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Location recording pilgrimage for Qivittoq

Milan-based renowned pianist, composer and sound recordist, Andrea Manzoni is part of a movement aiming to redefine the musical landscape with an approach that blurs the boundaries of traditional music styles. He recently made a transformative journey into Icelandic wilderness for the sound design of Qivittoq, a theatrical production set in the North Pole of a world rapidly depleting its resources.

Working from a draft script from the director, Manzoni secured a 30-day residency in the remote town of Isafjordur in the Westfjords, in order to make 12 excursions to locations devoid of human presence. Here, he was to capture raw environmental sounds with shotgun mics.

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The Nature of Spatialisation

Early March saw sound designer Simon Honywill using TiMax SoundHub and TiMax TrackerD4 performer stagetracking to bring spatial treatment to the Paraorchestra performance of The Nature of Why.

Composed by Will Gregory and choreographed by Caroline Bowditch under the artistic direction of conductor Charles Hazelwood, the production is an interpretation of the interview with physicist Richard Feynman asks in empirical terms why certain physical properties occur. Performed within the confines of a 14m circular space on the Lyric Stage at Theatre Royal Plymouth, with 100-120 audience members mingling amongst the players and dancers for each performance this is the first occasion that it has called on TiMax spatialisation.

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Theatro Marrakech upgrades with L-Acoustics

In 2003, Theatro Marrakech was the first music hall to open in Africa. Today, it ranks among Morocco’s best nightclubs and reckons to offer one of the most exceptional nightlife experiences in the world in the setting of its mainly original décor – a mix of dramatic theatrical and dynamic Moroccan themes.

The 2,000-capacity venue recently installed a L-Acoustics K2 sound system to attract leading international artists inspired by a visit to Omnia Las Vegas. The Theatro management worked with Paris-based nightclub consultant Timothée Renard of the Fox Agency and L-Acoustics Certified Provider Integrator Potar Hurlant for the upgrade.

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Britannia Row sheds new light on Cirque’s Alegría

Widely regarded as Cirque du Soleil’s most iconic touring production, Alegría iwas recently staged at London’s Royal Albert Hall as Alegria: In a New Light, before moving on to the Big Top at the L’Hospitalet de Llobregat in Barcelona. For this latest tour, its music has been re-arranged and modernised, and with different instrumentation.

Alegria is also Cirque du Soleil’s most streamed and purchased album of all time – a tribute that is down to Cirque du Soleil Head of Sound, Francois Lanteigne.

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Number Nine counts on Prism Sound’s Dream

Musician and producer Sebastian Omerson, the man behind Number Nine Studios, had added a Prism Sound Dream ADA-128 modular conversion system to his commercial recording facility in Belgium, following a series AB tests he conducted with support from Joystick Audio. ‘

The team at Joystick Audio were great – they let me take my time and compare products so that I could find what was best for us,’ he says. ‘The Dream ADA-128 came out on top, not least because the audio quality is so good. The sound is very focused, and even when I have noisy guitar bands in the studio, I can still hear each guitar individually. It is also ideal for string sessions where we need a lot of inputs.’

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Feelings were running high around the table. Present were some important voices representing contrasting – and sometimes diametrically opposing – views on education in pro audio. What it was, who needed it, where they should get it, what it should cost.

That was in the early 1990s and I’m not convinced we’ve made progress on answering any of those questions.

At that time, with the ‘project studio’ shaping up around a new generation of equipment that offered unprecedented power at unthought-of price levels, the old school of large recording studio was under attack. Studios were either closing or frantically seeking their place in the new order. Part of their effort to survive was to dispense with many in-house services and the ‘career openings’ that characterised the beginning of many celebrated careers.

This was of little interest to up-and-coming music makers and producers, however. After all, they could do it themselves now… they had learned punk’s lesson.

Part of the old school, Studio Sound magazine had convened a ‘round table’ to discuss what was happening and what might be done – both by the relevant industries and by the audio press. And as Studio Sound editor, I was at its head. Along with studio managers, record producers and sound engineers, those present included representatives of various institutions and schools, and people who had passed through them. Between us, we had the bases very well covered.

Talk ranged from anecdotes from inside some of the world’s best studios to frank criticism of commercial educational operations. We covered a lot of ground… had a few laughs.. and a few spats. But neither that round table, nor other efforts to bring a concensus to audio education’s problems since, seem to have had any impact. The only real change is the rise of the internet.

Now education has made its way up the agenda again – partly through news of the SAE Group sale and through the publication of personal opinion, not least, Fast-and-Wide’s own Audio Boy on the concert production side of pro audio. And there are plenty of equipment installations in educational establishments currently cropping up in Fast-and-Wide's news...

Paperwork

Like many of us, my own education has come through a variety of channels that reflect the things I’ve done, the people I know and the places I’ve been. Too many to mention here. But something I have found valuable enough to want to pass on is my use of White Papers and technical documents. Often freely available, these can come close to a college education. While commercial educators are understandably reluctant to give too much away for free, other organisations aren't. Among them, I’d flag up the BBC and BroadcastPapers.com to begin. In uncomfortable contrast, access to AES papers comes at the price of membership.

Certain audio equipment manufacturers are also keen to contribute to the industry’s ability to do a good job without demanding much in return, apart from a nod of gratitude and a little kudos. It was with these things in mind that I set about assembling Fast-and-Wide’s White Paper section – another ready source of technical information and education made possible by the altruism of companies such as apt, the AVnu Alliance, Belden, Dolby, DPA Microphones, DTS, Genelec, L-Acoustics, Meyer Sound, QSC, Renkus-Heinz and Soundcraft. I would encourage you to take a look.

Since then, I have taken this a stage further by offering Fast-and-Wide’s support to Calrec over the release of its Broadcast Audio Primer. In the same spirit of magnanimity as the manufacturers above, Calrec has compiled a particularly useful ‘primer’ offering an understanding of the technology and techniques essential to anyone with aspirations to become a broadcast engineer.

I can’t praise the efforts of these companies too highly. Knowledge and understanding are essential to our industry – without the necessary know-how and skills we are in deep trouble. And in the absence of agreed educational opportunities, their role could be vital.

So I’d now ask: what else do we need to turn our skills crisis around, and who can help provide it? Fast-and-Wide is ready to take part.

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