2010-04-28
KLEIN + HUMMEL Monitors Blanket Canada
(traduction à venir) Toronto, Canada, April 2010 -
CTV, the most popular television network in Canada, delivers a
wide-ranging mix of programming to its demanding viewers. While some of
its content, prime-time and otherwise, originates south of the border,
such as the hits Law & Order and CSI, a greater share is homegrown.
Dramas such as Degrassi: The Next Generation and Flashpoint join
Canadian-made television movies, in a smorgasbord of entertainment
programming. The morning's Canada AM and the evening's CTV National News
deliver information-based content, supplemented by news magazine
programs W-Five and the politically-focused Question Period. To maintain
its high production standards and to standardize across its many
facilities, the network will be relying on over four hundred Klein +
Hummel studio reference monitors for nearly every stage in its
production process.
The large purchase of K+H monitors came in
anticipation of the Winter Games in Vancouver, as CTV, together with
Rogers Media, outfitted the international broadcast center. "We had a
huge number of television production control rooms to fill," explained
Robert Miles, manager audio and communications engineering for CTV. "And
while the speakers were used initially in Vancouver, the reason CTV
purchased them was that they intend to standardize their broadcast
studios throughout Canada replacing the existing monitors."
Interestingly, another one-hundred-fifty Klein + Hummel monitors had
joined CTV in 2006 when the broadcaster purchased CHUM, a network that
had already switched over to those monitors.
CTV operated seven
production control rooms in Vancouver that used stereo pairs of either
Klein + Hummel O 300s or O 110 monitors. Both units feature active
design, the O 300 with three transducers and the O 110 with two. Audio
production control rooms used a 5.1 array, with three O 110s in front,
an O 810 subwoofer, and either two O 110s or two M 52s in the rear. The M
52 is a single-driver control monitor with a remarkably flat frequency
response and a compact housing.
Avid editing suites used for the
Winter Games duplicated the setup mentioned above. "For those editors
who were new to mixing in surround, the M 52s made it easy," said Miles.
"They provided great rear field coverage without intimidation." In
addition, CTV had several dozen additional M 52s and M 52Ds (which
feature a digital input) for miscellaneous use throughout the production
environment.
"My background is in TV production, not music
production," noted Miles. "I think there is less predictability with
regard to the final playback medium in television. Some people will
watch on a finely tuned, multi-thousand dollar home entertainment system
while others will watch the exact same program on a small TV tucked
between the blender and the coffee maker on the kitchen counter. The
audio that we produce at CTV has to translate in both of these
environments - and everything in between. These monitors have what I
would describe as a 'simple' sound. I don't really hear the speaker,
just the program material."
He continued, "I'm also impressed by
how robust the K+H monitors are to room conditions. I first heard them
in their showroom in Germany, which is remarkably realistic. There are
desks around, as there would be in a "real" studio environment and the
room treatments are modest, again, as they would be in a "real" world
situation. The speakers sounded great in the showroom, and are very
consistently transparent across the range, from the O 300 to the O 110
and even to the M 52. During our setup for the Winter Games, we used a
number of simple drywall rooms for our editing and audio production
suites. Even before we put up some simple acoustical panels to cut down
on flutters, they sounded way better than I could have possibly hoped."
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(Photo Caption) Howard Baggley, CTV-RDS
Senior Audio Operator at the Winter Games in Vancouver.
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