Archive for September 25th, 2013

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.

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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.

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