Source Elements has announced that the upcoming Source-Connect 4 is a Remote Production winner in the 2024 NAB Show Product of the Year Awards. The prestigious awards program recognises groundbreaking products and technologies presented by exhibitors and honours the most significant and promising innovations showcased at the show, highlighting the cutting-edge advancements shaping the future of the industry.

Source-Connect is a software application with bundled workstation plugins for MacOS and Windows that is used for real-time studio-quality audio and data streaming, now with up to 6 participants. A full feature set covers every modern workflow when working with remote audio and video timelines, with LTC/MTC support and automated source file retrieval to ensure perfect recordings regardless of network conditions. With the AAC ELDv2 codec from Fraunhofer and reinforced with a private, secure, globally-distributed cloud architecture, Source-Connect 4 ensures excellent streaming connectivity even in the most remote locations, and supports enterprise IT requirements.

Source-Connect 4 represents a massive forward-jump into meeting the new demands of hybrid remote collaboration in the global media industry. Source-Connect 4 is redesigned and reengineered using foundational knowledge obtained from providing 20 years of service to the industry. In order to meet the new needs of today’s media creators in the emerging remote/hybrid climate—and their talent and their clients—Source-Connect 4 has been transformed into a true remote-collaboration platform. Multi-channel, multi-participant, multi-timeline, multi-platform and supported by modern secure network services, all aspects of the remote working experience is supported in the creation journey of real-time media.

With 24-channel, multi-endpoint streaming, Source-Connect 4 connects immersive environments, as well as supporting any channel based layout and unlocks a world of potential for mixers, directors, and stakeholders to attend next generation audio playback and mixing sessions from their preferred location or setup. Key to a successful platform are the included DAW & NLE integrations so professionals work within their familiar environments, alongside innovations distinct to the platform: timeline synchronisation, guaranteed recording and ensemble capture up to 6 participants with additional capacity to follow in later releases. Source-Connect 4 is comprehensive enough to meet all collaborator’s needs, providing a simple interface for each role in the workflow at an affordable price point.

NAB Show Product of the Year Award Winners were selected by a panel of industry experts in 15 categories and announced in a live awards ceremony at the NAB Show on April 16. To be eligible for an award, nominated products had to come from companies exhibiting at the 2024 NAB Show and be delivered within the 2024 calendar year.

Robert Marshall, co-founder and principal inventor for Source Elements, was delighted to observe the positive reception during the NAB show and expressed his gratitude for the favourable reactions from both new and existing customers who visited the Source Elements NAB booth to explore the all-new Source-Connect 4. The overwhelmingly supportive feedback about its advanced audio capabilities, forthcoming updates, and revamped interface with legacy-feature-parity, confirmed Source Elements has struck a chord with the community with our deep commitment to empowering users with innovative workflows and enhanced connectivity to close the gap of distance and physical limitations.

“NAB Show is the ultimate marketplace showcasing the latest trends and technology spanning creation, distribution and monetisation in the broadcast, media and entertainment industry,” said senior vice president and chief customer success officer Eric Trabb, NAB Global Connections and Events. “Congratulations to Source Elements for winning the prestigious 2024 NAB Show Product of the Year Award, a testament to the groundbreaking innovation embodied by Source-Connect 4. Its profound impact on the content lifecycle underscores its pivotal role in empowering storytellers to navigate present challenges and embrace the opportunities of tomorrow.”

For full list of winners click here.

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Alcons Audio’s M-series is the group of reference monitor systems, to be used for critical sound reproduction in any application where ultimate analytical sound reproduction is required, combined with an exceptionally wide dynamic range. Designed with focus on the lowest distortion possible in every detail.

Ultra-low distortion 1:1 sound reproduction

By implementing Alcons’ pro-ribbon technology for mid and high frequencies, a very-fast impulse response with up-to-90% less distortion over traditional technologies is achieved. This enables the M-series to offer an intuitive linear response, non-compressed identical tonal balance at any SPL.

No listening fatigue

The superb transient response and the lack of “time-smear” results in the absence of listening fatigue. This maintains a stable, analytical 1:1 reference, even after prolonged listening sessions. It’s hearing instead of listening!

Wide sweet-spot with unsurpassed imaging

The pro-ribbon’s patented horizontal dispersion in combination with the constant directivity of the HempHorn and the optimized system phase response, offers a very wide sweet-spot and a perfect phantom image with ultra-wide and deep 3D localisation, up to and beyond 20kHz.

Seamless immersive experience

By utilizing the exact same 5” mid transducer with Active Coil and RBN202 high frequency driver throughout the complete series, M-series monitors can be mixed and matched for main and surround channels; This “identical voicing” delivers a seamless immersive spatial experience.

Virtually “infinite” headroom

The pro-ribbon’s 2” voice-coil has a power handling of 500W (200msec = 10x AES standard) and a 1:15 RMS-to-peak ratio; The ultra-robust multiple-patented pro-ribbon transducer technology provides a unique headroom reserve, reproducing even the most dynamic media without limitation.

Full-range down to 25Hz

The LF-section of the M-series monitors consists of next-gen transducers, featuring dual-coil motor structure with significantly-reduced distortion. The woofer is loaded by the new ScoopVent port, providing optimised flow without any port compression while extending the usable LF response down to 25Hz.

One reference; One experience.

Uniquely utilizing the exact same high resolution proprietary transducer, amplification and processing technologies from recording to mastering to playback and large-scale delivery, the Alcons systems offer one single, scalable cross-application audio reference: One reference; One experience.

Visit Alcons Audio at NAMM 2024 – Demo Room 18812

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PMC’s two-way active result6 loudspeaker delivers on every level, combining all the attributes for which the company’s pro reference monitors are internationally renowned.

Those attributes include high resolution and detail, accurate and extended bass, consistent tonal balance on all levels, wide dispersion, and sweet spot — all distilled into an affordable nearfield reference emphasising elegant simplicity.

The two-way design features a 27mm soft-dome tweeter with a dispersion grille and a mid/bass unit composed of a doped natural fibre, both custom-designed for the result6.

The LF driver was developed using a groundbreaking laser-based measurement system, which determines the electromechanical performance of the driver with extreme accuracy, and allows the bass driver to couple perfectly with the Advanced Transmission Line — the proprietary bass-loading system at the heart of all PMC products.

The built-in dual amplifiers supply 65W and 100W of power to the HF and LF drivers. Extremely efficient, low-distortion and high-damping-factor Class-D designs provide plenty of headroom and ensure the result6 has a generous dynamic response given its compact dimensions.

The elegant, pure analogue crossover, designed specifically for the result6 using circuit-modelling techniques, keeps both drivers working at peak efficiency. At the same time, non-invasive limiting protects the LF and HF units from damage without adversely affecting their sound.

Finally, simple rear-panel trim controls allow users ±10dB of amplifier output level adjustment to suit the precise requirements of the chosen listening environment.

The result6 lets you achieve exactly what you need, quicker. Visit PMC Speakers for more information about PMC’s Studio Monitors.

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Genelec has further expanded its UNIO Audio Monitoring Service Platform with the introduction of the 9401A System Management Device for Audio-over-IP Networking. The 9401A adds powerful AoIP connectivity to Genelec’s range of Smart Active Monitors and Subwoofers in ST2110, AES67 and Ravenna formats. With its 16 monitor outputs, the 9401A supports all formats from stereo to 9.1.6, and brings all the convenience and flexibility of multi-channel networked audio to the UNIO platform.

As a partner to Genelec’s Smart Active Monitors and Subwoofers, the 9401A provides 16 channels of digital connectivity, plus dedicated subwoofer and auxiliary stereo outputs, all via AES/EBU. The auxiliary output serves as an ideal feed for headphones, enabling binaural and secondary stereo loudspeaker monitoring, while the 9401A’s tight integration with Genelec Loudspeaker Manager (GLM) software allows entire system calibration, including subwoofer alignment and support for bass management. The 9401A’s separate subwoofer output enables Smart Active Subwoofers to be easily chained to increase the low frequency SPL output, and channel capacity can be quickly expanded with more 9401A devices, to provide compatibility with 22.2 and other high channel count immersive formats.

In addition to its AoIP networking capabilities, loudspeaker management and calibration is achieved via the proprietary GLM network connectivity of the 9401A. Tactile control of the entire monitoring system can then be achieved via the new 9320A Reference Controller, which acts as a bridge to the UNIO platform and provides instant one-click access to a vast number of monitor features built into the Smart Active Monitoring family.

Performance wise, the 1U rack-mounting 9401A is compatible with sample rates from 44.1 kHz to 192 kHz, using 16, 24 and 32 bit resolution per sample. Employing Gigabit Ethernet for low latency, the 9401A supports the ST2110 broadcast suite with ST2022-7 redundant network connectivity and NMOS integration to enterprise management and automation systems. Designed for decades of reliable service and built to the highest environmental standards at Genelec’s factory in Iisalmi, Finland, the 9401A also supports proprietary Intelligent Signal Sensing (ISS) technology, for lower power consumption.

Genelec Managing Director Siamäk Naghian comments: “With the UNIO platform, we’re providing audio professionals with a bridge between in-room loudspeaker and personal headphone monitoring, so that they can move seamlessly between the two with no interruption in workflow. Now, with the 9401A device, we’ve brought the networking power of AoIP to our range of Smart Active Monitors and Subwoofers – once again showing how Genelec solutions represent a secure and future-proof investment in professional monitoring.”

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We’ve all heard Scott Storch’s work — that hypnotizing piano melody that opens Dr. Dre’s “Still D.R.E.” is instantly recognizable to any music lover. What you may not know, however, is what goes into a Scott Storch track. For years, listeners have been captivated by his work with artists such as Beyoncé, 50 Cent, and Megan Thee Stallion. But what are the secret ingredients that help the GRAMMY^® Award-nominated producer craft hit after hit?

Storch’s innovation and daring attitude in the studio are part of the equation, but the producer has shared more with us about what other factors go into the process. From his must-have tools and ideal studio set-up to the advice and lessons you just can’t ignore, Storch dives deep into his work and personal preferences when creating hip-hop masterpieces.

Do you have an ideal studio setup, or do you like to work across studios and discover talents?

I have my own studio that I love to work in at my house in Miami. I’ve spent years building it up exactly as I want it; it is the ultimate creative space for my personal work.

I love a sleek, streamlined vibe, which is why I chose to design the KRK Scott Storch CLASSIC 8ss monitors as I did. The colors of these monitors are very neutral, which I’m really into. It’s the same vibe I go for in my own studio.

While I consider my studio to be home base, I love collaborating with others. I’ve worked with a lot of artists over the years, and each brings something different to the table. If a certain artist is looking to do different types of sessions or wants to work in a new environment, I’m down to explore those, whether it be in a major studio or not. It’s always interesting to learn something new from collaborators.

How did you first start using KRK, and what attracted you to the speakers initially?

I fell in love with KRK from the moment I started using them. I love the sound, especially the midrange; it’s crucial for me. The bass response is also insane, even without a sub. I know I can depend on them to provide an accurate representation of my tracks, even if I’m not in the best working environment. My tracks always end up sounding the same if I listen on my phone or in the car, so I know the monitors are precise.

I’m also kind of old school, so when I like something, I’m going to stick with it. I stay loyal to the products I love. That’s how it is with KRK. Being able to now collab with the brand…it’s super cool. Since KRK is my speaker of choice, I’m just ecstatic to have this opportunity. I was immediately down when I was first asked.

What studio rules do you have, if any?

To be honest, I don’t have any studio rules in my space. Personally, I like to start my sessions by cooking up some ideas before the artist comes in. Once they arrive, I play through everything I’ve thought up. This way, we can see what style we each vibe with; they can let me know if they like any of my ideas, and we build off that. If nothing is clicking right away and we want to go in a different direction, then I’ll listen to what ideas the artist has, and we go from there.

Even though I do have a bit of a system and schedule, I still love to work with other producers. I never prohibit different working styles when I’m collaborating. I definitely used to be more controlling when I was in the studio and needed to do things on my own, but I’ve learned a lot from my past collaborations, and now I think they’re a fun time.

When in the studio, what hours are you most likely to be active, and why?

I’m definitely a night owl when it comes to work. Usually, I wake up later in the morning, and that’s when I get all my personal stuff done ― like going through my emails, texts, and social media, checking in with my kids, and having my coffee. Then my sessions will normally start around two or three in the afternoon.

How late I go depends on how inspired I am. Sometimes I’m out before 11 p.m., but when I’m really in the zone, I won’t leave until after midnight. If something is vibing with me, I end up working really fast―but that doesn’t mean the track will wrap up quickly. So much goes into a single song. Despite all the work, it’s easy to lose track of time when you’re super invested in the final product. The late nights don’t bother me, though, I love music, and I believe that’s what I was put on this earth to do.

What are you working on at the moment?

Right now, I’m focused on telling my life story. We have a movie in development that covers my whole life. It’s definitely a long process and just in the beginning stages, but I’m very excited to share that. It’ll follow my journey as a producer, my work, and the relationships I developed with different artists in the industry ― and all the crazy stuff in between.

Of course, I’m also always still in the studio. I was just working on a record with a new artist, Fresco Trey, who has a cool Afrobeats style. My son, Jaden, has also been a true inspiration to me. I look forward to continuing to work with him and developing a sound together. I’ll never fall out of love with music, so I’ll forever be creating and doing groundbreaking stuff.

Your KRK signature series makes a great studio centrepiece ― what do you have in your studio that you can’t work without, audio gear or otherwise?

My main thing is making sure I have a great speaker. You don’t want something that will blow out when you’re pushing a lot of bass. For me, that’s the KRKs. It might be an obvious answer, but it’s the truth. KRKs have been my ride-or-die monitors for years. They can handle signals and hip hop production amazingly, especially with a sub; they’re killing it.

Other than that, I can’t work without my Akai keyboards, especially the MPC61. These are crucial for me because I’m huge on melodies. That’s my thing in the studio. I love to apply my melody sensibility to new tempos and new styles whenever I can. Everything that I compose will have a completely different identity with the right sound, and the Akai keyboards help me get there.

What would you say to DIY artists and producers starting out and trying to stand out from the crowd online?

It’s definitely tough out there. Having a big online following is beneficial, but it also makes it hard to differentiate yourself. My biggest advice would be to stay true to what you love. Be yourself and create your own unique sound. People notice when you’ve got a personality and sound that’s never been seen or heard before.

The second part of this would be to work hard and have some patience. I know that might be even more difficult than the first half of my advice, but nothing is instantaneous. If you keep pushing and creating, your time will come. Every creative has ups and downs, but staying motivated and working hard is the best way to get out of those slumps.

What studio lessons would you teach your younger self, given a time machine?

I’m very proud of everything I’ve created, even from a young age, but I would probably reiterate something that I’ve stuck by recently: stay locked in with changes in the industry. I’ve never been a producer who gets stuck in one way of thinking about music. In fact, I think that’s what can kill your career. If you’re not open-minded to the shifts within our industry, you won’t stay relevant.

So, staying up to date on everything―from the new versions of sounds to what the current generations listen to―would probably be my biggest lesson or piece of advice. My son Jaden really helps me out with this; he keeps me on my toes and pushes me in the right direction. He knows what’s hot, and I trust him because he’s got a great ear. If he says something sounds good, then I believe it’s going to be a hit.

What are you listening to at the moment?

I listen to all types of musical genres for the most part, except for country. I consider myself a music connoisseur, so I try to listen to a range of genres and music from different regions. The easiest way for me to do this is to go through Spotify playlists and check out what’s the hottest thing at the moment. Whether it be songs that are charting or those recommended to me by the streaming algorithms, I try to give it all a listen.

Listening to everything helps me get better at stuff I might be struggling with, too. When I’m not great at something, I really want to work and learn how to get better. I’m down to work on anything, but first I need to listen to everything to help me get there. I actually just did a project with Bad Gyal, which was new for me, and I got a triple platinum plaque for it. So, I know I’m doing good on my promise to have a wide listening scope and learning from this new music.

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The post The Big Interview: Scott Storch on studio life, making it in the industry and his studio gear appeared first on Audio Media International.

The new UNIO Platform from Genelec empowers professionals to confidently work anywhere. As a key UNIO element, the 9320A integrates in-room and headphone monitoring for a single, reliable workflow – completely personalised for total accuracy.

With its flexible connectivity, reference grade headphone output and physical control of Genelec’s adaptive technologies, the 9320A is the ideal hub for professional audio work – from stereo to immersive – in any space.

We caught up with R & D Director Aki Mäkivirta to find out more…

The room and headphone monitoring process being unified – was this based on customers requesting it or you saw that you could do it and it would appeal?

We see an increasing use of headphones as well as other forms of lighter production environments. It’s become clear to us that this change is now happening, and we’re looking for all options to ensure that as it happens, engineers and creatives always have access to the most accurate tools for monitoring. This is the main theme of the UNIO platform concept, and has also inspired the development of both the 9320A Reference Controller and the personal binauralisation in our Aural ID plug-In technology. All of these blend perfectly with a traditional monitoring approach to enable total freedom whilst avoiding any compromise in sonic quality and access to details.

Producers and engineers increasingly work everywhere now as technology allows – is this a trend you’ve seen in your own research?

Absolutely. Mobility, and the need to work in the home – or in other improvised environments – is an ever-expanding trend, and in some ways was normalised by the pandemic. Our emphasis is now on enabling all of this to happen without compromising the quality of the final product being created.

The 9320A is update ready – what type of updates do you see in the future and are these Genelec updates or a combination of Genelec and third party updates?

As in all of our Smart Active Monitoring designs, the firmware of the 9320A is customer updateable. This is important as it means we can maintain the quality and compatibility of the 9320A with any changes in DAW technology and any underlying operating systems – giving the 9320A a long lifetime of reliable performance.

Where do you see the system being used most – traditional studio, live streaming, broadcast, game development hubs or home studio?

All of the above! The 9320A is a perfect companion for all kinds of audio creators, whether in the field of music, recording or gaming. For these purposes, the 9320A is a highly mobile yet solid, professional tool. At the same time, the 9320A can create a very natural, intuitive workflow for fixed studio installations, making it a great choice for managing monitoring tasks in the studio. I’m sure that the 9320A will also find use in the highest quality home listening installations, where we’re seeing an increased demand from consumers for professional grade loudspeaker systems.

The price means an easy entrance to professional monitoring that people can build on with more software and speakers. How do you support that in terms of education around taking those first steps?

Particularly during the pandemic, we started to put an increased emphasis on educating our customers via regular webinars, livestreams and video tutorial material – as demonstrated by our G Learning Lab initiative. So we’ll be doing the same for the UNIO platform and the 9320A. With UNIO, there’s a lot to absorb – so we’ll be working hard to guide people through the platform and how to get the most from it.

It’s due for launch in January but have you road tested it with users in the field and what is the feedback?

Yes, we’re currently running an active field testing campaign to ensure that when January comes, we can offer a completely smooth and intuitive user experience.

It’s a landmark product – how long was it in the making?

The complete UNIO platform concept has effectively been developing since the launch of the Smart Active Monitoring range back in 2006. We’ve also been evaluating different methods of approaching monitor control and system management to find the most natural, intuitive solution. At the same time, recognizing that audio production technology is developing towards a lighter and more mobile direction without compromise in sonic quality, we have gravitated towards a solution that is compact yet provides maximum access to all sizes, designs and layouts of monitoring needed today.

You had live demos at IBC – what was the reception like?

We’re extremely happy with the customer responses at IBC. Wherever we’ve shown the 9320A, the response has been an overwhelming ‘yes, this is exactly what I need’. This gives a comforting feeling that we’ve made the right choices and selected the correct way forward, in a way that is very natural for users to adopt and approach.

What headphones did you use as a reference when developing the system?

We actually assembled a very respectable selection of all the key professional headphones on the market today. We evaluated them all, in order to understand how we should build the workflow in order to best support the seamless use of high quality professional headphones. It’s also worth noting that the 9320A also provides a personal calibration feature to fine-tune and tailor the headphone frequency response to achieve the highest accuracy and detail, levelling the field considerably to make all high quality professional headphones viable for precise mixing work.

Exclusive: Genelec 8381A interview with Aki Mäkivirta at RAK studios

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Genelec has chosen the upcoming IBC exhibition in Amsterdam to unveil the 9320A Reference Controller as a bridge to its brand new UNIO Audio Monitoring Service Platform. UNIO brings together all the benefits of Genelec Smart Active Monitors, GLM 5.0 calibration software and Aural ID 2.0 technology to create seamless integration between professional in-room loudspeaker and headphone monitoring services. With flexible connectivity, a reference grade headphone output and tactile hardware control of Smart Active Monitors, GLM and Aural ID, the 9320A provides a compact and exceptional hub for both static and mobile professional audio monitoring applications.

At the heart of the UNIO platform is Genelec’s range of Smart Active Monitors, which utilise auto-calibration and cloud computing to enable the production of accurate, reliable mixes that translate consistently to other rooms and systems. For professional headphone users, Genelec’s Aural ID technology provides a completely personal and truthful headphone listening experience with the natural sense of space and imaging provided by good in-room monitoring. By combining a calibrated Smart Active Monitoring system and professional headphones with Aural ID, the user can enjoy mixes that translate reliably between monitors and headphones – for a smooth, uninterrupted workflow.

Now, with the introduction of UNIO and the 9320A, users can integrate these technologies and services via a single intuitive mobile desktop device, and view the entire system via the user’s own MyGenelec account. As a bridge to UNIO, the 9320A offers management of multiple Smart Active Monitoring systems from stereo to immersive and beyond, and comes complete with a factory-calibrated reference microphone to allow automated system calibration and control of key GLM software features.

The 9320A can control up to three separate monitoring systems plus headphones, and each system can operate at a calibrated listening level, according to EBU R128, ATSC A/85 or SMPTE RP200 standards. While the 9320A can support any active loudspeaker system – such as one or two ALT stereo sets – it crucially provides instant one-click access to a vast number of extra monitor control features built into Genelec’s Smart Active Monitoring family.

The reference-grade headphone output of the 9320A features excellent linearity and dynamic range, and allows users to combine their choice of professional quality headphones with the latest Aural ID 2.0 headphone plug-in. Users can therefore experience accurate, reliable and completely personal headphone monitoring while simultaneously measuring sound exposure, to ensure safe listening.

Additionally, the 9320A allows integration with any DAW or audio interface, and with its analogue, AES/EBU and USB connectivity, the 9320A can connect directly to stereo monitoring systems (with and without subwoofer), providing monitor control and doubling as a high quality A-D and D-A converter for both monitors and headphones.

The introduction of UNIO and the 9320A also coincides with the latest GLM 5.0 loudspeaker manager software release – which provides support for both the 9320A and the flagship 8381A free-standing main monitor unveiled earlier this year. GLM 5.0 employs sophisticated cloud computing, enabling UNIO to effortlessly integrate a range of reference audio monitoring services, including intelligent room analysis, in-room system calibration, monitor control and fully personal audio monitoring.

Heralding the launch, Genelec Managing Director Siamäk Naghian comments:

“Audio professionals in music, broadcast, post-production and game audio are increasingly wanting the flexibility to work wherever and whenever they want, even if that sometimes involves unpredictable and challenging acoustic environments. To be able to switch instantly between well calibrated in-room and headphone monitoring without any interruption in workflow is crucial to this way of working, and so we see UNIO and the 9320A as powerful tools in creating a truly next-generation reference quality monitoring system.”

Visitors to the IBC exhibition can experience the complete UNIO platform ­– including the 9320A Reference Controller – on Genelec’s booth, 8.A61.

For more information, please visit www.genelec.com

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After an exhaustive selection process, producer and DJ Luke Solomon acquired a pair of PMC 6-2 monitors for his studio in North London. The monitors replace a pair of PMC TB2s he owned for nearly 20 years.

“I love the sound of these monitors and really appreciate the fact that they are non-fatiguing,” he says. “Maybe it’s an age thing but listening at loud levels for a long time can be exhausting. What I like about the 6-2s is that they reproduce the bass really clearly, even at low levels, so I can stay in the studio for longer. They are a great pair of speakers.”

Luke, who set up the seminal dance label Classic Recordings with Derrick Carter in the early 1990s, is also one half of Freaks, a production team he established with Justin Harris. Under the Freaks moniker, Luke and Justin have turned out a slew of singles and albums on their own Music For Freaks imprint, including the hit single The Creeps, which was released into the mainstream by Ministry of Sound with a new vocal featuring Stella Attar. Luke, who has also had success as a solo artist, is currently head of A&R at Defected Records and its sister labels.

“Working behind the scenes with other artists made me realise that I felt more comfortable in that space,” he says. “I have moved away from feeling that the spotlight needs to be on me. Producing for other artists is a very selfless thing because you have to get into their heads and try and understand what kind of music they want to make.”

Among the many notable production credits to his name is the Black Girl Magic album, which he produced for US DJ Honey Dijon. He describes this as a labour of love and one that took two years to complete – the album was finally released in 2022 on the Classic Recordings label.

It was during that period that he and Honey Dijon were approached by Beyoncé’s record label and asked to submit material for her current studio album Renaissance, which was released at the end of last year. This was at the height of the pandemic when Luke, like many other music industry creatives, had retreated to the studio to write music.

“Beyoncé’s people told us that she wanted to take her new music to the clubs because she was convinced that, after the pandemic, people would want to go out and enjoy the club vibe again,” he explains. “She asked Honey and I if we wanted to collaborate, so we set about writing songs and creating concepts built around drums and samples and music that came from our world, which Beyoncé wasn’t familiar with.”

Eventually two of these ideas were chosen and ended up on the album as the tracks Cosy and Alien Superstar, both written and produced by Luke and Honey Dijon.

“Beyoncé team sent someone to the UK to play us the tracks, so the first time I heard them with her vocals was in a hotel room in London with me listening through EarPods,” Luke says. “I was expecting the songs to have changed dramatically but they hadn’t and that was incredibly exciting. The whole experience was quite a trip!”

Moving from the dance scene into more crossover projects is another reason why Luke wanted to upgrade the monitoring in his own studio.

“The work I’m doing now doesn’t rely so much on low end, bass or where the kick drums sit,” he says. “The PMC 6-2 monitors give me very accurate reproduction across the whole spectrum and from that point of view they are really interesting speakers. At Defected we have PMC 8-2 monitors in the studio and I love them, but they would have been too large for the room I currently have at home. All the same I still dream about owning a pair one day!”

As a long-time PMC customer, Luke appreciates the service he has always received from the company and says this also influenced his decision to buy his new monitors.

“I bought my TB2 monitors on the back of the success of The Creeps, which meant there was money around at the time to invest in studio equipment,” he explains. “They became my staple. I went through a lot of tweeters – totally my fault – and I also had the crossovers changed at one point, but throughout the years they stayed with me. What always impressed me was the support I got from PMC. Their factory isn’t far from my home so I’d drive up there whenever I blew a tweeter and get them fixed. The staff couldn’t have been more helpful, and the customer service was awesome. I’m a big fan of supporting local businesses and I do like the fact that PMC is a UK company.”

Apart from wanting to build a larger listening room at his home in Barnet, Luke’s future plans include writing songs with Honey for a new musical that he acknowledges is very different from anything he has done before.

“For the next couple of years, I’m going to be entrenched in something that I think will be pretty epic and magical. Beyond that I shall just keep making music and seeing what happens because that’s all I’ve ever done,” he says.

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When pop music siblings Girl Named Tom — Bekah, Josh and Caleb Liechty — first set out in 2019 they would travel from city to city and gig to gig in an old minivan. Then, in 2021, Girl Named Tom made history as the first trio to ever win NBC’s The Voice, placing four songs concurrently on the iTunes Top 10 charts, with two of them reaching #1, during the show’s twenty-first season.

“We were honored to be the first American touring act performing with this specific set up, and we are thrilled to report that these microphones are the best we’ve ever used, by far,” the siblings commented. “At our first soundcheck, our sound man, Felix, was raving about the system, the strength of signal, the ease of set up and the consistency from night to night, city to city. The sound quality is smooth and consistent, giving us the ability to improve our music immensely — which means when we have an off night, we can’t blame it on technical difficulties!”

And then there were three
​The three singers are all using Sennheiser’s MM 435 cardioid dynamic vocal microphone capsule. “I was excited to try out the 435 and it definitely delivered,” says Felix Hunt, who mixes front-of-house, monitors and is also the band’s tour manager. “It has a lot of nice detail, especially for a dynamic mic, but it is still predictable in the way that a dynamic mic should be. I really love the microphones. I like the 435 pretty much better than any other vocal mic I’ve ever used. I’m anxious to try it out on other artists as well.”

​The trio’s singing abilities and the choice of microphone all help Hunt create a great mix at every performance. “They have really great mic technique, so we don’t have to use hyper cardioid mics, plus it is a relatively quiet stage. One of our vocalists is right in front of the drum kit, so on a smaller stage I might duck his vocals a little bit when he is not singing.” Otherwise, he says, “I just let the mics stay wide open.”

Unparalleled ease of set up: scan and sync
​Hunt has been especially impressed by how easy it is to set up the EW-DX system at each show. “It has been a new thing for me with how quickly these mics scan and how easily they sync. Every day I fire them up, I scan and sync them, I hand the band the mics and they are good to go. I’ve never even had to mess with networking, they scan so fast, and I don’t think I’ve ever had to resync, so it is super simple,” he says.

But ultimately, for all the technical capabilities of the system, it’s the sound that matters. The siblings are quick to praise the EW-DX mics for helping them take their vocals to the next level. “When Bekah first sang into the 435 capsule she was amazed at the natural sound of her voice,” says band member Joshua Liechty. “And Caleb has reflected multiple times throughout this first tour on how these mics have improved his confidence as a singer. Thanks to the richness of the mic and the clarity of the IEM system, Caleb has been transformed from a confident harmonizer into a confident lead singer when so called.”

They continue, “Our first real experience performing with Sennheiser was onstage with NBC’s The Voice. So, we were already familiar with the clarity, the body and the exquisitely textured quality of our voices through Sennheiser capsules. The EW-DX system immediately improved our ability to maintain those qualities while moving around the stage, switching instruments as we often do. With Sennheiser, we’ve found the best technology possible to project our live vocals over a room, theater or arena full of people.”

EW-DX on acoustic and electric guitars
​The band’s touring EW-DX system was also fit for a wireless electric guitar and three wireless acoustic guitars: “We did the first couple of weeks wired, then we went wireless, and everything went really well,” Hunt reports. “Once we get the gain structure settled in, we plug it in every day and it’s the same as wired. For me, the true test of how the wireless works on a show like this is on the artists’ in-ears. If this works well, it will probably sound really good out in front.”

The three singers and the bass player use G4 wireless IEM set ups, with the drummer on a wired body pack. “It is super easy to tune them, and it doesn’t take much time at all,” Hunt says. “I scan the packs every day and then attach the relevant frequencies to the network boxes. There is almost no processing on the in-ears, which is a testament to the mics, for sure. I haven’t had to fuss with sculpting and EQ and they are always really, really happy with their vocal sound.”

Despite playing in some challenging RF environments, Hunt says, the EW-DX system has stood up to the task. “There have been no problems with the reach,” he also comments. “We use one of the mics in the talk back which is carried all around the stage and there are no troubles. We did a dinner-type of show in Alexandria, Virginia, and the band went out into the crowd, singing in the middle of the room, and we had no problems at all with the signal. Also, they were right in front of the P.A. and there were no problems; those mics are really easy to work with in front of the P.A.”

While the trio’s familiarity with Sennheiser began on The Voice, it was the long-standing relationship between Sennheiser Relations Manager Tim Moore and GNT’s manager Jenni Tackett that solidified the partnership. Tim and Jenni have worked together for the better part of a decade across several artists. When Moore reached out about working together it was an enthusiastic yes. “Tim has always taken great care of my artists, not only with the quality of products and sound on stage, but with care and understanding of the artists entire organization,” said Tackett.

Impressive reach and reliability
​For the Liechty siblings, it’s all about the live show right now. “We don’t have much original music recorded, so if fans want to hear original music from Girl Named Tom, it’s at a live show. It really matters how these songs spin through the air to our fans and with Sennheiser, they sound clear as a bell. And someday, when we win a Grammy for our live recording, there will be no better way to capture it than with the mics from Sennheiser.” Girl Named Tom will be releasing new original music through Republic records today.

Interview with Daniel and Andreas Sennheiser

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After 15 years as a staff engineer at San Francisco’s legendary One Union Recording Studios facility and then two and a half years partnerning at advertising audio house Handsome Sound, Eben Carr is taking all of the experience of producing, engineering, and mixing audio for advertising content, as well as a deep understanding of the business of that sector, and rolling it into Tone11, Inc., his new production and mixing facility in the city’s Ice House Alley neighborhood. Housed near Levi’s Plaza, in a building that is part of one of the largest and oldest masonry constructions in the Bay Area, Tone11 boasts a sound that is as modern as it gets, utilizing a Genelec monitoring system that will help keep San Francisco a hub for advertising audio.

“Our target market is a combination of large and small agencies representing tech firms and others, but all of which need great sound for every type of platform, from television to iPhones,” says Carr, noting work he’s done for local icons such as LinkedIn, Airbnb, and Logitech, as well as agencies like Duncan Channon, BarrettSF, Funworks, and Venables Bell & Partners. As the latest development in a career that has included stints at Russian Hill Recording Studios (assisting on film and music projects with Robin Williams, Sofia Coppola and Geoff Muldaur) and Crescendo Studios (one of San Francisco’s original boutique recording studios catering to the advertising community), Carr says, “It was a good time to go out on my own. The opportunities are there.” And so are Genelec monitors, which he says offer him a familiar monitoring environment and his clients the kind of sound that translates perfectly across multiple playback media.

Tone11’s monitoring is configured to comply with the Dolby Atmos® format: three Genelec 8351B Smart Active Monitors compose the front wall’s L-C-R array; four 8340A Smart Active Monitors are used as left-right and left-right rear channels, with four 8340As as the overhead array. The immersive system is completed by a pair of 7370A Smart Active Subwoofers. The system was installed and tuned utilizing Genelec’s GLM 4 and AutoCal 2 software, which assures perfect imaging in the monitoring environment.

“I’ve always used Genelec monitoring and technology everywhere I’ve worked, so it made sense to stay with Genelec for Tone11,” says Carr. “They fit well with the rationale for opening a new studio in San Francisco at a moment like this: it’s about the value of having a real studio to bring new life to the collaborative spirit that made San Francisco such a creative place in the first place. I’m banking on people sharing that value. Genelec speakers make it easy to give everyone a great, accurate listening experience and to make people feel good about the way audio sounds, which is so important. That’s what Genelec gives you: a guarantee of great sound.”

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