Following the resounding success of the inaugural Viennese Journey into Direct Sound, we were privileged to host the pro audio roadshow, which was also held last year and for the first time in Amsterdam.
This show offered a unique nexus for engaging with the forefront of the professional audio industry, providing an unparalleled opportunity to learn from leading experts and gain practical experience with the technologies defining the future of sonic landscapes for film.
For one day, Vienna became the focal point of audio innovation in the cinematic arts.
Attendees had the opportunity to immerse themselves in cutting-edge professional audio technologies, offering both seasoned professionals and budding novices the opportunity to observe the evolution of sound technology up close.
It was an interactive deep dive into the art and science of location sound, featuring the presence of world-leading brands (from Austrian Audio to Zaxcom). Whereas esteemed experts in their respective fields eagerly showcased their latest advancements and engaged directly with end users. Exclusive masterclasses were led by industry luminaries, such as Benny Breuning (DPA), Daniel Jäger (Wisycom), David Walter (Audio Technica), Florian Gundert (Schoeps), Jonáš Gruska (co-founder of LOM).
These masterclasses were complemented by an impressive array of equipment. Envision a space where the most innovative microphones, recorders, and other state of the art tools were not simply displayed, but readily available for hands-on exploration. In particular, field recording solutions for recording sound, electromagnetic fields, and vibrations were presented. As well as dedicated audio tools and last but not least a boom microphone driven recording strategy seeking a raw flow cinema was food for thoughts. For a cinema uplifted by humans and captured by masters in psychophysiological coherency.
Far beyond a simple meeting of audio tech leaders, this event cultivated a surprisingly warm and convivial atmosphere, underscoring the bond and grace between these industry figureheads. Besides that, the Austrian sound association FTA invited Yves Marie Omnes again, for a panel moderated by Jakob Mäsel focussing on the futur of the Cantar. To avoid stressing out the event, the masterclass about “Psycho-physiological coherence in direct sound”, by William Edouard Franck – who organized that event – had to be skipped to the 2025 iteration of “Viennese journey into direct sound” … meant to take place in the same location… End of this year.
A powerful, sensitive and utterly innovative booming dance performance, designed by Genet Glass and Les funambules du son direct, wrapped the day. This choreography pushed the known boundaries of the booming art, challenged the status of professional boom operating and surprised almost everybody. Through its dynamic motion and synchronized interplay via an unspoken communication, the skilled boom operation masterfully wove drama with a fresh exploration of raw emotions… That still resonates and lingers long after the curtain fell.
It has to be said that this event was made possible thanks to the dedicated efforts of the Wiener Film Academies students and crew, with special recognition to Karin Macher, Christopher Stallybrass, and Ewald Grabenbauer.
But there was another thrilling event, just the day before: an intimate meeting of dedicated students with Philippe Chenevez (CINELA) and Günter Knon (Ambient Recording). A unique energy emanated from these workshops—a blend of youthful enthusiasm and the quiet authority of true masters. This was no ordinary lecture hall; it was a melting pot where the next generation of sound engineers and mike operators had the rare opportunity to learn directly from the luminaries of their field.
One moment, the inventor of a revolutionary microphone suspension system (Philippe) was explaining the physics of vibration damping and delving into the (basic) principles of thermodynamics and fluid dynamics that arise from air movement and energy transfer around microphones.
The next, a seasoned sound engineer (Günter) was demonstrating the subtle techniques of sound recording on a bustled set. Günter gave us insights into a life of applied research, both in the field and through developments he made in his Munich atelier. He told us about sound recordings in a wide variety of situations, from documentaries to hidden camera shows, the advancement of timecode, and, last but not least, the development of perhaps the most stable booms the world has ever seen. Not to mention the techniques of microphone placement and the subtle art of miking. You haven’t heard of Günter yet? We met him, one of the most humble stars in the industry.
Philippe on the other hand is famous. The demonstration and introduction to the complex design of his microphone baskets was led by the very person who has shaped the soundscape of countless films. How come there is such a hype about Cinela, by the way? The visual signature of film sets often features one or more boom poles with this particular basket design. But when we consider the art of capturing direct sound, and if we think of the microphone as central to that art, then the windshield truly plays a crucial role – it can either enable or significantly limit the artistic possibilities.
Seeing these legends share their knowledge with students, the aspiring professionals, was deeply inspiring. What impressed most was the passion that shone through. Innovative solutions and the crucial interplay of technical skill and artistic sensibility that are destined to shape the world of original sound. For the students, this was not just a workshop; it was an invaluable immersion, a chance to internalize not only knowledge but also the ethos of excellence.
Text: William Edouard Franck, Senior Lecturer (Direct Sound)
Fotos: Ewald Grabenbauer, William Edouard Franck
