Article 3D in-ear monitoring Glasperlenspiel in 3D audio from issue 09/2016 Monitor engineer Jens Bubbes Steffen has been actively relying on KLANG:technologies 3D in-ear monitoring on stages for quite some time. We met him at a gig of the band Glasperlenspiel, to talk about his hands-on experience with this new type of stage mixing and how he creates his signal routing. Copy: Daniel Schindler Images: Daniel Schindler, KLANG:technologies the news portal of the professional media scene powered by» KLANG:technologies promises the most natural in-ear sound on earth. You ll forget you are wearing in-ears. «
Report Monitor-Mix True innovations are rare in the audio industry; mostly these are further developments of existing technologies and proven methods. A real innovation that offers functions that were previously simply not possible, is rather the exception. 3D audio too was a theoretical approach for a long time, as only few concepts permanently found their way from the lab to practical use. With its in-ear monitoring system the German manufacturer KLANG:technologies has taken this brave step, offering a practical solution. Reason enough for us to visit monitor engineer Jens Bubbes Steffen at a Glasperlenspiel gig, a band that has been using the system on stage for quite some time. 2 PRODUCTION PARTNER 09/2016 Aha moment: spatial orientation on stage In its product information KLANG:technologies promises the most natural in-ear sound on earth. You ll forget you are wearing in-ears. Respected colleagues will surely share the view that we could already be fairly close to this point anyway so what novelty should there be? To re-approach something that has been tried and tested always requires some overcoming. It is all the more rewarding if your initial reservations disappear after only a few minutes of listening yourself. It is quickly clear: This would not be possible with
Arrangement of the sound sources in a room via the KLANG:app at the monitor position a classic monitor set-up. At the latest, if you suddenly turn your head because you think you were spoken to from a certain direction. In fact, it was the keyboarder, who spoke into his microphone from this direction on stage. Such aha moments convince. With his set-up Jens Bubbes Steffen also proves that one can gladly go one step further when it comes to the technology available today: The keyboarders computers are directly integrated into the system via Dante (virtual soundcard). Via Focusrite RedNet components, further positions on stage also find their way into the audio network. One will search for a classic, analogue stage wiring in vain. Of course, there are countless ways with which to integrate the KLANG system into an existing set-up. Jens Bubbes Steffen has structured his system in such a way, that it initially resembles a classic, compact monitor set-up: Yamaha CL1, Shure PSM- 900 and an ipad. Without taking a closer look, one would not detect KLANG:technologies central hardware, the KLANG:fabrik, anywhere thus it is space-saving. Additionally, one will discover different feeds (audio and video) and back-up systems that are also integrated via Dante and synchronised and triggered via MIDI. Impressive, how many functions can take so little space. During the interview we learned that Jens as integrated the KLANG:fabrik into the existing audio network via Dante and loads the individual channels via direct outputs (post-processing, post-fader). Of course, questions will arise such as: What do you do with the communication (talkback FOH, talkback backline and Streamlined set-up Yamaha CL1, wireless rack with sources, the KLANG:app on the ipad; direct-out signals are sent into the KLANG:fabrik post-fader/post-processing; from there the finished mix is sent back into the CL1 more)? How do you hear and monitor these signals and the monitor mix quickly and efficiently? How do you combine mixes, which were created with the KLANG:fabrik, with the classic mixes from the FOH in order to further work from a central point? In order to solve this, Jens routes the KLANG:fabrik s mix outputs back to the Yamaha CL1 and to the in-ears from there. This way, he can monitor the mixes in the usual manner via the mixer s cue function and can mix them dynamically via the post-fader direct outputs. Additionally, communication channels can be added to the mix. The ipad is only deployed when changing the individual mix ratios. In the future, users may be able to use the mixer s faders to remotely control the KLANG:fabrik s mixes. The related ipad app is self-explanatory, clearly arranged and reacts surprisingly quickly. After a few minutes, one feels completely at home and the adaption period appears to be shorter than assumed beforehand. For the band Glasperlenspiel, Jens defines the distribution for the venue in advance and offers the musicians prepared mixes. Change requests are carried out using the ipad at the monitor location. In this case, he put aside the possibility of letting the musicians set their mixes via the ipad themselves. Jens is especially pleased with the system s high reliability and stability: From -10 C on the bobsleigh track to +80 C in the rack and 100% humidity we ve had it all. But the system never let me down. Glasperlenspiel has an admittedly small set-up: drums, bass, guitar, keyboards, vocals. Here, the KLANG:fabrik did a wonderful job and was easy to operate. How the system will enter more PRODUCTION PARTNER 09/2016 3
Report Monitor-Mix Simple source positioning in the room With the app, inputs can be logically grouped and ordered Clear mix of the assigned groups and channels in the app complex applications certainly strongly depends on the manufacturer s solutions and further developments however the foundations have been laid. Whoever is looking for a product that offers a playing field for one s personal expectation regarding good monitoring and who would like to strike out in a new direction is absolutely right here. If one gathers information on the product and does some research, one will find that there is consensus on one issue: It is hard to describe the difference the 3D system makes, one has to hear it. We agree and would like to add: It is a system worth listening to. System: binaural and tracking Being active musicians themselves and being familiar with the occasional pitfalls of in-ears, the minds behind KLANG:technologies began with the development of their 3D in-ear monitoring system s concept over ten years ago. A lack of instrument localisation, an unnatural sound over headphones and a static, non-transparent mix were the order of the day at the time and a solution needed to be created that would be both easy to operate and would solve these problems. The result was a product series, which uncompromisingly brings the binaural technology s advantages to the demanding proaudio live market and which can be integrated into existing systems. For this, two basic components (KLANG:fabrik and KLANG:vier) are available in conjunction with the corresponding software. The system can be expanded with the accompanying headphone amplifiers and a tracking system (which was still in the development stage). As this is an addition to an existing system (a mixing console is still required and is not replaced by the system), an infrastructure (mixer/pre-amps/dsp) is required. In the smallest version, users will require a KLANG:vier (hardware, RRP: 2,390. excl. VAT) and a computer or ipad to control and operate the system (software). The system can be extended or combined with one or more KLANG:fabrik systems (RPP 4,290. excl. VAT). Currently still in the test phase is the KLANG:vektor, a tracking system, which recognises both the artist s position as well as viewing direction and adjusts the mix accordingly in real time. Thus, the in-ear sound should always comply with the sound, which is actually currently produced on stage. For the wired in-ear connection KLANG:technologies offers its headphone amplifier KLANG:quelle hat accommodates four high-quality headphone amps either in a or in a 19" format (RPP: 990.- / 1,190.- excl. VAT) and is also connected via Dante. KLANG:technologies sees its system in touring setups or at larger events as a 3D processor in connection 4 PRODUCTION PARTNER 09/2016
KLANG:fabrik The largest system version: Two PSUs, Dante I/O, network, wordclock I/O, ADAT I/O, zero-latency inputs, eight analogue outputs KLANG:vier The small brother: four headphone outputs on the front side, single PSU, DANTE I/O, ADAT-In, network, wordclock out and four analogue outputs on the rear side. with a monitor engineer as well as in a touring band s splitter racks or in a musical s orchestra pit, where the musicians have to mix their own in-ear sound. KLANG:fabrik The heart of the system is the KLANG:fabrik, which supplies between three (with 56 inputs) and twelve musicians (with 16 inputs) with 3D stereo in-ear sound. The number of possible mixes depends on the number of input channels used. Users can currently integrate KLANG:fabrik into existing systems via Dante and ADAT if more mixes are needed in the respective configuration, the system is also scalable. Currently, the possibility of a MADI connection is under development. The output can take place both back onto the Dante stream or onto the eight analogue line outputs on the rear side of the device. Number of Inputs Available (stereo) mixes 56 3 48 4 40 5 32 6 28 7 24 8 22 9 20 10 18 11 16 12 KLANG:vier In comparison to the KLANG:fabrik, KLANG:vier offers the possibility of placing 24 inputs on five (stereo) mixes in one RU. Additionally, KLANG:vier features four headphone outputs on the front side, which for example can be directly used for hearing tests with their impedance being optimised for the use with in-ears. Furthermore, KLANG:vier can be deployed as a KLANG:fabrik extension, offering five additional mixes. For the connection to further systems additionally to the headphone outputs on the front panel a Dante as well as a DB25 connection are available on the rear side. App to monitor and control With the KLANG:app the complete hardware can be remotely controlled via ipad/wlan. The ios software for this purpose is available for free in the app store. KLANG:technologies offers Windows PC, Android and Mac versions on its website. To operate the KLANG:app, different modes are available: the administrator mode offers access to all of the device s parameters. The technician mode offers access to all mixes as well as the most important parameters while in the musician mode users can merely edit a predefined mix. Additionally to system configuration and mix creation, users can also use the app to logically group and order inputs. The KLANG:app also offers the possibility of pre-listening with one s own in-ears without the system s hardware unit using the integrated demo mode. A KLANG:fabrik s configuration options PRODUCTION PARTNER 09/2016 5
Product and company names and logos that appear in this document are trademarks of their respective owners. Monitor console 20ch pre-fader 2ch CUE & MIX 10 8ch MIX 5 8 8 ch CUE MIX10 CUE mode 4ch MIX 9 10 MIX 1 4 MIX 5 8 MIX 9 10 4 ch Connection Example Touring Setup:
Connection Example Club Concert Setup: MIX 1 MIX 3 MIX 4 MIX 5 (CUE) FoH console 2ch CUE & MIX 5 24ch post-fader MIX 02