Yellow Technology


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Magma ExpressBox 3T

15 November 2013 in System Expansion

The Magma ExpressBox 3T provides three full-length PCIe slots in a small desktop enclosure with a pair of Thunderbolt ports…

Yellow Technology GrandStand

27 November 2014 in Integration Hardware

After many years of having to make do with what the market had to offer in terms of loudspeaker stands,…


04 March 2014 in Loudspeakers

We have long considered ADAM to make the best ribbon-tweeter based studio monitors available. Their S3A was a real favourite…

George Fenton

02 October 2013 in Composers, Writers and Arrangers

George has been a client of Yellow Technology since 2003.  In 2007 we consulted on and built a new studio…

Simon Russell

12 September 2013 in Composers, Writers and Arrangers

Simon was one of Yellow Technology's very first clients, having been recommended through our work with the Chapell Recorded Music…

David Poore

01 October 2013 in Composers, Writers and Arrangers

We started work with David in 2009, consulting on the refurbishment of his Bristol-based studio. This included the design and…

VSL Vienna Special Edition

20 June 2013 in Sample Libraries

Vienna Symphonic Library's Special Edition series aims to bring the most useful contents of the extensive Symphonic Cube library into the reach of mere…

Audient ASP008

20 June 2013 in Microphone Preamplifiers

The Audient ASP008 is an 8-channel microphone preamp with optional analog-to-digital conversion. The ASP008 takes the preamps from Audient's ASP8024…

RME Fireface UFX

02 July 2012 in Audio Interfaces

The RME Fireface UFX is a FireWire and USB audio interface supporting up to 30 channels of I/O, comprising 12…


20 June 2013 in Loudspeakers

The SCM50 has long been the mid-field monitor of choice for many audio professionals across the world. Over the years…


20 June 2013 in Loudspeakers

A number of ADAM loudspeakers have formed part of our product portfolio for many years now. ADAM have managed to…

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Thursday, 27 November 2014 18:24

Yellow Technology GrandStand

After many years of having to make do with what the market had to offer in terms of loudspeaker stands, we decided it was time to design our own.  And so the GrandStand was born.

There were several key features we knew we wanted to incorporate into the design:

  • Rigidity: The stands needed to be rigid and robust enough to support all but the largest of loudspeakers without flinching.  The most important thing about a loudspeaker stand is that it doesn't move with the loudspeaker.  The GrandStand is heavy duty, to put it mildly.  The sealed base is filled with stand, supporting the main section, whose chunky construction ensures there is no movement;
  • Acoustically Isolated: The stands shouldn't resonate with the loudspeakers nor draw energy away from them.  The top plate of the GrandStand is decoupled from the rest of the stand with industrial isolating turrets, ensuring that the loudspekaer is acoustically isolated from the column of the stand;
  • Height Adjustable: Studios and those who operate them are not uniform, so it's difficult to choose a stand height that fits all.  The GrandStand is adjustable in small steps from 885mm to 1270mm, with fine adjustment using the industrial levelling feet;
  • Tilt Adjustable: So often we've been in a position of having to position loudspeakers higher than is ideal due to various obstructions.  The GrandStand has two tilt angles - 5º and 10º - to allow a suitable height whilst maintaining the appropriate directionality.

The result is a loudspeaker stand that not only supports your loudspeaker in the position you need it, but also allows it to perform to its maximum potential.  You may be amazed at what a difference the GrandStand makes to the sound coming from your loudspeakers.

Tuesday, 04 March 2014 17:25


We have long considered ADAM to make the best ribbon-tweeter based studio monitors available. Their S3A was a real favourite among our clients, particularly composers and producers, combining unparalleled quality of high-frequency detail with a really responsive low end. Since the discontinuation of the S3A, ADAM have offered the S3X-H, S3X-V and A77X as alternatives, the latter being the most popular among our client base.

The A77X utilises the proprietary X-ART ribbon tweeter, found in all other current ADAM professional monitors. The reproduction of high frequencies is exceptionally revealing and precise. This detail gives the listener a real sense of space, making listening an absorbing, but by no means artificial experience. As noted in our other ADAM articles, high-frequency precision can throw up a few surprises! We’ve noted countless imperfections on recordings we’d previously trusted as near perfect when re-listening on ADAMs, but for most this should only make a good recording/mix even more rewarding. However, there’s also an argument that such an impressive, immersive top end can distract the ears from the potentially more-critical midrange.

There is a healthy low-frequency extension which feels more responsive than that of other monitors of a similar size. Like many of the other speakers in the ADAM range, the midrange of the A77X divides opinion even amongst our own team! Certainly the upper-mid range feels considerably less revealing than with the a number of alternatives of a similar size and one’s attention may not be so readily drawn to an overly busy area of a mix.

The A77X is actually considerably less expensive than the similar sized S3X-H and S3X-V, however we have found it to be the preferred model amongst many of our clients, and in many cases the price has not been a deciding factor. There have been a number of cases of lovers of the old S3As purchasing A77Xs for additional rooms rather than S3Xs.

Friday, 15 November 2013 18:00

Magma ExpressBox 3T

The Magma ExpressBox 3T provides three full-length PCIe slots in a small desktop enclosure with a pair of Thunderbolt ports for connection to Thunderbolt-equipped CPUs, such as the Apple iMac, MacBook Pro and the new Mac Pro, expected in December 2013.  There are also various PC motherboards available that can support Thunderbolt, but this solution is rather more pressing for the Apple community, now that Apple no longer produce a CPU with PCIe slots. 

This unit is particularly relevant to the audio industry, where the Mac operating system prevails and where key technologies, such as Pro Tools HDX, still rely heavily on PCIe-based processing cards.

The EB3T is simple and foolproof.  It suffers from none of the troubles that accompanied expansion chassis in the past and provides a simple and stable solution to allow you to partner your PCIe-based hardware with your Thunderbolt CPU.  Cards are installed simply and once you're connected to your computer you will notice no difference from having built-in card slots.

Whilst the EB3T is a desktop unit, it is cooled with fans, so care should be taken when siting the unit.  Although it is relatively quiet and the main card fan can be adjusted through jumper settings, depending on which cards you have installed, there is an additional power supply fan (seen on the back panel) whose hum may be unacceptable in some environments.  Should this be an issue, we are able to supply copper-based Thunderbolt cables up to 3m in length and optical-based cables up to 30m in length, in order that the unit can be sited remotely.

This Magma EB3T is a well-engineered expansion chassis and the best solution for using PCIe cards with Apple computers.

In the video below, we demonstrate the use of this product with a 2013 iMac and an Avid Pro Tools HDX system.



Wednesday, 02 October 2013 13:37

George Fenton

George has been a client of Yellow Technology since 2003.  In 2007 we consulted on and built a new studio at George's new London home and then in 2013 George called upon our services again to rebuild his farm studio in Berkshire.  We provide George with on-going maintenance and support through a Performance Plan.

Best known for his work in film and television, George Fenton is one of the UK’s most successful composers, writing scores for over 100 films and collaborating with some of the most influential filmmakers. In 1990 he composed the score for the BBC Natural History series, Trials of Life, his first collaboration with Alastair Fothergill and the start of a creative relationship that has spanned over 20 years culminating in the Earth Trilogy: The Blue Planet, Planet Earth and Frozen Planet. This trilogy has changed the face of natural history filmmaking bringing the wonders of the planet to mass audiences worldwide.

Fenton’s score matched the ambition of these series, masterfully using music to underscore the stories unfolding on screen. Following the success of The Blue Planet, for which he won Ivor Novello, BAFTA and Emmy awards for Best Television Score, Fenton created the show The Blue Planet in Concert, which has been performed by the world’s leading orchestras. Due to its international success, Fenton was then asked to create Planet Earth in Concert, which toured America in 2010, and the UK in September 2012. Frozen Planet in Concert completes the trilogy and premiered at the Hollywood Bowl in Los Angeles in July 2012 to rave reviews and sell out audiences. The show is now on a worldwide tour having been to Osaka, Tokyo, Melbourne, Shanghai and Amsterdam where it played to 20,000 people.   Over the next year all three shows will perform in cities across Europe, America and Asia.

Alongside his work in natural history Fenton has continued to compose for theatre and film. Recent projects include the soundtrack for Terry Gilliam’s latest sci-fi film Zero Theorem and he is currently working on Ken Loach’s new film Jimmy’s Hall and the new Disney Nature Film, Bears due for release in 2014.

Throughout his career Fenton’s work has been recognised with numerous awards, receiving 5 Oscar nominations, multiple Ivor Novello, BAFTA and Emmy awards; a Classical Brit; the Nina Rota award at Venice; a Lifetime Achievement award from the Royal Television Society and a Fellowship of The Royal College of Music and BASCA.

Tuesday, 01 October 2013 19:48

David Poore

We started work with David in 2009, consulting on the refurbishment of his Bristol-based studio. This included the design and installation of custom workstation furniture and studio wiring to accommodate the addition of a new mixing console and headphone monitoring solution. Since then, along with the ongoing maintenance of the system, we've worked with David to grow the studio to suit the changing demands of his work, including upgrades to 5.1 surround monitoring, and acoustic consultation and treatment.

David is an Emmy and RTS Award nominated composer who has written music for over 200 productions for the BBC, ITV and Channel 4, as well as many international channels including PBS, Discovery, National Geographic and Disney. 

From the flagship Sir David Attenborough series Life In Cold Blood and Life In The Undergrowth to the Springwatch Theme, Channel 4's Grand Designs, and feature film drama Frail, David's scores are continually in demand, in the UK and around the world.

Whether working with a full orchestra, groups of folk and indigenous instruments or simply a solo instrument or voice, what is important to David is crafting a score that enhances the images and the storyline without intruding. For David, writing good screen music means understanding the difference between featured and incidental music – sensing when to augment the on-screen action and when to give it space.

Inspired by his musical experiences at Wells Cathedral School, as a choral scholar in the Cathedral choir also orchestral percussionist and kit drummer, then going on to study jazz, David's early musical compositions led to commissions from documentary makers at the BBC Natural History Unit while he was working as a sound designer and dubbing mixer with Bristol based TV post-production studios Films At 59. Through these early productions he became a regular screen composer not only for the BBC but also many independent producers.

In 1989 after studying at Newport Film School, David joined Bristol based Films At 59 as a sound designer and dubbing mixer. His musical background, combined with his experience in mixing music within soundtracks led to compositional commissions for the BBC including the film The Price Of Peace revealing the aftermath of the first Gulf War.

Further commissions followed immediately, and in 1992 David began working as a full-time independent composer. From his studio in Bristol he has since worked continually, composing and producing music for films broadcast on all major global networks.

Thursday, 12 September 2013 18:11

Simon Russell

Simon was one of Yellow Technology's very first clients, having been recommended through our work with the Chapell Recorded Music Library.  We have worked with Simon and his brother, Mark, ever since, providing technical assistance as required and building and moving studios.  Back in 2006, we helped to build Simon's current studio, providing equipment, furniture, wiring and acoustic consultation, and Simon continues to work in this studio today, albeit following several upgrades and enhancements along the way.

Simon Russell is a London-based musician and composer, who has worked on numerous award-winning films and documentaries, including Havana Marking's Afghan Star (2 Sundance Awards, Grierson Award 2009, Prix Italia), Baroque; From St Peter's to St Paul's (winner of the Royal Television Society Award 2009 for best arts documentary series) and Pussy Riot - A Punk Prayer (Suncance Award).  He is also responsible for the music behind Aardman Animation's Canimals, currently televised globally.

Simon plays a wide range of instruments, including lap steel, banjo, theremin, ukulele, tin-tone guitar, mandolin, omnichord, dulcimer, keyboards, zither, shamisen and double bass.

Thursday, 20 June 2013 17:44

Work In Progress

Thursday, 13 June 2013 20:08

Studio Furniture

We design and manufacture technical furniture for audio systems.  Our furniture is built for purpose and our design philosophy is that, first and foremost, your furniture needs to provide the functionality that your systems require. 

Thursday, 13 June 2013 20:07

Support and Maintenance

Support and maintenance is a key part of what we do and the services we offer in this area are unique.  Whilst our services are aimed specifically at the professional audio user, we provide support in many technological areas to many different industries.  Audio technology systems present so many different technological challenges that our expertise is transferable.

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