconsultancy.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
Chapters
00:00 - Introduction
00:47 - Transition from drummer into recording
03:00 - Favourite mic Beyer M380
03:47 - Production
04:19 - Layering electronic drum sounds
05:00 - MIA remix
05:51 - McCall Sound Studios
07:18 - Phone call from Arctic Monkeys
08:38 - Outside toilets
09:09 - Clap master
10:15 - Any old console
10:54 - Mic pre-amps
13:24 - Default drum mic set up
16:11 - Never record in the hole!
18:03 - And compress at will
20:42 - Production & development tricks
21:10 - ‘Make em a reyt good coffee'
23:05 - Mixing quiet on 70s Auratones
25:31 - 'Drum-centric’ studio
26:22 - Ending
Ross Orton Biog
Ross Orton is a musician/songwriter/producer based in Sheffield, England.
From a background playing drums with Add N to (X), electro trio Fat Truckers and Jarvis Cocker, Orton's songwriting, production and mixing credits include Arctic Monkeys' 2013 album AM, the Mercury Music Prize-nominated Arular by M.I.A., The Fall, Toddla T, Roots Manuva, The Kills, Tinchy Stryder, Ladyhawke, Drenge and Working Men’s Club.
http://www.rossorton.com/
Nigel Humberstone BiogNigel Humberstone is a film music composer and founding member of In The Nursery, the Sheffield-based band who have released more than 30 albums since 1981 with their music featured in numerous film soundtracks and theatrical trailers.
Alongside a passion for sound design and binaural field recordings, Nigel has developed ITN's Optical Music Series, a continuing series of new scores for classic silent films.
Nigel is also co-founder and Music Director of Sensoria Music & Film Festival.http://www.sensoria.org.uk/
Chapters
00:00 - Introduction
00:25 - Hugh Meets Sean Remotely
00:51 - Where Cranborne Audio Began, and the Founding Members
02:34 - Musicians at Work
03:46 - From Soundcraft to Cranborne Audio
06:03 - Funding the New Business
07:39 - First Preamplifier Product
09:06 - Finding the Mojo
11:03 - Expanded Rackmount EC2 Version
13:38 - The Appeal of 500-Series Racks
16:03 - Manufacturing Challenges and Decisions
21:00 - Protecting Intellectual Property
22:53 - What Comes Next - Products and Company?
25:03 - One Magic Wish?
25:45 - Ending
25:55 - Further Information and Payoff
https://www.cranborne-audio.com/
Sean Karpowicz Biog
Sean Karpowicz is Founder and Managing Director of Cranborne Audio - an innovative emerging British-based professional audio manufacturer. Sean has developed several award-winning audio products in his career working for several professional audio companies - the most notable being legendary British mixing console manufacturer Soundcraft where Sean met fellow Cranborne Audio founding members Edward Holmes, Elliott Thomas, and Andrew Pat.
Sean, Ed, Elliott, and Andy founded Cranborne Audio as an antidote to various trends they observed in the Professional Audio industry that they felt negatively affected product quality and innovation. Vowing to do things the "right way" and never allowing "good enough" to be good enough - Cranborne Audio released their first product in October 2018 - their Camden 500 preamp and saturation module - to critical acclaim. Cranborne Audio has since released a handful more products - all very innovative and unique with high-performance analogue and digital designs, whilst offering outstanding value and quality including their latest product - Camden EC2.
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Chapters
00:00 - Introduction
00:19 - Degree Importance
02:52 - Hands On Training
03:15 - Practise Working With Bands
04:11 - Working With Modern Tech
06:39 - Using The Resources Available
08:39 - Encouraging A Good Performance
10:36 - Performance In Electronic Music
11:48 - Working For Free
13:55 - Self-Releasing Artists Budgeting
15:02 - Intellectual Share Of Rights
17:33 - Helpful Music Organisations
18:49 - Sound Design Opportunities
19:42 - Working With A Varied Skillset
21:57 - Ending
Steve Levine Biog
Starting as a trainee tape-op at CBS Studios in 1975, Steve progressed to in-house engineer and worked with many now classic new wave and punk acts The Clash, The Jags, The Vibrators, XTC as well as many of CBS Records' pop acts, including Sailor. Beach Boy Bruce Johnson was to play an important part in Steve's early career, culminating with Steve producing an album for the Beach Boys several years later. Steve produced all of Culture Club’s classic hits and the bands’ three multi-platinum albums.
Since then Steve has worked with a wide spectrum of artistes and composed a number of film scores. Artist collaborations include Honeyz, China Crisis, Gary Moore, Ziggy Marley, Louise, The Creatures, Lemmy & Motorhead, David Grant, Westworld, Mis-teeq, 911. He also produced and composed the score for the action video game Hyperbrawl.
In his career, Steve has collected a number of prestigious awards including BPI Producer of the Year, Musicweek Top Singles Producer and a Grammy for his work with Deniece Williams. Plus a Sony Radio Award.
Steve has also appeared on many radio and TV programs, and is a regular guest on BBC’s 6 Music. His radio production company Magnum Opus Broadcasting produces several shows for the BBC; in particular The Record Producers, a radio documentary series for BBC Radio 2 and BBC 6 Music for which Steve received a Sony Radio Award for the 'Best Specialist Contributor'. This acclaimed documentary series focuses on the art of record production from the producer's perspective.
Along with his radio and TV work, Steve is currently busy producing exciting new bands for his new label Hubris Records.
Steve is a Director of PRS For Music, a member of the MU, PPL and The Music Producer’s Guild, as well as a LIPA Companion (Liverpool Institute for Performing Arts).
http://www.stevelevine.co.uk
Felipe Gutierrez Biog
Felipe is a BA Music Technology and Popular Music 2018 graduate from Huddersfield University.
He carried out his course with a strong focus on music production and music for the moving image. During his placement year, Felipe worked at Warner Music as a marketing intern, but ever since graduating he has been working as a freelance sound engineer and composer.
Some of the highlights of his career so far include working on Ben Frost’s score of the second and third seasons of Netflix’s hit series Dark, over at Soundgas Studios alongside Tony Miln and Ben Hirst; working with Yusuf Islam Foundation (founded by Yusuf / Cat Stevens) on a variety of projects.
He has also worked as an assistant engineer for Kit Downes, as a recording and live sound engineer for the RIOT Ensemble, and has worked for American bassist and label-owner, Michael Janisch from Whirlwind Recordings. In addition to this, he is a writer and composer for The Nerve , a music library based in the UK.
Currently Felipe lives in London and has started to get more involved in the studio circuit, working as a runner at RAK Studios.
https://soundmusicuk.com/
Chapters
00:00 - Introduction
00:39 - Austrian Audio heritage
02:12 - Audio Engineer beginnings
02:55 - Manufacturing the CK-12 capsule
06:24 - Materials used in new capsule
07:16 - OC18 OC818 without valves
08:32 - Head basket shape
09:55 - Digital control of OC818
12:32 - Polar pattern designer
15:02 - Future digital advances
16:12 - Products in development
17:54 - Hi-X headphones
20:34 - Closed vs Open back
22:18 - Digital processing in headphones
23:46 - Currently manufacturing
25:05 - Research and testing services
27:07 - Austrian Audio USP
28:57 - Ending
Austrian Audio
https://austrian.audio/
Martin Seidl Biog
Meet Martin Seidl, CEO of Austrian Audio, the microphone and headphone company that emerged like a Phoenix from the ashes of AKG and has been on a steep trajectory with technologically superior microphones and headphones ever since.
Martin is the former VP of AKG Acoustics, Microphones and Headphones and Director for JBL’s European loudspeaker business. He’s been in the pro audio industry for all his professional life, and Austrian Audio is his latest brainchild. Following the closure of the AKG offices in Vienna, he set out to create something new, challenging, and respectful to the AKG heritage. In 2017, he asked his former AKG team of engineers to join him to produce products embodying the sound and engineering excellence. Austrian Audio started with a core team of 22 former AKG personnel from management, acoustics, electronics, test and measurement, mechanical design, RF/wireless, and software and firmware.
Backed by over 350 years of cumulative engineering experience, Martin now leads his team in building high-quality and innovative microphones and headphones. Currently, the flagship mic is the OC818, a large-diaphragm, multi-pattern condenser microphone with a unique dual-diaphragm ceramic capsule. At NAMM 2020, the company launched a line of professional headphones, the Hi-X55 and the Hi-X50.
Sam Inglis Biog
Editor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
Chapters
00:00 - Intro
00:19 - History of AMS and Neve
01:21 - Analogue and Digital Approaches
01:58 - The Beginnings of Sampling
03:38 - Mellotron and Dubbing
05:04 - Classic Tech Vs Digital
06:59 - Tape and Pitch Change
08:04 - The Ear Test
08:59 - Developing New Products
11:06 - AMS Neve Genesys Inspiration
11:55 - Analogue Digital Hybrids
13:25 - Benefits of Consoles
15:13 - Universal Audio Plugins
16:04 - 500 Series
16:56 - Neve 1073 Copycats
18:45 - The DFC
19:58 - Film Tech
20:53 - Dante
21:42 - Training
23:04 - UK Manufacture and Education
24:42 - Next Generation of Engineers
25:15 - Ending
AMS Neve Website
https://www.ams-neve.com/
See SOS website for photos https://www.soundonsound.com/music-business/ams-neve-mark-crabtree-podcast
Mark Crabtree Biog
APRS Fellow Mark Crabtree is the owner and Managing Director of AMS Neve and the creator of many classic digital and analogue audio products.
After graduating from Cambridge with an Engineering degree and from Manchester with a Masters’ Degree in Digital Electronics, Mark worked as Engineering Manager at Lucas Aerospace. However, in his spare time he was combining his love of music (he plays piano, guitar and violin) with his electronics knowledge to invent digital sound-enhancing devices. This resulted in the formation of AMS Neve in 1975, a company that sold its first product to Sir Paul McCartney and is still designing and making innovative audio products in Mark’s hometown of Burnley, Lancashire.
Awarded an OBE in 2014 for Services to Advanced Manufacturing and Creative Industries, Mark is also the recipient of two Scientific and Technical Oscars®, an Emmy™ and a Grammy™, while AMS Neve has three Queen’s Awards for Export to its credit.
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
You’ll hear interviews, features, discussion, opinion and occasional demos of the gear we’re reviewing from many of the SOS magazine staff and our expert Freelance team.
The People & Music Industry channel will feature the great and good in engineering, production and manufacturing.
You should also hop over to our other channels and subscribe there for even more shows.
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The Electronic Music channel is for everyone interested in synths, samplers and the world of electronic music.
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