V17.1|January/February 2018|5.50

REPORT/ Net neutrality: youre go

nna pay

/ Disney-Fox: what next for Sky News?

/ Audio preservation: so long to a silent past

REVIEWS/ Ambeo VR: Sennheiser g

ets real

/ Aurora(n): Lynx lights it up

/ Hi-Res C-100 gets high praise for Sony

REVEALED/ Shivoham The Quest:

4 continents, 9 studios, 200 players

/ Abbey Road: Mixing Hollywood blockbusters

NEWLOOK

The

Interview

Thomas Dolby

Resolution V17.1 Jan-Feb 2018.indd 1

15/01/2018 14:33

renewed refreshed

MEDIA PACK|2018

Best pro-audio mag in the fieldEC, Netherlands

MEDIA PACK|2018HELLO

In 2018, Resolution will be reinvigorated with new opportunities for editorial and marketing, in print and online

Key strengths of Resolution

For over 15 years, Resolution has been the discerning pro-audio practitioners magazine of choice because it is unique. No other magazine reads like Resolution, or looks like Resolution. The editorial team has consistently created the agenda editorially and set the bar for quality.

Resolution, printed eight times a year, is trusted, read from cover-to-cover, and retains its shelf-life for months after publication.

In mid-2017, a new publisher acquired Resolution, seeing it as a fantastic opportunity to build on the titles legacy: to improve and update it, both in print and with its associated digital offerings, while respecting the incredible heritage and loyal following that had gone before.

Hence, 2018 will see a refreshed and renewed Resolution launched into the high-end pro-audio marketplace. The logo is the same but a little different and we have a clearer and sharper presentation style while offering the same level of technical expertise and insight, cutting-edge features and reports, and dynamic articles which will

entertain and inform. Well be extending to the coverage of trends and business issues directly affecting industry professionals. Plus, there will be a few new voices added to the trusted editorial message you enjoy and respect.

In addition, we shall be rejuvenating the look and feel of the newsletter (sent to our database of 20,000 Resolution readers TWICE A MONTH from January) and offering other digital opportunities alongside the print presence.

AND in April, for the first time, we shall be introducing an entirely digital NINTH issue which will be sent to the entire database, covering events and launches from NAB and Prolight + Sound. Ahead of this there will be a pro-audio@frankfurt in the March issue. Well be revealing more about all this early in 2018!

Resolution has enjoyed a superb reputation in more than 80 countries for many years. Now 2018 offers a tremendous opportunity for advertisers to capitalise on its reinvigorated presence. Come with us.

HELLO

Hello there! You might know me from Pro Sound News Europe/PSNEurope, where I served as editor for some yes! 16 years. Im investing heavily in the future of this title, both in print and online. Cleaner layout, smarter design, greater impact: an update and an upgrade, if you will. AND a huge opportunity to forge new partnerships. The new Resolution is soon to be the ONLY reference for the high-end pro-audio practitioner for 2018 and beyond. And if you think otherwise, Id like to read about it Dave Robinson, publisher/ownerdave@resolutionmag.com

Resolution Awards & Creative Awards 2017 The prestigious Resolution Awards recognise quality and innovation in professional audio equipment. Products are nominated in categories by a panel of experts across disciplines and are voted for exclusively by the readership of Resolution magazine.

The Resolution Creative Awards recognise the achievements of individuals in music recording, broadcast and post. Nominations are, again, drawn up by a panel of experts across disciplines and are voted for exclusively by the readership of Resolution magazine.

Nominees and winners always receive strong editorial support. Nominations are announced in the JUNE issue and the winners announced in OCTOBER. Winners achieve the accolade of inclusion in the Resolution Awards Winners Supplement in the October issue.

Editorial with muscleWriting that is read, rated and retained by the readership. We cover the broadcast, post, music, recording and multimedia production sectors, providing analysis, technology profiles, interviews, reviews, news and opinion.

International distribution Distributed to 80 countries!

Targeting the professionals who need to know Reaching the markets of Europe, the Middle East, South America and the USA. Bolstering the education readership and encouraging new talent.

Broadcast audio? Look no further The definitive route to broadcast sound practitioners. In September, only Resolution is dedicated to putting audio in focus at the biggest broadcast convention with:

The NINTH issue!All digital. To the entire Resolution community in April. Coverage of the pro-audio and important MI happenings in Frankfurt for the first time!

For the pros, by the pros

AWARDS

MEDIA PACK|2018THE TEAM

Editorial you can trust

Nigel Jopson, Resolution editor, heads up a team of highly-regarded writers and commentators, consistently creating an outstanding editorial mix every issue. Resolution writers have amassed a unique perspective and depth of product experience over the years in the recording studio, in broadcast, in post-production so we can always pair the right reviewer with the most appropriate piece of kit.

Resolution is targeted at people who buy and use your equipment for a living. It satisfies the information requirement of modern practitioners with a uniquely focused package of content. News and

analysis cover industry sales, contracts and appointments with a few surprises planned for 2018(!). The products section serves up a slice of current equipment releases and updates.

Sections you can expect to see in the 2017 redesign:Craft Craft articles concern themselves with the how to aspect of what readers do for a living. Our approach is unrivalled among the pro-audio press. Reviews The Resolution reviewers have amassed a wealth of experience that is unmatched anywhere in the industry. Business Resolution will run, and extend, its regular business articles that highlight trends and emphasise the need

to take care of business if you want to stay in business. Technology Resolution is ahead of the pack in its approach to new and existing technologies: we explain them, demystify them and place them in the context of developments that are shaping the business. Broadcast We remain a definitive route to broadcast sound practitioners!

We continue to support audio at the IBC exhibition with our Audio@IBC concept, which appears as a printed supplement in the September issue of Resolution as well as being distributed digitally to our newsletter database and via our website.

Mike AitonMike Aiton was weaned at the BBC over 30 years ago. He is mainly found in his Twickenham dubbing suite,

Mikerophonics, thrashing gear to within an inch of its life. In his spare time he takes therapy for his poor jazz guitar playing and his addiction to skiing and Nikon lenses.

Dennis BaxterA multi Emmy Award-winner, Dennis has worked in the broadcast industry for over 30 years as a sound designer

and sound mixer. He has engineered the sound for the Commonwealth Games, World Cup, NASCAR, and hundreds of other sporting events around the world including the Atlanta, Sydney, Salt Lake, Athens, Beijing, Vancouver and London Games.

John BroomhallJohn has worked in a variety of roles (composer, sound designer, producer, music supervisor and head of

audio) on dozens of videogames including F1 GP, Guitar Hero, American Idol, and Forza Motorsport.

Simon ClarkSimon Clark is a freelance location drama recordist and head of location sound recording at the National

Film & TV School in the UK.

Russell CottierRussell is a record producer and mixer as well as a pro-audio journalist. Hes

worked with chart-topping and award-winning acts including the Royal Philharmonic Orchestra and Sly & Robbie. Russell is primarily based at Parr Street Studios, Liverpool, UK but works at many other facilities.

Dan DaleyDan hit song composer and a former pedal-steel punk, recording studio owner and engineer lives

in New York City and Nashville, rendering him culturally enriched but politically conflicted.

Gijs FriesenGijs is a sound engineer & sound designer with an (online) audio post production studio. He works

as a broadcast music engineer for all major Dutch radio stations, and has mixed for artists like Jason Mraz, Jess Glynne and Joss Stone.

Kevin HiltonKevin trained as a radio journalist and worked in reporting, technical operations, production and

presentation before becoming a magazine writer. He writes extensively about broadcasting and audio production for a variety of publications, while also covering cinema and video technology.

David Kennedy Ten years ago, David became a freelance dubbing mixer and has mainly worked on broadcast docos

ever since. His greatest achievement has to be making many hundreds of hours of factual entertainment intelligible for the viewing public.

Jon ThorntonJon is an engineer, educator and writer. He has been Head of Sound Technology at The Liverpool Institute for

Performing Arts since its inception in 1996, helping to deliver the next generations of audio professionals. He has written for Resolution since v1.1.

Ed ListerEd is a highly-seasoned freelance broadcast camera operator working with the likes of ITV/BBC,

while also producing high-end content for the web.

George ShillingGeorge is a producer, engineer and musician with a CV including Yazz (The Only Way Is Up), The Soup

Dragons (Im Free), Steve Winwood, Mike Oldfield, James Brown, Frank Turner and Tony Iommi (Black Sabbath).

Phil WardPhil Ward has been editor of both Pro Sound News (PSN) Europe and Music Trade News, and is now

a freelance writer for Lighting & Sound International, AV Magazine, Installation, Pro Audio Asia and Pro Audio Middle East.

Tim OliverTims been a freelance engineer/producer for over 35 years, starting his career in the heady days of

Manchester in the 1980s working with the Stone Roses, Happy Mondays and New Order. Hes had a base at Real World for ten years and for the last three has been involved in the management of the commercial studios.

Erica BasnickiErica stumbled into the world of writing for the pro audio industry after completing her audio

engineering education, and hasnt looked back. She writes extensively about live and studio sound, and has a keen interest in emerging audio applications such as AR/VR and spatial audio.

Nigel Jopson, editorAs a record producer and recording engineer, Nigel worked with artists including Bryan Adams, Bauhaus, Jack Bruce, Paul Carrack, Joe Cocker, Julian Cope, The Cult, Marianne Faithfull, The Go-Betweens, Cyndi Lauper, John Mayall, Joni Mitchell, Van Morrison, The Scorpions and Roger Waters he took up the pen for Resolution magazine in 2002.

/ Review

12/October/November 2017

AEA Nuvo N8 Stereo PairCompact microphones, b

ig ribbons, big sound: Jon Thornton assembles

some classic stereo using the AEA SMS bar and m

ic coupler

AEAs Nuvo range compris

es

two models, both designed

with the intention to bring its

trademark Big Ribbon

Sound to a broader market. Price is a

key factor here of course although

the Nuvo range arent the cheapest of

AEAs offerings, they are certainly the

cheapest active designs in the portfolio.

And compared with rest of the range,

theres a much less retro, and altogether

more compact feel about the industrial

design. The N22 was the first in the

range, and was aimed squarely at home

studios and self-recording artists. Active

circuitry meant that it played nicely with

a wide range of pre-amplifiers, and it

was optimised for close micing of voice

and instruments. This effectively meant

a taming of the typically large proximity

bump, and enhanced protection for the

ribbon element from wind blasts and

the like. The N8 model reviewed

here is a

significantly different beast, and that

difference is more than skin deep. The

most visually obvious difference is the

finish colour a more discreet and TV

friendly black rather than the nickel of

the N22. But the overall form factor is

the same a tall, compact(ish) tubular

design measuring 324mm high and

41mm in diameter at its widest point.

The 1.8 micron ribbon is clearly visible

glinting through a fine nylon mesh

wrapped tightly around a supporting

framework of stacked metal discs. The

ribbon itself is identical in size and

tuning to the ribbon employed in the

companys behemoth R44 but AEA

state that the overall design philosophy

in terms of motor design and

construction is more akin to the AEAs

(passive) R88 stereo microphone.

Thats to say that its really optimised

for far field applications, with the return

of that proximity bump to help maintain

weight to sounds at distance, and not as

much wind protection, leaving the

ribbon as open as possible. Without

access to a R88 to do a direct

comparison, a glance at the published

frequency response specs shows some

differences between the two. The R88s

response really starts falling gently away

from 200Hz onwards, whilst the N8

stays reasonably flat between 500Hz

and 5kHz starting to fall off from that

AEAs Nuvo range

comprises two

models, both designed

/ AEAs Nuvo range comprises two models,

both designed

point but flattening out a little between

about 15kHz and 18kHz. Whether thats

down to the ribbon tuning, or perhaps

to some interplay with the active side of

things. Speaking of which, the J-FET

based amplifier, mated to a custom

German transformer adds up to a

reasonable, if not spectacular sensitivity

of 8.3mV/Pa so preamp choice is less

critical than with the passive R88. But as

I still had access to AEAs own RPQ2, I

chose to use that for the review.

Wordcount = 890 words

Initial impressions with speech are of a

very thick sound at working distances of

about 6 inches way. Get even closer and

the proximity effect is almost

overwhelming, although with a little

filtering would still work nicely in a close

micd application on some

instrumentation. Backing off the mic,

and things start to balance out nicely

from about two feet away. Whats

appealing is the way in which it still

preserves enough HF and transient

detail at this (and further) distance to

not sound at all roomy. A Royer R122

by comparison gives far more emphasis

to the voices mid-range, and sounds

more balanced close up. At a distance,

though, it lacks a little of the immediacy

of the N8s sound.

Comparing a single N8 against the

same R122 on an acoustic guitar, and

the N8 carries a little too much weight

and exaggerated boom to be useful

close up without the addition of a of a

high pass (and the variable HPF on the

RPQ is very useful) the Royer sounds

a lot more balanced here. Giving both

microphones a little more room,

stepped back about 80cm with a pair of

baffles set in the rear pickup, and things

are a little closer to call. Both

microphones sound nicely balanced at

the low end here, and the Royer seems

to emphasise mid frequency harmonics

a little more than the N8. But the Nuvo

sounds that little bit more open and

distinct at the high end most

noticeable on delicately picked playing.

The N8 is also available as a stereo

kit, and this is what was supplied for the

review. In addition to a matched pair of

microphones, you also get a pair

ShockProof clips, a pair of foam

windscreens, a stereo bar and a

collection of associated hardware,

packaged up in a nice IP67 rated hard

case. The supplied clips are an unusual

design with a heavy rubber loop

providing isolation between the clip and

the mount. They are very compact, hold

the microphone firmly, and do a fair job

in supressing handling noise but they

dont look quite as secure as they

actually are! At this point, I have to say

that I dont think Ive ever felt the need

to consult an instruction manual for a

stereo bar before being confronted with

this one but after a few minutes of

head scratching I was just praying that

such a thing existed (and it does,

thankfully). Once you understand what

the various pieces of hardware are for,

its quite straightforward the

complexity lies in the various

permutations it allows. Essentially an

open, U-shaped metal bar (with

supplied foam insert to minimise

resonance), you can attach what are

PROS Natural sound with great reach and

detail in the mid and far field;

flexible (if complex) stereo

mounting hardware; not too fussy

about mic.

CONS Close micing will require an

external HPF. in most cases;

doesnt give quite the same

mid-range grunt close up as some

ribbon alternatives.

CONTACT: AEA, US

www.ribbonmics.com

VERDICT

Review_v10.indd 12

04/12/2017 22:35

Easier to read and clearer design

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PRINT: Reaching 8,600 readers in Europe and beyond Readers who specify and buy equipment A circulation that responds to new markets Quality readership on a worldwide level More readers in education Distributed in 80 countries A truly international take on pro-audio

AND IN 2018 we plan to roll out a digital edition of the magazine to every paying subscriber to the print edition!

Classified Showcase adverts (Minimum of 3 consecutive issues, prepayment on a minimum of 3).

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490mm wide x 140mm high 245mm wide x297mm high

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Junior Page 2151 1913 1827

1/2 Page Horizontal/Vertical 1547 1424 1303

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THIRD HORIZONTAL

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PRINTBYCOUNTRY

UK & Ireland : 45.5

UK&Ireland:45.5%

Europe : 40

Europe:40%

NorthAmerica : 7

NorthAmerica:7%Rest of the World : 7.5

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UK & Ireland Europe North America Rest of the World

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PRINTBYCOUNTRY

UK & Ireland : 45.5

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UK & Ireland Europe North America Rest of the World

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April 2018

MEDIA PACK|2018AUDIENCE/DIGITAL

DIGITAL: A database of 15,600 names!Online Resolution offers a variety of online opportunities alongside the coreprinted magazine to provide a complete marketing package across media and disciplines.

Resolution newsletter double the info!Distributed to our core database of 15,600 professional audio practitioners worldwide, our newsletter (open rate 27%) goes twice-monthly in 2018 and distils new developments and new product releases into an easy-to-read and accessible package, along with content EXCLUSIVE in an online format and access to Resolutions rich archive of interviews with celebrated professionals. Sponsorship opportunities for the newsletter are a new addition to our options in 2018.

Website In 2016 we launched our new look website which is central to all our online activities, allowing readers to search out content, manage their subscriptions and interact with the team!

Product reviews archive This has to be one of the largest online back catalogues of product reviews in the professional industry. All the reviews are arranged in categories, all in one place, right from when the magazine first launched in May 2002.

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Standard digital ad formats

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ONLINE BY CATEGORY*

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* Email list breakdown of more than 15,607 names. April 2018.

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A D B C E

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www.resolutionmag.comResolution Magazine, Manor Works, 6A Longhurst Road, London, SE13 5LP, UK

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SHOWS: NAMM 25-28 January

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DISCLAIMER: All supplements and specials are subject to change without notice.

Still the most informative magazine in the businessMvW, Netherlands

/ Review

18/October/November 2017

Diego Calvett iChart hits from Tuscany: Ru

ssell Cottier fi nds Platinum

Studio has the X factor - slightly longer for two line

s

X(dont use drop cap *I*s)

In some

studios function follows form, but in

others form and design follow

function. Nestled into the idyllic

landscape of Tuscany, in the medieval town of

San Gimignano, Platinum Studio is a

technological oasis housed in an early 19th

century villa. Every inch of the studio is

designed and built to fi t the specifi c workfl ow

requirements of owner, producer and

composer Diego Calvetti. Producer, composer,

lyricist and conductor Calvetti started the

studio in 1997 having graduated from the

Conservatorio di Firenze in 1995. Calvetti has a

wide variety of credits other than just

production, he has conducted at the Sanremo

Music Festival and even been a vocal coach on

the XFactor in Italy. Calvettis studio started as

little more than a space in his villa with

equipment for recording. In 1998 Calvetti

started collaborating with guitarist, arranger

and engineer Lapo Consortini, and they have

bagged scores of Italian pop hits since.

Word count for 3 pages = 1745

The studio functioned for over a decade, very

successfully, but when Acoustic designer

Donato Masci from Studio Sound Services was

asked to acoustically treat the space Calvetti

and renowned studio designer Donato at

Platinum Studio for an indepth tour.

Diego, how did you get into production?

I grew up in a very musical environment! I

breathed Italian pop music since I was in my

mothers womb. My parents were members of

a pop band in the 70s, my father was the

drummer and my mother the (beautiful) singer.

I studied music from the age of 6, playing piano

and later synths. I started producing and

writing dance music at the age of 18, then in

1999 I made my fi rst single as both writer and

producer. It was an Italian summer hit called

Sandra by 360 Gradi, it all began from there.

Ive been writing for Warner Chapell for 20

years now, but I also work with all the other

major Italian record companies.

Lapo how does your role connect to what

Diego is doing? Im a guitar player and au

thor, I started work

with Diego in 1999 on Sandra, I played the

guitar parts on that song. I work with Diego

throughout all the life of a production, almost

fourhanded, like playing a piano duet. Diego

always had the clear idea of the point that we

should reach and now we have established a

perfect understanding so that Diego can start a

project and I continue and vice versa. He gives

me the focal point of the project, and I go.

Moreover my knowledge in computer science

and electronics (I have a degree in Computer

Science Engineering) helped me to have an

important role in all the technology of the

studio.

How does Italian pop di er form other

genres?Diego I think that Italian

pop music involves

two aspects, the tradition of Italian melody and

the infl uence of Englishlanguage music. In Italy

we listen to a lot of international music and of

/ AEAs Nuvo range comprises two models, both

designed

/ AEAs Nuvo range comprises two models, both

designed

and Consortini had a revelation. Whist the fi rst

installation was benefi cial all three were keen to

take it to the next level, so thats exactly what

they did. Platinum Studio is one of those

studios where nobody wears shoes, the full

length windows invite in the garden and theres

even a pool. The aim seems to be to make the

technical side of making records as easy and

smooth as possible. Resolution was fortunate

enough to catch up with these Italian pop gurus

Craft

Dan

Per

rone

Craft_v09.indd 18

04/12/2017 22:37

Smarter layout