The Canadian television network CTV, which delivers a wide-ranging mix of programming to its viewers including many homegrown hits and informative news programming, has upgraded its monitoring environment acros the board.
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 Paul Sellers, manager of audio operations and technologies for CTV Television Inc.
“And while the speakers were used initially in Vancouver, we intend to use them for the 2012 Summer Games in London and other major events throughout Canada.” ”
Also, 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.
“My background is in TV production, not music production,” noted Robert Miles, audio and communications engineering manager, CTV/Rogers Consortium. “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.”