evolutionHaving explored the thinking and story behind the evolution concept, Sennheiser’s exclusive show-and-tell session in London gave the floor to the a handful of the mic systems’ users: Brian May guitar tech Pete Malandrone, monitor engineer Joe Campbell and Global Radio’s Chris Denham.

Between their contrasting viewpoints, they paint a first-hand picture of a defining microphone in Sennheiser’s remarkable history.

evolution‘Twenty years ago, a question was posed: should Sennheiser continue to produce dynamic microphones? Our prices had gone up and our profit had gone down because we were producing them in a very old-fashioned and expensive way.

Also, Sennheiser predominantly delivered microphones for the broadcast market, which weren’t attractive to the live sound market –partly because they were too expensive…’

The Pink Floyd Exhibition: Their Mortal RemainsReleased in March 1967, ‘Arnold Layne’ was the first of eight singles from the fledgling Pink Floyd that year. Fifty years on, and with an unassailable place in rock music history, Pink Floyd are the focus of an exhibition at London’s V&A Museum.

Rich in memorabilia, the exhibition is prefaced by the EMI console used for the recording of The Dark Side of the Moon displayed in the museum’s foyer and is littered with instruments and equipment from every stage of the band’s career.

Making WavesSharing time and a couple of bottles of Asahi with another former pro audio magazine editor in the bar of London’s Metropolis Studios recently, the hoary subject of equipment reviews raised its head once again. The observation this time was a new one, however…

It was the attention given to dedicated plug-ins as compared to the onboard effects suites found on live mixing desks.

PhasingSometime around 1975-76 I wanted an MXR Phase 90 for my Wurlitzer electric piano – I wanted what the ‘real’ keyboard players of the time were using. Instead, I bought the cheaper Electro-Harmonix Small Stone, believing it to be the poor man’s alternative. I was wrong.

That both effects have since become effects icons and remain in production today is a clue to just how wrong I was…

The Vibe RevivalWith the ambition of the first Leslie emulation pedals finally fulfilled, the story of the Shin-ei Uni-Vibe has come full circle. In its wake we have phasers, flangers and digital modelling pedals, each having taken their shot at replacing the Leslie loudspeaker cabinet and finding their own unique niches.

Common sense would have cast the Uni-Vibe aside somewhere along the way. But the final twist in the Uni-Vibe story is its own heritage.

My local pub has a split personality. Or, maybe, it’s more like a secret identity – a single location but with two roles in life.

For some of us, it’s a friendly place where we can go to talk, laugh and read, and with ready access to music for any occasion or discussion. For others, it’s a fully-fledged sports bar, with access to all the required TV channels, and comfortably more screens than it has walls. And that is where our story starts...

The Sound of Story

I once read that smell is our strongest associative sense. I’ve since tried to establish the relative ability of our other senses to evoke memories – most recently after hearing the award-winning Notes on Blindness discussed at The Sound of Story conference.

One of the film’s producers told the story of its making and its reliance on sound… but let’s start at the very beginning.


It seems to have become a common misconception that guitar fuzz boxes and distortion pedals predate more eloquent effects, such as phasing and flanging.

OK, tremolo and spring reverb were originally guitar amp features, and fuzz and distortion evolved from damaged loudspeakers, impedance mismatches and voltage sag. But effects that were developed in the recording studio are the result of earlier experimentation, exploration and serendipity.

EchoesIf you count the green 1970s Carlsbro thing that’s presently in storage in a city 100 miles away, I’m now up to eight footpedal delay units. Before the Carlsbro there was a Watkins Copicat. I love my echoes...

Recently, it seemed the right time to sort all those boxes out – to decide what each was capable of and best at, and decide how to use them. It wasnt long before it all got rather interesting.

Just a few days after the events in Brussels and in the wake of the killings at the Bataclan Theatre in Paris, an incident at a London venue went largely unreported.

A recent gig at London’s Roundhouse Theatre was interrupted by what was later to be reported as a ‘false fire alarm’. A first-hand report of the crowd management offers an insight into the practical considerations now surrounding security at entertainment venues.

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