Archive for February, 2014

Audio-Technica Offers Free “Installed Sound Support” App for iOS Devices

— Easy-to-use mobile app provides a number of essential tools for system integrators, sound contractors and other audio professionals in the field —

STOW, OH, February 10, 2014 — Audio-Technica, a leading innovator in transducer technology for over 50 years, is pleased to announce the availability of its new Installed Sound Support App, featuring a number of helpful tools for system integrators, sound contractors, FOH engineers, musicians and other audio professionals in the field. This easy-to-use app was developed based on direct feedback from working professionals, and includes useful calculators, meters, record-and-playback functions, A-T mic application guide and more. Compatible with Apple iOS devices such as iPads and iPhones running iOS 5.1 or higher, the app is free and can be downloaded by visiting the Apple App Store on an iOS device.

In-app features include the following:

Application guide for Audio-Technica microphones
Wavelength Calculator
Needed Gain Calculator
3:1 Microphone Placement Calculator
RTA & SPL Meter
Frequency Finder for Audio-Technica wireless products
Record and Playback functions for sound system testing

For more information, please visit www.audio-technica.com.

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Bruno Mars delivers record-breaking halftime performance at Super Bowl XLVIII with Sennheiser

New York, February 11, 2014: The stars aligned during Super Bowl XLVIII on the evening of February 2 as Bruno Mars delivered an unforgettable halftime performance to a record-breaking broadcast audience of 115.3 million viewers – the largest in Super Bowl history. For the duration of the performance, Bruno Mars sang through his Sennheiser SKM 5200 handheld transmitter, coupled with an MD 5235 dynamic microphone capsule, ensuring crisp and detailed sound for millions of fans around the world.

During the 12-minute set, which included his top hits “Locked Out of Heaven,” “Treasure” and “Just the Way You Are,” Bruno Mars showcased his versatility as an entertainer with a dramatic drum-solo introduction, James Brown-inspired dance moves, and an instantly recognizable soulful voice captured by Sennheiser.

Working alongside veteran production provider ATK Audiotek, Bruno Mars’ production team – including monitor engineer James Berry and front-of-house engineer Derek Brener – specified Sennheiser SKM 5200 handheld transmitters and MD 5235 capsules for each of the three vocalists on stage, including Bruno Mars. In addition, all of Bruno Mars’ performers were equipped with Sennheiser 2000 Series wireless monitoring systems. “It was rock solid perfection, just as we expected,” says Berry. “Everything just worked, and we had no problems.”

Preparing for the Big Game
Whether they are touring the world or performing at the Super Bowl, preparation is key for Bruno Mars’ production team. “First, I need to have all my Sennheiser products there, because I know it’s all going to work,” says Berry. “We went in on Monday, checked everything and Bruno came in on Tuesday. Then we ran through rehearsals three or four times a day – everything was easy and we didn’t have any problems.”

“You’ve got to let go of the pressure in the moment,” adds Brener. “We must have rehearsed upwards of ten times so we knew what we were doing and we knew that it sounded great. Thankfully, with Sennheiser, you don’t have to worry about the ‘What if’ moments, since Sennheiser virtually never fails.” Brener was grateful to have ATK Audiotek by his side as well. “They are so well prepared for the scale of this kind of production – especially on the biggest show of the year.”

Cutting Through the Mix
Wherever Bruno Mars is on stage – including at the Super Bowl – his Sennheiser SKM 5200 transmitter with MD 5235 capsule is always nearby. “It’s very imporant to us that Bruno is on the SKM 5200,” says Berry. Derek Brener explains how the MD 5235 capsule is especially well suited to Bruno Mars’ voice: “There is something special about this capsule,” he says. “It just punches through the PA better than any other mic we’ve tried on Bruno. There is a special quality in the timbre of his voice, and how this aligns with the MD 5235. It’s a great match.”

“I am grateful we are able to use the products that we want on a high-profile broadcast production like this, because on some other TV shows, you are at the mercy of having to use other equipment that is provided,” adds Berry. “We hear the quality of these microphones every day while we’re on tour and it’s always reassuring to know that Bruno’s vocals come across perfectly in a broadcast mix.”

For Brener, the ultimate test of the audio quality is the broadcast mix itself. For this reason, Bruno Mars’ team hand picked legendary record producer/engineer Brendan O’Brien to supervise this. “For a broadcast going out to nearly 120 million people, this was a really smart move,” observes Brener. “He’s already done a Super Bowl with Bruce Springsteen and has produced so many great records – this allowed me to concentrate on delivering a great house mix.”

While Bruno Mars’ halftime performance during Super Bowl XLVIII may have astounded millions of audience members around the world, Berry says that Bruno Mars’ team approached the performance just like any other show. “This show was no different than any of our other stage shows,“ he says. “Bruno puts out the same amount of energy whether he is in a club or whether he is performing for millions of people. We took that same approach as a crew. It is all a matter of making him feel comfortable, and for Bruno to feel comfortable, he needs the right microphone. That’s always a Sennheiser.”

For front-of-house engineer Brener, the Super Bowl performance was a resounding success: “When people would ask me who I was rooting for, I would say ‘Bruno’. And Bruno won!”

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.sennheiserusa.com.

Photo Caption:

Bruno Mars sang through his Sennheiser SKM 5200 handheld transmitter with MD 5235 capsule during his halftime performance at Super Bowl XLVIII (Photo credit: Kevin C. Cox, Getty Images)

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iZotope Masters Q&A Series, Part 3: Dave Whitehead, Master of Audio for Sound Design

Cambridge, MA (February 10, 2014) —Dave Whitehead is a part of the multi-award-winning audio team at New Zealand’s Park Road Post Production, with credits that include Elysium, the Lord of The Rings series and most recently,The Hobbit. In a job where creativity on a deadline is standard, Whitehead is constantly being challenged to find new solutions to keep things fresh. Read on to find out why iZotope plug-ins like RX 3 and Iris have earned a spot in his permanent arsenal of audio tools.

What role does audio play in sound design?
Great audio files are the building blocks for any great sound design project. In an ideal world, we have new recordings made with great mics through great preamps, in great spaces. The world is far from ideal and that’s not always the case. That’s where products like RX 3 come in to play. Trying to align the perfect frequencies and timbres to drive the emotion on screen is what sound design for film is all about.

Why is efficiency important in your projects nowadays?
Most of the projects I work on have large concepts that must be realized in a very short space of time. You pull all the insight you can from the script, artwork, personal research, the film footage and the director’s brief. You then have to dive in with your own concept. That process is usually one of discovery, parsing the good from the bad—and the plain ugly, which is actually exactly what you’re after sometimes. So, efficiency is everything—from naming your field recordings to saving your plugin settings.

Creating plug-in chains is a daily practice and is one of the cornerstones to designing sound (along with getting great field recordings). When you’re in a real hurry, you need intuitive plug-ins that are easy to move around. I find the interfaces of iZotope plug-ins easy to navigate, which means they become an extension of your thoughts, ultimately improving your creative output.

I used to twiddle with plug-ins and find a great sound, then tweak the settings a bit more and that magic sound I had would be gone. I learned my lesson early and record anytime I hear something good come out of my speakers.

Which iZotope tools are you currently using?

I have used all of iZotope’s products in the past year, but I have my favorites. I use Ozone at some stage on any given day. In sound design you’re trying to make the perfect sound for any given moment so I am constantly working a single sound to get the most out of it. Ozone allows me to literally punch a sound into shape. The Multiband Dynamics are where I tend to shape sounds the most and coupled with the Harmonic Exciter and Stereo Imaging you can seriously augment and transform something meek into a monster.

Iris is a awesome! It’s the perfect stinger machine. The day it came out I made a few hundred stingers for Elysium. It’s also excellent for creating ambient loops and alien textures, musical tonalities and drones.

Trash 2 hit my plug-ins folder late last year and I didn’t really play with it much at first. Turns out that was my loss. The distortion is like no other. You can create your own distortion algorithms or choose one of the presets as a starting point. The control over the distortion is phenomenal, especially with multi-band control, which allows razor sharp harmonic shaping across multiple frequencies. Then there’s the convolution section. This is a great sound design tool and I will be exploring it heavily this year on a couple of Sci-Fi films.

How did you use RX 3 in any of your recent projects?
I’ve used Spectral Repair to remove birds and insects from many recordings during The Hobbit. It’s preferable to start with a perfect recording, but nowadays if a few birds tweet while I’m recording, I’m not as concerned as I know I now have the tools to fix it.

The Declick module is great to help tame the crackles and pops of a fire. You can get the warm roar of the flames without the clicks, which will always aggravate the re-recording mixers. I sometimes use Alloy 2’s Transient Shaper for this also, to subtly take down the attack on sounds with a sharp attack, like drips.

Occasionally, I will teach the RX 3 Denoiser what noise is and record that noise only as a sound effect. You can get some really cool results. But I’m also removing noise from files constantly and have found myself using the new Dialogue Denoiser, usually in Manual mode, for real time noise reduction. It’s quick and the results are great, which are the two things I like most while in salvage and repair mode. It’s quick and effective noise reduction.

Dereverb has also opened up the palette of usable material. We have recorded great material indoors over the years that you really can’t use on exterior scenes without gating or EQ’ing drastically. Dereverb helps transform these for multiple uses.

RX 3 has changed my thinking on older recordings that were once deemed unusable.

When have you had to fix audio that was recorded less than perfectly?
This is a constant practice and not always because something was recorded poorly, butmore frequently because you want to hone in on one particular element within a recording. Like a surgeon, you can isolate and attenuate, or export components of the audio. For example, I’ve isolated selected cicadas in a jungle to tame the cacophony into a quiet jungle. I’ve lowered wind in trees to better isolate the tree creaks. The list goes on and on.

When I started out, I had terrible mics, worse recorders and even worse preamps. RX 3 has really allowed me to revisit old material and revamp it. I remembered recording a bee in 1991 and found the old DAT tape. I loaded it, removed the birds and noise on the recording and used it in The Hobbit.

I also record vocal FX at the desk in my studio quite often. I have a noise profile saved and can quickly remove the noise before working with the material, which is handy too!

iZotope creates plug-ins for people who create some of the best ear candy in the world. I find new parameters to play with all the time and love that they keep making new tools to play with.

About the iZotope Masters Q&A Series
The iZotope Masters Q&A Series profiles masters of various audio professions, including audio for video games, broadcast, film composition, and more.


About iZotope RX 3

RX 3 is an industry-leading audio repair solution for audio engineers, post production professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more. Work up to six times faster than before thanks to processing enhancements and a redesigned user interface. Remove or reduce reverb, clean up dialogue on the fly, recall session details with the new RX Document format, and much more with the new RX 3. For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.

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Hal Leonard and Worship Musician™! present The Worship Bass Book

Bass, Espresso, and the Art of Groove

Montclair, NJ (February 6, 2014) - The Worship Bass Book is a fun, informal, and extremely practical resource for bassists playing in a team setting. The material is presented in a way that is easy to understand, accessible, and powerfully insightful. Acclaimed bassist and music educator Norm Stockton covers a broad range of topics in bite-size chunks, allowing players to emerge with solid and practical understanding of how to best function as an effective bassist in a rhythm section.

“As opposed to a comprehensive methodology for all things bass, this will be more of a collection of the nuggets – many of which were acquired through lessons learned the hard way – that I’ve found valuable for my own development as a bass player,” explains Stockton.

The Worship Bass Book also provides valuable instructions and helpful direction regarding bass techniques, musical concepts, and important relational considerations that will help ANY bass player thrive, inside or outside the worship realm.

“Much of the material is relevant to bass playing in any context, so if you’re not a worship musician, welcome!” says Stockton.

Other topics included are musical phrasing, tools of the trade, fingerboard familiarity, musical styles, slap and tap techniques, bass and drum synergy, solo bass arranging, real-world groove lessons, a passion for the groove, and much more.

About the author
Norm Stockton travels extensively throughout North America, Europe, and Japan. He has been profiled in Bass Player magazine and is recognized by many as one of today’s premier bassists. From 2006 to 2012 he was the touring and recording bassist with chart-topping worship artist – and former Steve Perry guitarist – Lincoln Brewster. Stockton currently performs with Grammy Award-winning singer Bobby Kimball – the original lead vocalist with Toto. As a solo artist, he has released two instrumental jazz projects that have garnered widespread global acclaim.

Stockton’s instructional DVD series, Grooving for Heaven, has been enthusiastically received in the United States and abroad; his instructional website ArtOfGroove.com serves subscribers from around the world. Known internationally as an effective educator and clinician, he has conducted several master classes and is an adjunct faculty member at, among others, Biola University, The Los Angeles Music Academy, Tech Music School London, and Concordia University. He has also been a columnist for Christian Musician magazine since 1999. Follow Norm on Twitter, Facebook, and Instagram.

The Worship Bass Book
$19.99 (US)
Inventory #HL 00333737
ISBN: 9781458443212
Width: 8.5″
Length: 11.0″
234 pages, DVD-ROM included

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NEUTRIK USA ANNOUNCES UPDATES TO ITS MULTIMEDIA CONNECTOR LINE

Charlotte, NC – February 2014… Neutrik USA, the leading supplier of robust and reliable professional connectivity solutions for audio, video, and data, is pleased to announce updates and improvements to its line of multimedia chassis connectors and cable assemblies.

Chassis connectors—all of which fit into the ubiquitous Neutrik D size cutout—are now available for HDMI® 1.x, USB 2.0 (with selectable screen-to-chassis grounding and reversible A-to-B inserts), FireWire 400, and D-Sub (9- and 15-pin) connectors. These chassis connectors are available in nickel or black finish. Neutrik’s multimedia chassis connectors are all feedthrough designs, making integration literally a snap. more

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Hal Leonard publishes Make Some Noise – Become the Ultimate DJ

Montclair, NJ (January 29, 2014) – There are books on how to become a DJ, books that talk about beatmatching, mashups, and how to perform in nightclubs – even one that claims it can teach you everything in two hours. Make Some Noise is a complete, cutting-edge DJ book and is unlike any current book on the subject. It does teach the basics, but it goes beyond the how-to, discussing DJ’ing while playing with a live instrument as well as goal-setting, marketing, and choosing your music genre. The book also features a collection of twenty-five spotlights on some of the biggest DJs in the world, providing you with the opportunity to learn from the best of the best. Some of the DJs included are Infected Mushroom, Judge Jules, Miss Nine, Todd Terry, Chus, Umek, Kissy Sell Out, and Format B.

Make Some Noise blends together practical advice and tools for learning the craft, along with an inspirational message that will help encourage you to pursue your own dreams and aspirations about becoming a DJ.

“DJ’ing consists of these elements: mixing and beatmatching, programming amazing sets, incorporating live instrumentation, and crowd interaction,” says Scott Binder, the author of Make Some Noise. “If you master these elements, you will separate yourself from 99 percent of the DJs out there. Modern DJs are at their best when they are turning their shows into true live performance, and mastering all of the levels illustrated in this book will help you do that.”

About the author
Scott Binder is the co-producer of the popular electro house duo the Banger Bros and is a producer for Warner Music (NL). His song “Beat, Beat, Bang” was featured on MTV’s The Real World, and his other releases consistently reach the music charts, including Billboard, DMC World Magazine, Beatport charts, and the Music Week Top 100. Binder has also worked with house legends Roland Clark and Todd Terry. He is the owner of Golden Needle Records, a lable launched in 2010.

Make Some Noise is a Hal Leonard Music Pro Guide. Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group – please visit www.halleonardbooks.com and www.onstageandbackstage.wordpress.com

Make Some Noise
$29.99 (US)
Inventory #HL 00120756
ISBN: 9781480350458
UPC: 884088917395
Width: 8.5″
Length: 11.0″
200 pages

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Genelec Has Strong Presence at the 2014 NAMM Show

— With a product debut and awards for new and classic Genelec offerings, the NAMM Show was the backdrop for an impressive showing from Genelec —

NATICK, MA, January 29, 2014 — Genelec is proud to wrap a successful several days in Anaheim at the 2014 NAMM Show. Since recently marking the completion of its 35th anniversary year celebration in 2013, Genelec has been on a roll, and this convention served as the backdrop for a new product unveiling (the 8010 Active Monitor) and multiple prestigious awards for the loudspeaker pioneer.

Debuted at the show, the 8010 Active Monitor is the smallest member of the acclaimed 8000 Series product range. The 8000 Series is widely used in the high-end professional audio, mastering, post-production and broadcast market sectors around the world. Its professional heritage is reflected in the compact-sized 8010. Suitable for professional work in small studios, it offers accurate monitoring capability with ease of installation. The outstanding sound quality makes the 8010 ideal for small studios and OB vans, and a perfect companion for portable recording devices and other mobile production work.

Genelec products were also the recipients of two different awards from the NAMM Foundation at the NAMM Show:

First, Genelec’s new M Series Active Monitors won the 29th Annual TEC Award for Outstanding Technical Achievement in the category “Studio Monitor Technology.” The award was presented on January 24, 2014, at a special ceremony. The energy-efficient M Series (thus far comprising the first two models, M030 and M040) takes a new approach to monitor design as part of Genelec’s larger ongoing sustainable initiatives known as Genelec Embedded Sustainability. The primary focus in developing the new M Series was to proceed with a sustainable mindset without sacrificing the accuracy and reliability for which Genelec has been known for the past 35 years – while also offering something new and innovative for project studio customers.

Second, Genelec’s classic 1031A Active Studio Monitor, introduced in 1991, was inducted into the TECnology Hall of Fame at a separate ceremony on January 25, 2014. Outlining the 1031A’s outstanding achievement, the Hall of Fame’s description of the monitor is as follows: “The 1031A was not Genelec’s first monitor (that was 1978′s S-30) or active system that employed the innovative Directivity Control Waveguide (DCW) — a nod that goes to 1984’s 1022A mid-field tri-amp and later 1989′s large-format 1035A system. However in 1991, when Genelec debuted the 1031A — a compact, yet high-performance monitor that applied the DCW approach into a self-powered near-field design, a classic was born. At just over 15 inches tall, the 1031A offered flat response (out to 23k Hz), 240 watts of onboard biamplification and the ability to reach 120 dB peaks. All of these made the 1031A a popular choice with top engineers and producers, studios and broadcasters worldwide and it stayed in production for 15 years, eventually being replaced by Genelec’s 8000 series Minimum Diffraction Enclosure (MDE) technology monitors.”

“This has been a banner year for Genelec,” stated Will Eggleston, Genelec Inc. Marketing Manager. “I can think of no better way to wrap our 35th anniversary celebration than to have such an eventful NAMM Show. We are immensely proud of our new 8010 Active Monitor and M Series products, and it was a true honor to be acknowledged by the NAMM Foundation in two separate award ceremonies. We are dedicated to our technology on an intense level, and it is satisfying to see the fruits of our hard work.”

For more information, please visit www.genelecusa.com/.

About the TEC Awards:
Founded in 1985, the Technical Excellence & Creativity Awards is the foremost program recognizing the achievements of audio professionals. Presented annually by the NAMM Foundation at The NAMM Show, the TEC Awards recognizes the individuals, companies and technical innovations behind the sound of recordings, live performances, films, television, video games, and other media. TEC Awards nominations are made by a panel of industry professionals and voted upon by members of various professional organizations and audio industry websites.

About the TECnology Hall of Fame:
The TECnology Hall of Fame was established in 2004 to honor and recognize audio products and innovations that have made a significant contribution to the advancement of audio technology. Inductees to the TECnology Hall of Fame are chosen by a panel of more than 50 recognized audio experts, including authors, educators, engineers, facility owners and other professionals. Products or innovations must be at least 10 years old to be considered for induction.

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Symetrix Partners with Attero Tech & Stewart Audio to Deliver Dante Ease

A trio of Dante-enabled devices from the manufacturers

The latest version of Symetrix’ SymNet Composer software allows one platform to configure select products enabled with Audinate’s Dante networking technology from all three manufacturers.

AMSTERDAM (NL) / ISE 2014 — (February 4 2014): In a significant development for users of Audinate’s Dante media networking technology, Symetrix has announced that the latest version of its popular SymNet Composer software will enable complete configuration of select Dante-enabled Symetrix, Attero Tech and Stewart Audio products.

Settings affecting I/O levels, routing and more will be defined with SymNet Composer 2.0, which gives customers the ability to consolidate operations on a single platform where three or more were previously required.

“As a result of the release, integrators will no longer need separate software packages for each manufacturer’s product as well as Dante Controller,” comments Trent Wagner, Senior Product Manager at Symetrix. “Supported Dante-enabled products will appear side-by-side with Symetrix SymNet products in the Composer software and can be managed or configured identically to Symetrix products. Professionals who have used our Composer before will have no learning curve.”

Stewart Audio has long pursued a focus on making networked AV affordable and practical, and its current range includes innovative Dante end-points. “Our customers desire solutions that prove to be both compatible and complete in addressing their audio challenges. The collaboration between Stewart Audio, Symetrix and Attero Tech represents a major step in that direction,” says Stewart Audio’s Chief Marketing Officer, Brian McCormick.

He continues: “By collaborating on solutions we can create the right outcomes for our customers. With all the difficulties consultants and integrators face daily, presenting them with a comprehensive answer to an application is what this partnership is really about.”

Mike Sims, Director of Marketing and Sales at Attero Tech – which produces a trio of Dante interfaces – welcomes the partnership as “the next logical step” in the interoperability of Dante networked audio systems. “Our goal has been to make deployment of these systems as seamless as possible, while allowing consultants and integrators to choose best-of-class products from a variety of manufacturers. This is the future of interoperability,” he declares.

The initial response from the integrator community is also encouraging. Chuck Mitchell is owner of California-based Technology of the Arts and recently undertook a Dante-centric installation involving Symetrix and Attero Tech products. “Dante is rapidly becoming a default choice for all manner of projects in the installed environment,” he says. “The partnership between Symetrix, Attero Tech and Stewart Audio around the use of Dante-based systems is to be warmly welcomed as it helps to bring every installer’s dream of blanket interoperability that little bit closer to being realised.”

www.symetrix.co
www.atterotech.com
www.stewartaudio.com

Digigram Lowers Barriers to Live Video Streaming With Low-Cost AQILIM *FIT/LE Broadcast-Quality Encoder

New Encoder Enables Use of Live Streaming in Growing Array of applications

MONTBONNOT, France — Feb. 3, 2014 — Digigram today announced the release of the AQILIM *FIT/LE professional video encoder, an intuitive and cost-effective solution for high-quality live event broadcasting over an IPTV network or multiscreen video distribution over the Internet. With flexible input options and compatibility with leading CDNs, this latest addition to Digigram’s encoder line is ideal for increasingly popular streaming applications for live video, particularly filmed radio; live distribution of corporate, sporting, or news events; the creation of WebTV; the live distribution of electronic sports events; and live education via e-learning.

“AQILIM *FIT/LE is an affordable professional encoder that makes it easy to connect to most major CDNs and stream live broadcast-quality video to PC, Mac, smartphone, and tablet users around the world,” said Laurent Gros, video product manager at Digigram. “Built on proven technology and ready to use, right out of the box, the AQILIM *FIT/LE provides reliable, straightforward operation for the user while assuring exceptional video quality. By making live streaming both simple and affordable, the AQILIM *FIT/LE opens up new and valuable opportunities for a broad variety of businesses, institutions, and organizations.”

The AQILIM *FIT/LE connects directly to the camera or video mixer, capturing live video and streaming encoded video either to an IP network or to the CDN responsible for Internet distribution of live video. A Web-based interface gives users convenient access to simple configuration parameters for video streaming, eliminating the need for specialized training or dedicated operators.

Occupying just one rack unit, the robust hardware system is available with analog, SDI, and/or HDMI video inputs. Quiet operation enables use of the encoder even in a meeting or conference room.

More information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

Photo Link: www.wallstcom.com/Digigram/Digigram-AQILIM_FIT-LE-left.jpg
Photo Caption: AQILIM *FIT/LE Video Encoder/Transcoder

# # #

About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production, and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

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Sennheiser and P!NK soar to new heights during 56th GRAMMY Awards

Los Angeles, CA, February 3, 2014: Once again, music’s biggest event of the year did not disappoint as the 56th GRAMMY Awards featured exquisite performances by P!NK, Katy Perry, Taylor Swift, Madonna, Beyoncé, Blake Shelton, Miranda Lambert and Queens of the Stone Age – all of whom used Sennheiser microphones and wireless systems. Hosted for the third time by LL Cool J, the spectacular event was telecast live from the Staples Center in downtown Los Angeles on January 26, drawing no less than 28.5 million viewers around the world.

Perhaps the most dramatic performance during the evening was from P!NK, whose flawless vocal performance was only matched by her breathtaking mid-air acrobatics before a live audience of nearly 20,000. For the duration of her aerial segment, she used a custom earpiece with an integrated boom microphone built to specification by Sennheiser – the result of a highly collaborative project that helped her engineers achieve all the technical aspects required by the performance.

“There is so much physicality in P!NK’s show with her spinning and flying around that we needed a reliable microphone and IEM that sounded great and would be as unobtrusive as possible,” commented Jon Lewis, monitor engineer for P!NK. “So Sennheiser worked with our engineer Horst Hartmann to create a custom design and integrate the microphone with the earpiece, providing both stability and stellar audio. The earpiece features a single driver which provides plenty of definition without any significant ear fatigue.” The microphone features a Sennheiser HSP 4 capsule with a cardioid polar pattern.

“Because of the circus aspect of P!NK’s performance, she is in a totally different environment at any given time,” Lewis continued. “Whether she is being flung in the middle of the air in front of the PA or in the middle of the stage, it is reassuring to know that she has a reliable microphone and an IEM that is her primary reference throughout the show.” Following the aerial performance, P!NK switched to a Sennheiser SKM 2000 transmitter coupled with a custom MD 9235 capsule.

Delivering on a promise of reliability, versatility and performance
Dave Bellamy, who already has 16 GRAMMY Award events under his belt, handled the on-site RF coordination, deploying a total of 22 channels of Sennheiser wireless during the show including the units used by P!NK: “We used a Phoenix 8 antenna system with 10 arrays, put in place specifically to handle the in-air acrobatics,” he says. “The only thing I need to be concerned with was the effect of the costume and body on her transmitter. In this application, the Sennheiser SK 5212 propagates extremely well and is very compact in size. It isn‘t affected as much when being used on the body as other transmitters and I like that.”

On the receiving side of the signal, Bellamy had several Sennheiser EM 3732-IIs, which he says is a robust, reliable receiver. ”I like the way we can change frequency ranges to about anywhere we want to go,” he observes. “I am using channels 62 and 67 because of the high number of RF devices in the show – these are the only receivers that will hit these upper range frequencies on the market, and I really need them.”

In addition to the wireless channels used for performances, Bellamy also utilized two channels for LL Cool J, who presented through a Sennheiser SKM 5200 transmitter coupled with an MD 5235 dynamic microphone, as well as an SK 5212-II bodypack transmitter. “The bodypack transmitter is working just as good as the handheld transmitter,“ says Bellamy. “Having this level of predictability means I can sleep at night!”

Several Sennheiser MKH 416 shotgun mics and Neumann KM 184 condenser microphones were used to capture sounds of the audience, and were later mixed with performances, providing millions of music fans the next best thing to being there. “We use the MKH 416s on the front line, and the KM 184s as surround mics,” explains Tom Holmes, production mixer for the GRAMMY Awards. “We always use these microphones because they sound great and don’t get in the way of the show. Our ultimate goal is to have listeners at home feel like they are in the same environment.“

Support where and when it is needed
During such a high-profile event as the GRAMMY Awards, or while on tour in just about any location around the world, Lewis and the rest of his team depend on Sennheiser’s unwavering support, which is delivered personably and consistently at a global level. “We’ve got such a great relationship with Sennheiser, it is like having a close friend you can always call on wherever you go,” says Lewis. “You always know there is going to be somebody to support you, no matter what territory you are in: Australia, Europe, North America or anywhere else. For those of us who spend their lives on the road, it’s really nice to have a friendship like that.“

“We look at this as a support operation,“ says Tim Moore, artist relations, Sennheiser USA. “Many people rely on our gear from production rental houses, mix engineers, RF coordinators and of course artists. As a truly global organisation, Sennheiser is able to respond quickly to any of our customers’ needs, no matter where they occur in the world – including at high-profile events such as the GRAMMY Awards.”

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.sennheiserusa.com.

Photo captions:

1: P!NK performs at the 56th annual GRAMMY Awards, singing through a customised Sennheiser headset
(Photo credit: Kevin Mazur/WireImage/getty images)

2: Dave Bellamy, RF Coordinator of the 56th GRAMMY Awards, used several channels of Sennheiser wireless during the performances

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