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Archive for April 5th, 2012

The Panic Room Fixes the Mix with SSL AWS 924 Hybrid Console/Controller

Console is the Centerpiece of the New Facility

SKARA, SWEDEN – Solid State Logic, the world’s leading manufacturer of analogue and digital audio consoles, is pleased to announce that The Panic Room, a mixing and mastering facility at Nordic Sound Lab in Skara, Sweden, has recently installed an AWS 924 Hybrid Console/Controller in its new facility. Since first opening its doors in 2001 in the original location in Skövde, Sweden, The Panic Room has become mix central for multiple Swedish platinum, gold and Grammy Award-winning recordings through a range of genres from country, pop and rock to house, electronic and extreme metal. Recent award-winning projects include The Knockouts’ Among the Vultures and Watain’s Lawless Darkness.

“When we moved into our new location, we made the critical decision to focus on mixing and mastering – shedding the large recording space we had in the original location,” says Thomas ‘Plec’ Johansson, owner and chief engineer for The Panic Room. “Our clients often record tracks in private facilities, but need a place to go to bring the sound together through the mixing process. The AWS 924 gives us the sonic accuracy needed to make critical decisions on tracks that vary greatly in sound quality. The AWS allows us to work the way I like to work, has great EQs and addresses working with a DAW from the console. Audio simply sounds great running through the AWS.”

The Panic Room consists of a control room featuring the AWS 924 with associated tracking room for vocals, guitars and smaller drum sessions. The facility also offers a separate mastering suite and guest accommodations for clients who need to stay at the facility to finish a project.

“When we looked at other consoles, the AWS was the only choice for our facility,” continues Plec. “The clarity, imaging and depth that you can get out of the board opens your eyes to mixes previously done in-the-box. I’m not one of those people that will say that in-the-box mixes sound bad – you can get a great mix in-the-box if you work hard at it. But it’s much easier to get it with the SSL because the audio sounds better right from the start.”

According to Plec, return clients are going wild about the sound quality and can’t believe how much closer the sound gets to the ideal without any outboard gear. “Our outboard gear has gone from saving the day to being icing on the cake,” states Plec. “Where we used to go to outboard gear all the time, now we only use it for special treatments and sounds. About 80 to 90 percent of the audio is done in the console. We also have placed the DAW screens to the left of the console because the AWS lets me sit in the sweet spot, listen and just get down to mixing, so I am not being distracted by what is on the screen. With the AWS, you don’t need to think about how it’s working or how you are going to accomplish a certain task. When you don’t need to think about the technology, mixing becomes a focused and more musical thing. I very much like that.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit:

Peavey Provides Professional Audio for Musikmesse Agora Stage

Peavey® sponsored the popular Agora Stage at Musikmesse 2012 in Frankfurt, Germany, March 21-24, providing a complete professional audio system during the entire four-day exhibition.

The Agora Stage is Musikmesse’s premier performance area, with live entertainment productions throughout the show from artists such as the Alex Skolnick Trio. The Peavey Commercial Audio division outfitted the Agora Stage with a Peavey Versarray™ line array loudspeaker system, Peavey Impulse® 12D front fills, Crest Audio® mixing consoles at front-of-house and monitors, and a Peavey MediaMatrix® NION® n6 digital networked audio system that allowed the sound engineers to configure and control the Agora Stage complex. more

RG Jones Invests in Martin Audio MLA System

––Award-Winning System Set For High-Profile Events Later This Spring––

After putting Martin Audio’s active Multi-cellular Loudspeaker Array (MLA) through its paces on a series of high profile events, premier UK rental company, RG Jones Sound Engineering Ltd has invested in the new award-winning system.

The complement of 24 fully-integrated MLA top boxes and 12 MLX subs, with six dedicated amplifier and DSP channels per enclosure, will make their debut on a series of high-profile shows at the end of April and beginning of May.

Championing the cause for RG Jones had been the company’s experienced sound engineer Simon Honywill, who had put MLA through its paces on Jeff Wayne’s Musical Version of War of the Worlds tour, Raymond Gubbay’s Classical Spectacular and on shows with Katherine Jenkins in Ireland to evaluate its full dynamic range and consistent delivery to every seat in the house. From the moment he declared, “We’ve made a massive leap forward with the MLA … the results are remarkable,” the investment looked to be a certainty.

RG Jones’ joint managing director, John Carroll, said the company had been looking for a large format system and MLA came along at the right time. ”We felt committed to buying when we could see a demand for it over the first year.”

Their faith in the system looks guaranteed, and in addition to the late spring shows followed by the usual summer madness, MLA is again confirmed for the next War of the Worlds arena tour, starting in November 2012.

Added RG Jones Project manager, Steve Carr; “We have been involved with Martin Audio for many years. MLA is one of the most exciting developments that has happened for a long time, so it’s a great opportunity to broaden our client base. With the systems that have already been sold to the US, it was inevitable that it would start to appear on riders.”

Joint managing director Andrew Williamson stated that the high degree of controllability had been a major factor in the decision-making. “It’s the first self-powered system we’ve owned and provides a major truck-space solution as it is not necessary to employ amp racks. That’s a major advantage.”

A further advantage is that as a consolidated Martin Audio house, RG Jones’ existing W8LC Compact Line Array will work in harmony with MLA should delays or outfills be required on a large-scale show.

Summarizing, Martin Audio’s Director of Sales Simon Bull said, “RG Jones has been one of our most loyal customers over the years, and our presence on the Pyramid stage at the Glastonbury Festival has been entirely due to them. We are delighted that they have decided to make this investment and we will be looking to support them every step of the way.”

Photo Caption (left to right): Simon Bull (Martin Audio), with John Carroll, Andrew Williamson and Steve Carr (RG Jones)

For more about Martin Audio, please click to

About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio
network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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