Alex Schloesser (pictured) won’t be unfamiliar to PSNE readers. He’s been a sound engineer, audio consultant, sound designer and system engineer; he reckons he’s worked on 12,000 TV shows as a broadcast engineer for various German stations, and has toured nationally and internationally with bands including US-5, Heaven & Hell. He was also chosen to be trained on Apogee Sound Correqt system in 1991 (remember that?) and went on to bring Adamson Systems Engineering loudspeakers to Europe in 1992.
Schloesser has undertaken consulting work in the Middle East since 2002 and has been involved in international distribution for various products since 2005.
He was most recently interviewed in PSNE in 2008 working alongside EM Acoustics, which is still ongoing. We caught up with him at Prolight + Sound, where he was representing Real Sound Lab and the intriguing CONEQ system.
PSNE: Alex, you’ve been a busy man…
AS: “We’ve seen a year of big developments here. It has been a long haul, but we’ve pulled it off in the end.”
“I took on the job of director of sales and marketing in June 2008. One year later, I was asked to get involved more in the development and to lead the pro-audio division. Subsequently, I became director of pro audio in August of 2009. Ever since, I have been working on bringing new products to the market and making them what they are.
“Real Sound Lab, using CONEQ technology, has now established itself with its unique solution for acoustic power measurement and correction. We are currently the only company offering a complete solution for [this]. During Prolight + Sound 2010 in Frankfurt we showed three new pieces of software, CONEQ DEMO V1.3.2, CONEQ STARTER and CONEQ WORKSHOP 3 for Pro Audio and one new hardware tool, the APEQ-8pro DIO, 8-Channel FIR Box.
“Measuring the acoustic power instead of the SPL is a profound difference in the approach of evaluating any acoustic system.”
So what has changed at Real Sound Lab?
“Real Sound Lab started out in December 2004 as an R&D company, but with the growing interest in the technology, it’s been necessary to adjust the portfolio, and our products, accordingly. To appeal to a much wider market, we’ve added a simpler user interface and now offer a wider variety of products for different applications. We have taken the technology from the laboratory – the one in the company name, in fact – to the marketplace, and now we are as much a software and hardware company as we are an R&D entity. That required some serious development and a bit of a learning curve.
“Now we have a low-cost measurement and correction tool, which fits
into any musician’s budget; but we can also work on large-scale installations too. We’re covering quite a slice of the market here.”
You’ve encouraged an overhaul and a realignment of the company’s aims.
“We have a new and far more interactive website, where interfacing with clients and users is much easier. Our company graphics and designs have undergone a complete makeover, and our new hardware has undergone a very nice facelift.
“On the software side, we have created a bunch of new features for our CONEQ WORKSHOP and we have tried to make the workflow and process as easy and convenient as possible. Our software now is as easy to operate as anyone else’s, but nobody else can do acoustic power measurement.”
You’ve had to learn a lot pretty quickly in this role.
“And there is no end to it! On top of all this, we still brainstorm a lot on what we need to add now and in the future, so we can stay ahead of a competition which, well, currently does not even exist. [Laughs] It’s quite funny to watch how others attempt to determine acoustic power with their software solutions… It feels good! We have plenty of ideas and a lot of irons in the fire. We have made it as simple and easy as possible to work with our solution, and now is the time for us to spread the word.”
And how are you doing that?
“Licensing! We have seen some names coming on board and there are more to come. Our website will tell you the latest developments in this department. Real Sound Lab will be seen in consumer electronics as a solution, as well as on the production side in studios and cinemas.
“We have signed licensing contracts with a number of manufacturers of HD plasma screens which are equipped with our technology, such as Panasonic, Hitachi, KVC Kenwood and others, and we are working on other licensing fields as well. There is a lot of ‘bad audio’ out there, so we have plenty of jobs to do.
“CONEQ has the huge potential to become a new standard at a very high-quality level, both on the production side as well as on the reproduction side of anything audio-related. We see and learn new applications every day and that by itself is a very good sign of how versatile and powerful this technology is.”