Archive for September, 2013

COUNTRYMAN EMW OMNIDIRECTIONAL LAVALIER MICS PROVE VITAL TO HEALTHCARE PANEL DISCUSSION

**** Photo: Ty Ford ****

Baltimore, MD – October 2013… As anyone involved in location sound can attest, you’re only as good as your last project. Hence, there is no room for failure in this business. So how do you ensure exceptional audio in a small space with multiple open mics and no chance to fix in post? Such was the case for a recent studio shoot held at BlueRock Productions in Baltimore for an online peer exchange among a community of oncologists. The event consisted of five doctors who were actively engaged in a constructive and lively discussion about the current state of cancer pharmacology. The ability to ensure clean, clear dialog was essential on this project and, to meet this requirement, EMW Omnidirectional Lavalier microphones from Menlo Park, CA-based Countryman Associates were placed into service. more

No Compromise Wireless Audio: Sennheiser Digital 9000 System On Tour with Jonas Productions

Specialty Audio Company With Offices Around the World Take Sennheiser’s Most Advanced Wireless Audio System on the Road, to the Delight of Artists, Fans

Old Lyme, Conn. – September 30, 2013 – Jonas Productions, Inc. is a specialty audio and backline services company with a primary focus on backline. The company, which has offices in Indianapolis, Las Vegas and Sydney Australia, recently adopted the groundbreaking Digital 9000 — Sennheiser’s ‘no compromise’ wireless system that was introduced at last year’s IBC after having been under development for more than ten years. Jonas Productions is a longtime user of Sennheiser and handles production Harry Connick, Jr. and many major music festivals in the U.S., Canada, Mexico, Caribbean and Australia.

Once the Digital 9000 was introduced in the fall of last year, owner Ted Jonas was among the first to express interest in the new system: “We were making a large purchase and upgrading some of our Sennheiser G2 wireless units,” he recalls. “We always try to stay on the cutting edge of technology with what’s new, and we knew the Harry Connick Jr. tour was coming up. We were so pleased with the system that we ended up purchas-ing quite a few of the Sennheiser SKM 5200 handheld transmitters as well as the Digital 9000 system itself.”

The Sennheiser Digital 9000 features completely uncompressed audio, artifact free wireless performance and superb dynamics while making frequency coordination nearly effortless. These features have made it a top consideration for many high-end appli-cations in broadcast, on Broadway and of course in live performance environments.

For Jonas Productions, the timing was right to upgrade to a world class, state of the art wireless system. “The product was available and the system itself was really impressive,” says Jonas. There are many considerations that go into such an investment, not the least of which is flexibility and long-term viability. “You want to make sure that the system is both expandable and flexible, and that the expected longevity of the product is there so you can realize your investment,” Jonas explains. “Since the Digital 9000 works in almost any situation, be it film, broadcast or special events, it seemed like the right investment to make — especially with the RF environment getting as busy as it is.”

For Jonas Productions, the ultimate measure of any investment comes back to the cus-tomer. “We want to be able to provide the best possible service,” Jonas says. “Competi-tion is really tough in the marketplace, and if you can offer something that is better than anything else, it gives you an edge. As an audio manufacturer, Sennheiser has always been able to do that.”

The Sennheiser Digital 9000 — Taking Wireless into the Digital World

The Sennheiser Digital 9000 enables users to keep the audio signal entirely within the digital domain, from the microphone all the way to the speaker. On its touring operation with Harry Connick, Jr., Jonas Productions is using the Digital 9000 in conjunction with a Midas digital console. “We use the Midas interface right out of the Digital 9000, and main-tain a digital signal right from the microphone itself all the way to the speaker box,” Jonas explains. “And we can have the digital split to monitors and front of house. As far as I know, that’s something that nobody else can do.”

Since Jonas Productions has operations in different regions of the world, the company also appreciates the modular flexibility of the Digital 9000 as frequency requirements change country to country: “If we are traveling overseas where there are other frequency regulations, we can maintain the same EM 9046 receiver unit – racked and ready to go at any time – and just grab the appropriate transmitters and antenna boosters to comply with local regulations.”

Perhaps the most important feature of the Digital 9000 is its sound, which is noticeable to both fans and artists alike: “When we graduated to the Digital 9000, we didn’t tell Harry that we were going to make a switch,” recalls Jonas. “He walked up, sang a few verses, stopped almost immediately and asked me, ‘What’s up? This sounds really good.’ I told him we upgraded our wireless system and he noticed right off the bat that there was something different.”

Jonas says that the Digital 9000 has also helped simplify the overall touring set up, which translates to time efficiency: “When we find a product that fits nicely into our workflow, like the Digital 9000, we have fewer things to worry about — it’s a cleaner package. As a small example, the rechargeable battery solution on the Digital 9000 saves a huge amount of money, not to mention it is also helping the environment,” he says.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the com-pany with numerous awards and accolades including an Emmy, a Grammy, and the Sci-entific and Engineering Award of the Academy of Motion Picture Arts and Sciences.You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Captions:
1) Josh Sprague, Ted Jonas and Chuck Smith of Jonas Productions, Inc.
2) Sennheiser Digital 9000 Wireless product spotlight
3) The Sennheiser Digital 9000 rack

Clear-Com Tempest Line Extender Wins “STAR” Award from Editors of TV Technology Europe

ALAMEDA, CA, SEPTEMBER 30, 2013 – Clear-Com® is pleased to announce that its Tempest CCT-RT-EX Remote Line Extender is the recipient of a prestigious 2013 STAR Award (Superior Technology Award Recipient), which was presented by the editorial staff of TV Technology Europe magazine at the 2013 IBC convention in Amsterdam.

The STAR Award is designed to celebrate and showcase technological innovations available to the broadcast industry. TV Technology Europe’s editor reviewed a variety of products, examined the technical applications and their overall contribution to the industry, and then chose 25 winners.

“STAR Awards are given to interesting new products that help a user save money or accomplish a task in an easier way,” says Mark Hallinger, Editor of TV Technology Europe. “This year in particular we also looked for smaller incremental improvements in established products, as these improvements generally reflect a manufacturer responding to customer input, a laudable thing. The products selected help advance the industry; some were chosen because of technical novelty or innovation, some because they filled an important gap in the production or transmission chain, and others because they were just cool products.”

Shown for the first time at IBC, the new Tempest CCT-RT-EX Remote Transceiver Line Extender is used to increase the maximum distance between a Tempest BaseStation and the Remote Antenna Transceiver. The CCT-RT-EX expands the distance of a BaseStation signal to a remote antenna by as much as 914 meters (3,000 feet) with one Line Extender or 609 meters (2,000 feet) per Line Extender if using more than one Line Extender. A total of three Line Extenders can be connected to provide total coverage of up to 2286 meters (7,500 feet). These solutions further enhance the system’s application for users requiring ultra-portable wireless communications in RF-rich environments.

“We are extremely proud to be recognized by TV Technology Europe, a prestigious industry publication, for this innovative product for the professional broadcast industry,” says Judy Cheng, Director of Global Marketing, Clear-Com. “The CCT-RT-EX Line Extender provides the extra coverage required, particularly on large productions to ensure that critical directives are heard regardless of location in a venue/facility. As the only intercom-focused product honored in this year’s awards program, Clear-Com is excited to continue to be recognized for its efforts to be at the forefront of providing cutting-edge intercom technology”

About TV Technology Europe
TV Technology Europe is the region’s leading magazine for broadcast technology. The magazine is published by NewBay Media. See www.nbmedia.com.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

Digital 9000 – Sennheiser’s Digital Wireless System Makes Waves in Its First Year

Old Lyme, CT, September 26, 2013 – Launched at last year’s IBC, Sennheiser’s Digital 9000 wireless system has since become an integral part of the broadcasting, theatre and live audio worlds. The high-end solution is the first digital wireless system that can work without compression, transmitting full HD audio. We take a look back at what we’ve achieved together with our customers in a year of pristine audio transmission. It’s a journey featuring top events such as Eurovision, global superstars like Leona Lewis, renowned theatres, and national broadcasters. And this is only the start…

The Best Sound, the Biggest Broadcast Events:

Praised by engineers and artists alike for its incredible sound, the Digital 9000 system is the perfect solution for music broadcasts. In its first year, Digital 9000 has already powered prestigious shows such as the Eurovision Song Contest and The Voice of Switzerland.

The Voice of Switzerland:
Hit show The Voice of Switzerland was produced by Technology and Production Center Switzerland AG (tpc). With a reputation for staying at the forefront of technology, tpc has created a string of spectacular primetime television shows and events, including its award-winning series of live opera broadcasts. One of the first production companies worldwide to use digital desks and optical fibre networks, tpc was quick to invest in Sennheiser’s Digital 9000 wireless microphone system: the company’s broadcast productions make regular use of its three 8-channel EM 9046 receivers and the associated SKM 9000 handheld and SK 9000 bodypack transmitters.

The Voice of Switzerland was no exception; the show used the full 24 digital channels for the artists plus an additional 16 analogue channels for interviews. With just seven days to prepare the audio – which included the full PA in the venue and managing the broadcast sound in 5.1 and stereo – the show required a seamless blend of technical expertise and teamwork. Audio expert Peter Flückiger of tpc: “We had 160 channels on the main mixer plus an additional 80-channel desk for the band and backing vocals for the broadcast alone. In the venue, we had two FOH desks and a monitor desk for the artists’ IEMs. We also used separate PA systems for speech and music.“

To familiarise their engineers with the digital wireless system, tpc had organised a test run of both the digital and their existing analogue equipment. The exercise revealed the key differences, both in terms of improvements over analogue and the new skills that were demanded.

“You need to have a certain amount of knowledge about digital wireless systems,” explained Peter Flückiger. “They can’t be used exactly the same way as analogue microphone systems. For example, you need to be more careful about interference from LED walls and moving lights. By carefully positioning the antenna systems and by using additional and higher antennas we ensured a super reception in High Definition mode. The reward was great sound – it’s amazing how much sound you can now get out of a wireless system.”

Peter Flückiger: “We used the 9004 capsule for vocals and there was absolutely no handling noise! The sound is transparent, has brilliance, and the sound distortion that is so much a part of analogue systems is no more. It’s quite a revelation: with Digital 9000 I can actually hear what I would be able to hear if no microphone were used.”

“The psychological effect on the artists is immense: when they hear that they sound just fantastic, they become really confident, and that joy and spontaneity carries across to the audience at home, whether they have a 5.1 system or just a small stereo TV set in their living room.”

The 2013 LOGIE Awards, Australia:
The first use of a Digital 9000 system in Australia was at the 2013 LOGIE Awards. The Logies are one of the biggest broadcast events in the Australian TV calendar. As with previous years, the wireless microphones and in-ear monitor systems for the event were all Sennheiser and supplied and operated by SSSH! Audio. There were well over 80 channels of wireless microphone systems and another 18 channels of IEM in use on the Red Carpet, at the awards show itself and on Nine’s Today show the next morning. All of Sennheiser’s top-end wireless microphone systems were deployed, including Digital 9000. Guest artists used SKM 9000 handhelds fitted with a choice of dynamic or condenser capsules from Neumann and Sennheiser. “The Logies get more complex and demanding every year but Digital 9000 was more than a match for everything the event could throw at it,” said Brendan Drinan from SSSH! Audio. “The system sounded fabulous – just like the Sennheiser wired mics. Despite the busy RF environment and the constantly changing procession of guest artists and presenters, everything ran perfectly.“

Digital 9000 at Wimbledon Presentations:
At this year’s Wimbledon Championship men’s final, all eyes were on Andy Murray and Novak Djokovic. With peak viewing figures at 17.3 million, the televised coverage drew the biggest audience since 1990. The feast was not only visual, but aural as well, with Sennheiser’s flagship Digital 9000 wireless microphones used on Centre Court by BBC presenter Sue Barker.

The presentation from Centre Court after the Men’s Final is watched by one of the largest annual global television audiences, and the audio has to be perfect. So when Sennheiser UK suggested specialist audio company RG Jones to try the new 9000 system, they jumped at the chance. RG Jones Sound Engineering is the Club’s sole provider of audio equipment and services and has been working with Wimbledon for almost three decades. As well as providing equipment on hire to the Club, the company also manages the Club’s ever increasing inventory of audio equipment.

RG Jones project manager Tim Speight commented: “By some margin, 9000 was the very best sounding radio mic system I have ever used, it really is as good as they say! We only need two channels for The Championships – a main and a backup – so we didn’t really explore the multi-channel flexibility of the 9000 system. We did, however, make use of the multiple audio output options; we took a signal directly from one output and the BBC picked up an identical signal from another output on the device.

“The requirement for The Championships is to deliver a high-quality and reliable audio signal from the centre of the court. It is only required for approximately 30 minutes across the duration of the tournament, but it is heard by a worldwide television audience. Thank you Sennheiser, the 9000 system did exactly what was required.”

Digital 9000 Took Centre Court at the US Open:
The U.S. Open was the final major Grand Slam tennis tournament of 2013, with a purse of $34 million and an audience of over 700,000 attending between 26 August and 9 September. The tournament traditionally began with the Arthur Ashe Kids’ Day, which was televised by CBS Sports and included a special appearance by the First Lady of the United States, Michelle Obama. In addition to the First Lady, who was introduced by tennis champion Serena Williams and spoke about her “Let’s Move” campaign for young people, Arthur Ashe Kids’ Day featured performances by The Wanted, and Coco Jones.

Audio Incorporated provided the audio infrastructure, which included eight channels of Digital 9000, used together with 12 analogue channels of evolution wireless 300 G3 microphone systems, six channels of evolution wireless 300 IEM G3 in-ear monitors plus Sennheiser ME podium microphones for Ms Obama. “The Sennheiser Digital 9000 system was selected for its robust construction, audio quality, and the ability to provide us with an amount of frequencies that is not available in the analogue world,“ commented Michael Sinclair, VP at Audio Inc.

The Digital 9000 system also supplied flawless wireless audio at the opening ceremony, when dignitaries including New York City Mayor Michael Bloomberg and 39-time Grand Slam winner Billie Jean King delivered opening speeches. The evening also featured a moving rendition of The Star-Spangled Banner, as performed by 11-year old Frenie Acoba, star of Broadway’s hit musical Matilda.

“Considering the importance of this live broadcast event and the difficult RF conditions in New York City, the Sennheiser Digital 9000 series really shone and was the professional system that put everybody at ease,” Sinclair observed. “The quality and reliability of the wireless audio as well as the overall flexibility of the system were absolutely spectacular. The built-in spectrum analyser on the Digital 9000 helped our techs consistently monitor RF signals as they came on line, keeping the audio clean and interference-free for the duration of the event.”

The New First Choice for Broadcasters:
Norway’s TV 2 became the first broadcaster in northern Europe to invest in Digital 9000. TV 2 selected the system in December 2012 after intensively comparing a range of different digital wireless solutions. Martin Mæland, the sound engineer responsible for the wireless systems testing at TV 2 in Oslo: “Our tests began as early as May 2012, but the shootout began in earnest in autumn of that year. We tested the systems in the live broadcasts of God morgen Norge and Ettermiddagen. All digital wireless systems had their own strengths and certain unique features. Our main requirement was that the new system should offer great sound and that we would be able to handle and manage it as easily and intuitively as our existing system. Digital 9000 was the system best able to meet the greatest number of our requirements and expectations. Its sound – both in High Definition and in Long Range mode – had us convinced.“

TV 2 acquired 24 channels of Digital 9000, and installed the system with a special antenna deployment solution developed jointly by Sennheiser Nordic and Sennheiser’s international head office.

Televisa Delivers Outstanding Music Programmes:
Televisa was the first broadcaster in Latin America to opt for Digital 9000. In November 2012, Televisa acquired a 24-channel system which was immediately used for the second season of The Voice Mexico, and later for Teletón, a popular music and entertainment show that raises money for charity and operates – via the Teletón Foundation – more than 20 rehabilitation centres for children and teenagers across Mexico.

Seeing that the system was ideal for their music shows, Televisa expanded it by another eight channels in 2013. For each channel, the broadcaster can choose between bodypack or handheld transmitters. Later this year, Digital 9000 will be used for the third season of The Voice Mexico.

Further Digital 9000 highlight projects include the 2013 Swiss Music Awards, the 2013 PRG Live Entertainment Awards, Anugerah Juara Lagu – Malaysia’s major annual music competition, and the third series of X Factor in Germany, produced at MMC Film & TV Studios, Cologne.

Further production companies and broadcasters using Digital 9000 include Tele Züri, RTS (Radio et Télévision Suisse Romande) and SRG SSR (Schweizerische Radio- und Fernsehgesellschaft) in Switzerland, German broadcaster NDR, which has just expanded its existing 16-channel system by 16 more channels for TV OB applications, Grupo Diez in Mexico, Pro Plus in Slovenia, and France Télévision Nancy, to name but a few.

Taking to the Stage – A Smash Hit in Theatres:

Digital 9000 also proved strong in the theatre world, as can be seen by three recent installations in Finland, open-air events in Switzerland and Germany and pioneering sound design work in the UK.

Transparent HD Sound for Helsinki City Theatre:
In Finland, Petteri Murto and Jonas Næsby of Sennheiser Nordic worked to facilitate the installation of Digital 9000 in three prestigious theatres, one of them being the renowned Helsinki City Theatre.

Founded in 1965, the Helsinki City Theatre (Helsingin Kaupungin–teatteri) is the biggest professional repertoire theatre in Finland. Whether Finnish or foreign drama, comedies, children’s theatre, musicals or performances by its own Helsinki Dance Company – the theatre attracts more than 350,000 spectators a year, putting on around 1,100 performances and 20 new productions annually.

This year, Helsinki City Theatre upgraded its audio system by investing in a 40-channel Digital 9000 solution. Five EM 9046 eight-channel receiver units were combined with 42 SK 9000 bodypack receivers and ten SKM 9000 handheld transmitters with Sennheiser MD 9235 and Neumann KK 204 capsules. These are in use for the main stage with over 900 seats.

Antti Rehtijärvi, Head of Lighting and Sound of the Helsinki City Theatre: “We already started the planning of the new wireless system in late 2011 due to the legislation change with regard to the frequencies for wireless transmissions. At that time Digital 9000 wasn’t ready but we got a chance to view the prototype and it looked really promising. We ended up postponing our project until Digital 9000 was officially released.”

At the beginning of 2013, the system was specified, and towards the end of the summer the installation was finished as part of bigger sound system refurbishment.

“Our first season with the new system has just started,” continues Antti Rehtijärvi. “We are very pleased with the transparent sound that Digital 9000 provides us with, especially in HD mode. The system is a great tool for our demanding musical and drama theatre productions.”

Dear World at Charing Cross Theatre:
An all-star cast came together at the Charing Cross theatre for the London production of Broadway musical, Dear World. Sound designer Mike Walker, a longtime Sennheiser user, saw the production as the ideal way to see how the Digital 9000 system sounded.

“I wanted to try the 9000 series on a production with various vocal ranges, to hear it with excellent singers at the top of their game,” he said. “The show was using fourteen 5000 series systems – EM 1046 with SK 50 transmitters. After a few weeks of letting the show settle and having got used to how it sounded, I switched to the 9000s.“

“I really like the 5000 series – of the existing Sennheiser systems I think it’s the best suited to voices and I’ve been very happy with the quality of audio it delivers,” Mike said. “But the 9000 series completely surpassed it – it’s the best-sounding digital microphone system I’ve heard. Because the audio is so transparent, it highlights the way that compression circuitry in analogue systems affects the dynamic quality of the sound.

“It’s very straightforward to set up and is an excellent amalgamation of technology, engineering and audio quality, the latter being my priority. It far surpassed what I thought it would be capable of. Compared to any other wireless microphone system I’ve heard, it’s quite amazing!”

Dramatically Better Sound for Merrily We Roll Along:
At the Harold Pinter theatre, Sondheim’s Merrily We Roll Along was awarded more five-star reviews than any other West End show in history. Sound designer Gareth Owen had first tried the Digital 9000 system on last winter’s production of Jack and The Beanstalk in Glasgow – the UK’s only arena pantomime – but Sondheim proved a very different challenge.

“The trouble with panto is that there are so many variables regarding how a show sounds, that you can’t always tell whether differences in sound are because of different equipment or other factors,” said Gareth. “Merrily We Roll Along was a really good test for the system because, with Sondheim, the trick is to make the show sound unamplified, but without losing the excitement. You tend to put so much effort into making a Sondheim musical sound natural that it’s easy to make it sound boring.”

Gareth’s aim was to make the show sound ‘cinematic’, without it sounding amplified. To achieve this, the quality of the vocal sound was key. “Initially we tried the 9000 series out on less important characters in chorus, but we were so impressed with it that we moved the principals on to it,” he said. “I knew it worked, the question was how much better was it than other systems? On Merrily, we instantly realised that it’s dramatically better.”

The show featured eight Digital 9000 channels working seamlessly alongside 24 channels of EM 3732-II. “We had no problems at all, it was very reliable and the coverage was good. I also really liked the way the monitoring software was integrated between the two systems,” Gareth said. “The ease of set-up was excellent – the way the system scans, it looks at what else is going on and works out the best frequency to put each unit on. We also often have opening night troubles where television and press turn up and start running other radio systems. There was none of that this time – the 9000’s ability to deal with it was remarkable.”

Switzerland Turns a Whole Village Into a Stage:
In the Swiss monastic village of Einsiedeln, “Das Einsiedler Welttheater” (“World Theatre of Einsiedeln”) celebrated its premiere on 21 June, turning the impressive monastery square into a huge open air stage with 2,700 seats. The play by Tim Krohn is based on a 17th century work by Calderón de la Barca, and describes the individual’s quest for happiness and perfection in a world where medicine promises to cure all physical and mental ailments via genetic manipulation.

300 amateur actors from Einsiedeln were part of “Das Einsiedler Welttheater”, and had committed themselves to be available for the full run of the play until 7 September. Music had an important function too, and was played live at all 41 performances. To ensure that all actors and musicians got heard, Sennheiser Switzerland had deployed a 72-channel RF wireless system with 48 analogue 3000 and 5000 Series systems, including two wireless microphone booms with SKP 3000 plug-on transmitters, and a 24-channel Digital 9000 system for the main actors.

Opera at the Lakeside with “Klassik am See”:
Once a year, the lakeside of idyllic Dechsendorfer Weiher in Germany turns into a fully-fledged open-air opera house. At the end of July 2013, opera enthusiasts enjoyed Verdi’s La Traviata in a semi-dramatised production conducted by Ljubka Biagioni. Alongside various wired MKH condenser microphones for the orchestra, the opera made use of a 14-channel Digital 9000 system for the soloists and hosts. While the hosts of the opera night spoke into SKM 9000 with ME 9005 heads, the soloists of La Traviata were fitted with SK 9000 bodypack transmitters and HSP 4 head-worn mics.

Florian Johann Denzler, tonmeister of the opera production, commented on the sound of the wireless system: “The High Definition mode of the Digital 9000 system ensured a truly crystal-clear transmission. Combined with the transparent and direct sound of the HSP 4 headset mics, the audience was treated to a fantastically pure sound. Also, the HSP 4 mics excelled due to their extremely high feedback rejection, which made it possible for the soloists to act in front of the PA and in the auditorium. This would not have been possible with any other microphone solution.”

Making Live Audio Come Alive:

In its first year, the Digital 9000 has proved itself with some of the world’s top performers.

Benny Ibarra:
Benny Ibarra is the first Latin American artist to switch from a Sennheiser 5000 Series system to Digital 9000. In July, the singer, producer and actor from Mexico City acquired an 8-channel system including three SKM 9000 handheld transmitters with MD 9235 capsules and five SK 9000 bodypacks with instrument cables.

Born into a family of artists, Benny began his musical career with the pop band Timbiriche, and after 11 years, kicked off his solo career with the album Hablame Como La Lluvia in 1992. Since then, he has published ten more albums, many of them winning gold and platinum, and went on to become Mexico’s most popular pop and rock singer.

Benny is currently touring with artist friends Sasha Sokol and Erik Rubin, with whom he has joined forces. The trio released their first album – Primera Fila Sasha Benny Erik – in November 2012. Just one week later, this live recording went gold, soon followed by platinum and finally triple platinum in 2013. On their tour, Sasha, Erik and Benny sing their solo hits as well as shared hit singles such as Cada Beso via SKM 9000 microphones. The tour started in October 2012 and has continued in 2013, wowing fans across Mexico.

Claudia Leitte:
One of Brazil’s biggest stars, Claudia Leitte, brought her unmistakable axé sound to the Montreux Jazz Festival in July. Using a Digital 9000 microphone system, she thrilled the audience in the Auditorium Stravinski with the musical style that originated in Bahia in the 1980s and that quickly spread over the whole of Brazil. In Montreux, she presented some previously unreleased songs from her upcoming DVD, “Axemusic”. Roque Almeida, her monitor engineer, was thrilled by the microphone system: “It was fantastic to have the 9000 system for our concert at the Montreux festival. Claudia was very happy to sing with this excellent microphone.”

Leona Lewis:
British superstar Leona Lewis has become a regular user of Digital 9000, and also used the system on her Glassheart tour in May. Complementing the tour’s audio system, which was supplied by SW19 Productions, Sennheiser UK supplied SR 2050 and EK 2000 in-ear monitors and a Digital 9000 wireless microphone package. The latter comprised ten SKM 9000 handheld microphones with MD 9235 capsules, seven SK 9000 belt packs for guitars and the show’s string quartet, plus a pair of EM 9046 receivers.

The tour’s venues ranged from regional concert halls through London’s Royal Albert Hall to arenas in Birmingham and Liverpool. Despite playing to an ‘Academy’ style seating plan in the arenas, the acoustics were obviously very different in the various venues.

Her FOH engineer Dave Wooster is full of praise for the Digital 9000 wireless system. “The remarkable clarity of the 9000 series means that every gig showed off all that’s great about Leona’s voice. The vocals were truly stunning,” he says. “The string section really showed how the 9000 series bodypacks perfectly captured their character. Having a system that fully and accurately captures the full audio spectrum without affecting the audio needs to be heard by all engineers, the benefits are staggering.”

Depended on by Top Rental Companies:

MM Communications:
The biggest deployment of Digital 9000 systems with a rental company worldwide is with Berlin-based MM Communications. The company owns twelve eight-channel receivers, each of which is available with eight handheld transmitters or eight bodypack transmitters to ensure optimum flexibility for the customers. Their system was also used at the recent Eurovision Song Contest in Malmö, which featured the biggest Digital 9000 system used to date.

“The systems are used wherever highest audio quality is a must,” said MM Communications founder, Markus Müller. “This includes broadcast applications and studio recordings. The fact that the system can transmit encrypted data and is thus tap-proof makes it an ideal choice for my political and industry customers too.”

AED Rent:
AED Rent – with subsidiaries in Belgium, The Netherlands, the United Kingdom, Germany and France – is a total solutions provider, offering its customers a variety of opportunities in the rental, sale and financing of sound, light and video equipment. The company has prestigious projects such as the Olympic Games, various European Football cups and the 2012 Queen’s Jubilee under its belt.

“In 2011, we stocked up on Sennheiser’s analogue systems, which proved to be a great success. Our international customers lost no time in contacting AED Rent for hiring Sennheiser products,” said Piet Verstraete, sound engineer and account manager at AED Rent. “At the end of 2012, we added a 24-channel Digital 9000 system – each receiving channel with a choice of either handheld or bodypack transmitter – to expand our business in the fields of broadcasting and larger theatre productions.”

“Digital 9000 is an extremely promising system and offers excellent audio quality. We have strong faith in Digital 9000’s future, particularly due to the brisk expansion of digital applications in the audio industry. At present, Digital 9000 is the only wireless microphone system with totally digital operation, while possessing all the acoustic qualities that we have learnt to expect from Sennheiser.”

Jonas Productions:
Jonas Productions, Inc. is a specialty audio and backline service company with a primary focus on backline. The company, which has offices in Indianapolis, Las Vegas and Sydney, Australia, is a longtime user of Sennheiser and handles the touring production for Harry Connick jr. and many of the major music festivals in the U.S., Canada, Mexico, Caribbean and Australia. When the company was in the process of expanding their inventory, they also invested in a Digital 9000 system. Ted Jonas: “The timing was right and the system itself was really impressive. Since Digital 9000 works in almost any situation, be it film, broadcast or special events, it seemed like the right investment to make – especially with RF environment getting as busy as it is.”

“Sennheiser products have always given us an edge and have been a reliable tool that you can count on. Competition is really tough in the marketplace, and if you can offer something that is better than anything else, it gives you an edge. As an audio manufacturer, Sennheiser has always been able to do that.”

“One thing that impressed us about Digital 9000 was the ability to keep the entire signal chain in the digital domain: all the way from the mic to the speaker itself. Currently, we use the Midas interface right out of the Digital 9000, and maintain digital right from the microphone itself all the way to the speaker box. And we can still have the digital split to monitor and front of house. As far as I know, that’s something that nobody else can do.”

“Sennheiser has always stood behind its product. When I think of Sennheiser, I think of reliability. From a rental perspective, their products may cost a little more than the competition, but you are always going to earn it back over the long run.”

Further rental companies offering Digital 9000 to their customers include Tapages & Nocturnes, one of the largest rental companies for broadcast and cinema in France, and SONO Studiotechnik GmbH in Germany.

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiser.com.

Photo captions and image information:

Eurovision Song Contest.jpg: The biggest Digital 9000 project in 2013: The Eurovision Song Contest in Malmö used 96 channels of the system (photo credit: ralph@larmann.com)

US Open Arthur Ashe Kids’ Day.jpg: Main Stage in Arthur Ashe Stadium for the Arthur Ashe Kids’ Day on 24 August

Klassik am See.jpg: Opera on the lakeside: the 2013 opera event featured Verdi’s La Traviata with Marta Torbidoni as Violetta (photo credit: Klassik am See 2013, Klassikkultur e.V., copyright: Thomas Langer)

Leona Lewis.jpg: Leona Lewis performing during her Glassheart tour (photo credit: Getty Images)

Ted Jonas.jpg: Ted Jonas, President of Jonas Productions, Inc., Audio and Backline Service with offices in Indianapolis, Las Vegas and Sydney, Australia

Young Drumming Prodigy Owen Bonaventura Makes His Sound Count Measure for Measure with Sennheiser and Neumann

Bonaventura Moves to the Head of the Class with Classic Sennheiser Dynamic Microphones and Neumann KH 120 Nearfield Monitors

Old Lyme, Conn. – September 25, 2013 – If you are a musician and you have not already heard of Owen Bonaventura, you will. A drummer of extraordinary natural talent since he was just 11 years old, his YouTube channel has already received over half a million views by music fans and aspiring drummers who watch him play technically diffi-cult rock tunes note for note — most notably by the progressive rock trio Rush. As his drumming talent continues to develop, Bonaventura is honing his own sound and has turned to Sennheiser and Neumann for his microphone and monitoring solutions.

After a visit to the Winter NAMM show two years ago, Bonaventura’s profile began rising in the music industry and he began putting together a home studio of his own. He says he began feeling a ‘passion for sound’ around this time, when his father gave him a cou-ple of microphones as a Christmas present. “I branched off into mixing and began sculpt-ing my sounds so that I can portray the sound that I hear in my head out to the drums,” he says. It wasn’t long before he gravitated to classic dynamic microphones from Senn-heiser to capture the sounds from his drum kit. “I now use a Sennheiser MD 441 on my snare and have all MD 421s on my toms. All the other mics I tried from other companies had a midrange response that sounded muddy and boxy,’” he says. “The MD 421s have a classic warmth that isn’t muddy whatsoever.”

Currently, Owen is playing in a funk/jazz trio and working on two new projects: a straight ahead jazz album and a Christmas album featuring Grammy nominated singer Tina Fab-rique, which he says combines jazz with just the right touch of funk and gospel. On his Christmas album, Fabrique sings through a Neumann M147 tube microphone, which Bonaventura says sounds ‘tailor made’ for her voice, accenting the low to mid frequency range. On his drums, he is using the aforementioned Sennheiser MD 421s and MD 441s in combination with a pair of Neumann U87s as overheads. “The U87s have a great low-mid characteristic you simply can’t get with other mics, and they pick up the entire image of the drum kit, versus just the cymbals — this lends a great sense of space to the record-ing,” he says.

“I play a really broad range of musical styles and wide dynamic ranges, and I know the MD 421 can handle the high SPLs as well as pick up the softer nuances,” he continues. As for the snare, he appreciates how the MD 441 captures the ‘sizzle.’ “I could never get the high end articulation of the snare wires mixed in with the nice body of the DW snare I had,” he recalls. “The presence boost on the MD 441 also seems to enhance the ‘airy’ frequencies of the snare drum.”

Neumann KH 120 Monitors: when accuracy counts

Owen maintains similarly high standards in his choice of monitoring equipment, opting for the recently launched Neumann KH 120 nearfield monitors, which he says are a great ‘bang for the buck.’ “These speakers are really flat and reveal all kinds of details and nu-ances in the mix,” he says. “However I decide to make my final mix, I can be confident that these decisions will translate and will sound exactly the way I wanted them to.”

He says that even though the KH 120 monitors have a small footprint, they perform par-ticularly well in the lower frequencies. “I do a lot of Hip hop production, and with other monitors of this size, I find that I can’t hear the kick drums,” Owen observes. “For exam-ple, on an 808 machine, details in the lower frequencies tend to get lost. On the KH 120s, I can hear below 60 Hz no problem and the crossover is very, very smooth.”

As Owen continues to sculpt his own sound in both drumming and mixing, he trusts Senn-heiser and Neumann implicitly: “With these products, I find that I am able to portray the sound as I hear it in my head. I really want listeners to experience what I was feeling when I was creating my music.”

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the com-pany with numerous awards and accolades including an Emmy, a Grammy, and the Sci-entific and Engineering Award of the Academy of Motion Picture Arts and Sciences.You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Caption:
Owen Bonaventura mics his snare drum with a Sennheiser MD 441, and mics his toms with Sennheiser MD 421s.

SSL Live Console is Now Shipping

SSL’s first live console ships on schedule to first wave of customers and commercial partners

OXFORD, ENGLAND — The premiere of the SSL Live console at Prolight + Sound in April 2013 surprised and enthralled the industry. Solid State Logic has been a dominant player in the design and manufacture of consoles for Music, Broadcast and Post for more than 35 years, but it had never produced a product designed specifically for live audio production. SSL’s reputation and business was built upon visionary operational design and benchmark quality standards in audio reproduction and manufacturing so expectations were instantly high.

Early response from FOH and Monitor Engineers has been extremely positive. The more operators see it, the more the excitement surrounding the console grows. Praise surrounds the operational flexibility of the console, its sonic performance and the sensation of ‘finger painting with audio’ via the gestural touch screen. The on-board effects and superb channel processing toolkit and the unique SSL Blacklight system, which simplifies running audio and control between console and stageboxes delivers a surprising amount of power at a compelling price.

The first three consoles all shipped to U.K.-based global tour production company Britannia Row for use on Peter Gabriel’s forthcoming European ‘Back to Front’ tour and another two shipped to SGroup in France for the imminent Amel Bent tour. Console manufacturing production for 2013 has been sold out since July, and details of the new commercial partner network for SSL Live are available in the ‘Where to Buy’ section of the SSL website.

SSL’s CEO, Antony David, says: “The on-schedule completion of the new Live console is an important milestone for SSL. This has been one of the biggest developments we have undertaken for some time and marks the first application of our new Tempest digital platform. We have been very encouraged by the response from mix engineers, rental companies and our channel partners since we presented the console in April this year. Demand has substantially outstripped our initial production plans, but we will return to reasonable lead times by early 2014.”

Since April, SSL has expanded its dedicated Live product team with key hires including Jason Kelly as Live Consoles Product Manager based in the U.K. office and Jay Easley as Vice President – Live Consoles to lead SSL’s live sector sales operation in North America. Certified training courses have also commenced, with focus on Commercial Partners and initial purchasers. A training program for the wider operator community is scheduled to commence from January 2014.

The SSL Live will be exhibited at next month’s 135th International AES Convention in New York and at ISE in Amsterdam in February 2014. With its latest offerings, SSL will relocate to Hall 8 at Prolight + Sound in Frankfurt in March 2014 and the company will exhibit at InfoComm for the first time, in Las Vegas in June 2014.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Hal Leonard Publishes Digital Performer for Engineers and Producers

Music production, mixing, film scoring & live performance

Montclair, NJ (September 23, 2013) Hal Leonard Books, the musician’s best source of books on the music business, audio technology, instrument history, and more, has released Digital Performer for Engineers and Producers by David E. Roberts. This new Quick Pro Guide is designed to help producers and engineers to get to work quickly and efficiently in Digital Performer, providing tips and tricks both for previous DP users and those who are accustomed to different DAWs.

Specifically focusing on music production, mixing, film scoring, and live performance, this valuable resource gets right down to the essential tasks. It provides insight that help the creative mind link existing knowledge to the most common and important activities implemented by DAW users at every level.

Author and noted DP guru David E. Roberts has been closely involved with the development of this innovative DAW software since 1993; he is also responsible for artist/VIP support at MOTU and has been training new users for the past 20 years. Considering Roberts’ depth of experience, this Quick Pro Guide offers a uniquely succinct path to understanding and eventually mastering Digital Performer.

The accompanying DVD-ROM provides helpful and supportive video tutorials featuring Magic Dave Roberts when he reveals the insider tips and tricks that have kept Digital Performer at the forefront of DAW technology since its inception.

About the Author

David E Roberts has lectured at Berklee School of Music, Middle Tennessee State Universtity, University of Colorado, and Massachusetts College of Art, pus he has been a featured speaker at Macworld Expo. He has also been a presenter at numerous trade shows, including NAMM, NAB, and Musikmesse Frankfurt. He continues to work with local and international artists and is currently running the recording studio for legendary music producer Al Kooper. Since 1993, Roberts has been a product specialist for MOTU’s hardware and software products, including Digital Performer. With an instrumental background (playing bass and guitar since age 12), influence from his mother who is a writer and a teacher, and with his extensive experience building and running studios throughout the ‘80s, Roberts is a uniquely qualified author, especially on the topic of all things Digital Performer.

Digital Performer for Engineers & Producers
Hal Leonard Books $16.99 (US)
Inventory #HL 00333220
ISBN: 9781458402240
Width: 8.5″ Length: 11.0″ 200 pages, DVD-ROM included
www.halleonardbooks.com and www.onstageandbackstage.wordpress.com

Media contact:
Music Marcom
Martina McConnon
e: martina@musicmarcom.com
v: 610-577-4982

Get in a “New York State of Mind” with the Technical Tour Program at the 135th Audio Engineering Society Convention

— Technical Tour organizer David Merrill, son of famed baritone Robert Merrill, has planned a set of quintessentially “New York” excursions that will take attendees from Broadway to broadcasting, post-production and restoration —

New York, NY, September 20, 2013 — Continuing a long and always sold-out tradition, the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) will include a four-day set of technical tours, itineraries that will take visitors into a wide range of interesting and significant facilities. And this year’s technical tour program is as “New York” as it gets. It was developed by David Merrill, a successful recording and mix engineer who has worked at several of the city’s major facilities over the past three decades, and a man who also has a very special investment in the city: he is the son of the late Robert Merrill, the longtime lead baritone for the New York Metropolitan Opera and the vocalist for “The Star Spangled Banner” before New York Yankees season-opening home games since 1969. Those fortunate enough to find a slot on what will be almost certainly sold-out tours will see the entire range of what New York has to offer as a world center for professional audio. Tickets will be available on-site at the Javits Center at the convention’s Tech Tours desk (space is limited).

Slated itineraries include the following:

On Thursday Oct. 17, attendees can visit Definition 6, a leading audio and video post-production facility.
On Friday Oct. 18, they can choose among four options: 1. A visit to Kaufman Astoria Studios (KAS), followed by a trip to the Museum of the Moving Image; 2. A look inside WNYC Radio’s station operation and their sound stages; 3. A trip to restoration specialist Battery Studios; 4. Or a jaunt to the Tony Award-winning Broadway show The Book of Mormon.
On Saturday Oct. 19, visitors will be awed by a tour of the famed Avery Fisher Hall at Lincoln Center, home of the New York Philharmonic, where they’ll tour the hall, the stage and the audio recording facilities.
On Sunday Oct. 20, attendees will stop by the NBC-TV studios of Late Night with Jimmy Fallon where they will be able to check out the sound stage and all of the production facilities.

David Merrill says he wanted to create a completely authentic New York pro audio experience, one that included iconic examples of music studios and broadcast facilities, post-production and live performances. “New York has so many great recording studios but I wanted to make this technical tour a more comprehensive experience, but still one that you can associate with New York City and nowhere else,” he explains. Even his research into the facilities on his itineraries was locally sourced. Merrill recalls that it was Avatar Studios manager Tino Passante who helped him make the connection to Lawrence Manchester, the music mixer on Late Night with Jimmy Fallon. “And you can’t get more New York than Broadway and Lincoln Center, so I’m really looking forward to people enjoying these tours. They’re going to have a real New York experience.”

For further detailed information on the Technical Tours, visit http://www.aes.org/events/135/tours/. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

Prism Sound Appoints Elliott Whyte

Prism Sound has boosted its Test and Measurement department with the appointment of Elliott Whyte to the position of Junior Applications Engineer.

Elliott recently graduated from Birmingham City University with a first class honours degree in Music Technology. During his second year at university he began building his own audio equipment and this enabled him to secure a work placement with Technical Earth Ltd. His responsibilities at Technical Earth Ltd included repairing and testing analogue and digital audio equipment using a variety of test methods including Prism Sound’s dScope Series III audio analyser.

Graham Boswell, Prism Sound’s Sales and Marketing Director, says: “Elliott’s work placement at Technical Earth brought him into daily contact with Prism Sound’s dScope Series III audio analyser and gave him a good understanding of the product he is now representing. In addition, by designing his own audio equipment as part of his degree course Elliott indicated a strong ability to take an idea from conception through to a working product. His enthusiasm is obvious and he demonstrates a very innovative approach to his work. We are confident that he has all the attributes needed to succeed in the audio industry and we are delighted that he is now part of the Prism Sound Test & Measurement team.”

Prism Sound has been supplying successful high quality audio test solutions for more than 20 years. The company’s solutions provide state-of-the-art testing capabilities, backed up by consultancy and support services that are recognised as the best in the industry. It’s flagship dScope Series III audio analyzer platform provides a range of portable and versatile audio test solutions that offer comprehensive analogue and digital audio signal generation and analysis tools, plus support for digital audio carrier testing, quasi-anechoic microphone/loudspeaker analysis and testing of Windows™ sound devices.

-ends-

About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

Hal Leonard Publishes The Bruce Swedien Recording Method

Learn from the music engineer who recorded and mixed the biggest-selling albums of all time!

Montclair, NJ (September 19, 2013) – Bruce Swedien’s impact on popular music is undeniable. Engineers at all levels use Swedien’s recordings as a definitive sonic standard. The Bruce Swedien Recording Method is a timeless reference for anyone interested in capturing and mixing the best possible music recordings. From recording and mixing Michael Jackson’s albums (Off the Wall, Thriller, Bad, Dangerous, Invincible, and HIStory), to many Quincy Jones hits (The Dude, Back on the Block, Q’s Jook Joint, and many more), to the music of greats from Count Basie, Duke Ellington, the Brothers Johnson, and Natalie Cole, Bruce Swedien has always operated at the highest level of excellence and expertise.

The Bruce Swedien Recording Method explains many of the techniques Swedien has used to capture unforgettable drum, bass, guitar, keyboard, vocal, string, and brass sounds. Learn his rationale for selecting and placing microphones; see the innovative techniques he has used to create a technical workflow that emphasizes the importance of musical considerations; feel the passion invested by this iconic music engineer into doing whatever it takes to find the perfect sound for everything he records, whether tracking or mixing.

The accompanying DVD-ROM contains never-before-seen footage of Bruce Swedien working through a mix, explaining what he thinks about and why he works the way he does during the recording and mixing process. He further reveals what he looks for in a recording and the steps he takes to imprint his characteristic world-class sonic signature on the music he mixes.

“For someone who wants to learn how to record great music, there’s no one better to emulate than Bruce Swedien. Pay attention to how he records music, but just as important, pay attention to why he records music and to the care and love that go into how he works,” writes Quincy Jones in the book’s foreword. The Bruce Swedien Recording Method provides the reader with a unique insight into the approach and the mindset Swedien used to record the best-selling records of all time.

About the Author

Five-time Grammy winner – and thirteen-time Grammy nominee – Bruce Swedien recorded and mixed the best-selling album in the history of recorded music, Michael Jackson’s Thriller, yet he was first publicly recognized in 1962 with a Grammy nomination for Frankie Valli and the Four Seasons’ “Big Girls Don’t Cry.” Swedien has also been awarded ten Grammy certificates and two ASCAP composer awards, and has been nominated for five TEC Awards. His standard of excellence was established early in life as the child of active symphony musicians. Long renowned as the best in the business, Swedien resides in Florida with his high school sweetheart, Bea, and has a world-class studio on his property along with an amazing collection of new and classic microphones. He generously shares his recording techniques and philosophies in his master class, “In the Studio with Bruce Swedien.”

Please contact Music Marcom if you would like a review copy of this book, arrange for an interview with the editor or obtain excerpts for reprints.
Music Marcom
Martina McConnon
v: 610-577-4982
e: martina@musicmarcom.com

The Bruce Swedien Recording Method
$39.99 (US)
Inventory #HL 00333302
ISBN: 9781458411198
Width: 8.5″ Length: 11.0″ 334 pages
More at: www.halleonardbooks.com and www.onstageandbackstage.wordpress.com

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