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Antelope Audio Announces Zen Studio, the First Portable Audio Interface with 20 Analog Inputs, 12 Mic Preamps and DSP effects

Zen Studio, featuring 38 simultaneous input and 32 output channels in a sleek, easy to carry ergonomic box, to be first seen at Musikmesse, hall 5.1, booth C60

Frankfurt, Germany, March 12, 2014: Leading professional audio gear manufacturer Antelope Audio introduces Zen Studio, a professional, portable audio interface with the most competitive analog and digital connectivity. The 12 world-class mic pres, Antelope’s signature clocking, the on-board DSP effects with multiple monitor mixers and the proprietary low-latency USB connectivity make Zen a world-class mobile recording system, that can fit easily inside a backpack or gear bag. Zen Studio is designed to meet the needs of the modern day producer or engineer on-the-go, as well as location sound engineers, sound designers, independent bands and musicians in search of greater sound quality and flexibility.

Supreme sound:
Antelope Audio Acoustically Focused Clocking guarantees the most authentic analog sounding A/D & D/A conversion on the market. Antelope’s clocking and conversion along with the custom USB technology implemented in Zen are identical to the ones in the top-selling 32-channel Orion interface which is a centerpiece in the playback rigs for artists such as Rihanna, Jay-Z and Justin Timberlake, and inside the mixing and mastering studios of engineers like Eric Sarafin (aka Mixerman), Brian Vibberts, Howie Wienberg or electronic music producers like Robert Babicz and Dusty Kid.

Power and flexibility:
In addition to proven sound quality, Zen Studio offers an extremely powerful DSP, based on a custom FPGA device with massive parallel processing capabilities. The proprietary FPGA makes the DSP chip in Zen Studio eight times more powerful than the ones used in similar devices. This allows fast and easy simultaneous processing of multiple effects, enhancing the workflow like no other device on the market.

Unique versatility:
All audio I/O is available simultaneously for a total of 38 possible input and 32 output channels, plus 24 simultaneous I/O channels via custom USB. Users can create up to four independent zero-latency mixes assignable to any outputs, including the two independent headphone outputs and monitor outputs. The unit is fully controllable using an intuitive desktop application on both PC and Mac, offering flexible signal routing and DSP-based effects alongside custom presets.

Zen Studio is a versatile stand-alone device as well as a perfect companion to Orion32. Zen was born out of the need for a studio-quality portable solution that can easily be taken with you, while your main interface remains in the rack. Zen Studio is based on proven technologies used in Orion32. Whereas the rack-mountable Orion32 stands out with its MADI connectivity and unmatched channel count available over USB, Zen Studio delivers a breakthrough number of mic pres and DI instrument inputs for a mobile-sized interface, along with exceptional monitoring and tracking DSP capabilities to be used on-the-go.

Zen studio is planned to start shipping by the end of Q2 2014 with a prospected price of $2,495.

Connectivity:

• 12 Class A mic preamps, with phantom power
• 8 mic/line inputs
• 4 mic/line/instrument inputs
• 2 Independently assignable headphone outputs
• 2 DSUB-25 connector (8 channels I/O)
• 1 Stereo monitor out
• 4 ADAT connectors (up to 16 channels I/O)
• 2 SPDIF RCA connectors (I/O)
• 2 Inserts over TRS
• 2 Word Clock BNC connectors (I/O)
• 1 Low-latency high-bandwidth USB 2.0

About Antelope Audio:

Antelope Audio is a leading manufacturer of master clocks, A/D & D/A converters and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 32-channel AD/DA USB audio interface and extremely precise master clock in only 1U. Orion32 is a breakthrough technology, offering both studio and live-recording audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

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GeerFab Acoustics Chosen by NAMM to Provide Acoustic Treatment for Technical Excellence and Creativity (TEC) Awards

Custom MultiZorber Solution Brings Sonic Consistency and Even FrequencyResponse During Winter NAMM Week, Including 29th Annual TEC Awards

Anaheim, Calif. – March 11, 2014 – GeerFab Acoustics announced its was chosen by NAMM, the National Association of Music Merchants, to provide temporary acoustic treatment to the Anaheim Hilton’s Pacific Ballroom during the 2014 NAMM Show held in Anaheim, CA be-tween January 23 and 26th. The Pacific Ballroom is host to many key activities during the NAMM Show, including important industry events such as the TEC Awards, the Breakfast of Champions, the NAMM Best in Show Awards and others.

This year, the 2014 NAMM Show drew no less than 96,129 industry registrants, making it one of the most important global music industry events. For the fourth year in a row, the Pacific Ball-room, which has a capacity of roughly 1,200, was chosen as the host venue for the TEC Awards. While the space worked for conference events and seminars, the room presented massive acous-tic challenges for a high profile award show featuring live music and attended by the music indus-try’s elite sound engineers, producers and audio product manufacturers.

“The pre-treated room was a sonic mess,” recalls Eric Geer, president and founder of GeerFab Acoustics. “The overabundance of reflective surfaces and a parabolic concave structure that spanned the entire perimeter created a chaotic and uncontrollable acoustic environment.This was marked by out of control mid and high frequencies and excessive bass build up. During the TEC Awards, the room posed enormous intelligibility issues for performing artists, mix engineers and of course the audience.”

“The biggest acoustic problem was the parabolic concave surface which was about 4′ high and several feet deep. This structure disrupted the response of the room, essentially functioning as a slingshot that rocketed unwanted frequencies directly back to the audience,” Geer continued.

Last summer at a NAMM executive meeting, the acoustics of the room became a primary agenda item. “We knew we had to increase the audio intelligibility in The Pacific Ballroom,” says Pete Johnston, supervising producer & technical director of special events at NAMM. “When it came to the TEC Awards, it was an issue of credibility since we were giving out awards to sound engi-neers, producers and product manufacturers. We wanted to get it right and there was no room for compromise.”

Soon after the summer meeting and after consulting with several high profile acoustic designers, NAMM contacted Eric Geer of GeerFab Acoustics to implement an all-encompassing solution that would yield greater sonic accuracy and intelligibility for events held in the Pacific Ballroom during the entire 2014 NAMM Show, especially the 29th Annual TEC Awards.

On the weekend before NAMM week, GeerFab and Freeman, the convention services company that has been supporting NAMM since the 1960s, proceeded to install a temporary, re-usable solution consisting of (200) custom GeerFab MultiZorber panels, each measuring approximately 4′ x 9-1/2′ and consisting of lightweight, acoustically absorbent substrate material wrapped in a black fabric. These panels were strategically mounted on rigging points throughout the venue, suspended approximately a foot off the wall around the entire upper perimeter of the room, which measures roughly 30,000 square feet with a 21’ ceiling. The panels effectively concealed the concave surfaces while creating more even acoustic dispersion across the entire frequency range while also acting as a gigantic, continuous bass trap.

In addition to the room perimeter, Geer also installed a ‘acoustic hat’ above the stage, consisting of (40) 4′ x 8′ MultiZorber panels. This effectively reduced stage noise and eliminated unwanted reflections from drums, amplifiers and other instruments — enhancing overall monitoring accuracy while reducing the potential for on-stage feedback. With the “hat”, the entire installation com-prised over 8,000 square feet of MultiZorbers.

“Before the room was treated by GeerFab, it sounded horrible. There is a section of the wall that has the effect of a parabolic dish,” commented Scott Rodgers, front of house engineer for the TEC Awards. “After the MultiZorber panels were installed, it made a huge difference and the sound of the whole room tightened up significantly.”

“We ran the PA system between 98 and 105 dB and the sound was remarkably clear,” he contin-ued. “I didn’t have to touch the EQ to correct the room and by the end of the evening I had abso-lutely no ear fatigue.”

Now that the MultiZorber solution was successfully implemented in the Pacific Ballroom for the 29th Annual TEC Awards, Johnston says they are now considering a similar solution to provide acoustic treatment during Summer NAMM 2014. “We love the fact that the MultiZorbers are reus-able,” says Johnston. “Bringing great audio to our events increases the credibility of our brand while enhancing the overall experience of those attending our events.”

About NAMM:

The National Association of Music Merchants (NAMM) is the not-for-profit association with a mis-sion to strengthen the $17 billion music products industry and promote the pleasures and benefits of making music. NAMM’s activities and programs are designed to promote music making to peo-ple of all ages. NAMM is comprised of approximately 9,000 Member companies located in more than 87 countries. For more information about NAMM or the proven benefits of making music, interested parties can visit www.namm.org, call 800.767.NAMM (6266) or follow the organization on Facebook, Twitter and YouTube.

About GeerFab Acoustics:

GeerFab Acoustics manufactures and implements acoustic solutions for a wide range of clients in entertainment, restaurant, hospitality, healthcare and other industries. The company provides complete custom design and installation services and is the manufacturer of the innovative prod-uct line RoomZorbers, which includes the MultiZorber The company is based in Milwaukee, WI and was founded by Eric Geer. To learn more, visit www.geerfab.com.

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Sennheiser launches new training offensive – more RF Experts to support customer projects in future

Old Lyme, CT, March 11, 2014: The Sennheiser Sound Academy has begun a new RF Expert course. From February to September 2014, 23 wireless professionals from the worldwide Sennheiser organisation will be further trained to become RF experts, supporting their customers in the planning and execution of large events involving wireless technology. The first on-site training session took place from 24 to 28 February in Wedemark.

Extensive wireless microphone systems with several dozens of channels are now a matter of course at cultural and sports events, TV shows and large concert tours. At the same time, the complexity of the production environment is constantly increasing: in addition to the microphones for the artists and presenters, more and more channels are required for production staff to communicate and control the equipment as well as for the media reporting on an event. To make matters worse, the frequency spectrum that is available for wireless microphones is shrinking.

It is precisely these situations that are the specialist field of RF experts, who know how to make use of all technical possibilities to make complex projects with wireless systems a success. “Therefore, the course teaches extensive knowledge of the theory and practice of wireless microphone systems and antenna installations,” explained Kirsten Wessendorf, Manager Sennheiser Sound Academy. “Also, the production team at big events is very international, with many different groups of professionals working together. For that reason, intercultural training is a fixed part of the expert course.”

The 23 participants in the course come from 14 countries and, following the on-site week at the company’s headquarters, they will continue to be coached by experienced local tutors in their region. Two further on-site training sessions will round off the RF Expert training programme before it finishes in September. One of the successful projects involving RF experts who have already completed the course was, for example, the last Eurovision Song Contest.

Visit Sennheiser at prolight+sound in Hall 8, Stand A 70.

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.

Captions:
1: 23 Sennheiser participants from 14 countries have enrolled in the RF Expert course

2: One of the focal points of the training programme is the Digital 9000 wireless microphone system

3: The RF Expert course offers extensive knowledge of the theory and practice of RF wireless transmission and also includes intercultural training

(Photo credit: Karsten Koch)

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Attention Music Lovers and Content Creators: Sennheiser Announces Spring Rebate on Select Headphones, Microphones and Wireless Systems

From Now Until April 30th, Customers Can Attain Bonus Savings of Up to $100 On Select Wireless Systems and Up to $50 on Select Headphones and Microphones

Old Lyme, CT, March 10, 2014: Just in time for spring, audio specialist Sennheiser announced a new rebate promotion in which consumers get up to $100 cash back on select wireless systems and $50 cash back on select microphones and headphones purchased at an authorized Sennheiser dealer. Customers can learn more and take advantage of the promotion by visiting http://en-us.sennheiser.com/rebate.

Rebates are valid on select Sennheiser HD series headphones; evolution, MD and MK series microphones; and XSW and EW series wireless systems purchased from an authorized U.S. Sennheiser dealer between now and April 30th, 2014. Following are rebate values for the various products that are included:

Headphones:

• HD 280 PRO: $10
• HD 380 PRO: $20
• HD6 MIX: $30
• HD7 DJ: $30
• HD8 DJ: $40
• HD 600: $40
• HD 650: $50

Microphones:

• e 604: $10
• e 609: $10
• e 835: $10
• e 602-II: $20
• e 614: $20
• e 935: $20
• THREE PACK e 835: $20
• THREE PACK e 604: $30
• MK 4: $30
• MD 421-II: $40
• e 914: $40
• e 965: $50

Wireless Systems:

• XSW 12: $40
• XSW 35: $40
• XSW 72: $40
• EW 112P G3: $50
• EW 122P G3: $50
• EW 135P G3: $50
• EW 100 ENG: $75
• EW 300 IEM: $75
• EW 300-2 IEM: $100

To receive a rebate on eligible products, customers will need to mail the following to Sennheiser following their purchase (postmarked no later than May 31, 2014):

• A completed rebate form, which can be downloaded from the Sennheiser website at: http://en-us.sennheiser.com/rebate.
• The original UPC and EAN code, cut from the box (no photocopies will be accepted)
• A copy of the sales receipt, dated between March 1, 2014 and April 30, 2014, from an authorized Sennheiser dealer for a product listed above.

All rebates must be postmarked no later than May 31, 2014. For more information, please visit http://www.sennheiserusa.com.

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, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific 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 http://www.sennheiserusa.com.

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Dallas’ First United Methodist Church Looks to K-array Loudspeakers for System Redesign, Citing Impressive ‘Performance to Size Ratio’

K-array Speaker Installation at Historic Dallas Church Increases Intelligibility Without Detracting From Classic Interior of Landmark Architectural Design

Dallas, TX, March 3, 2014: Audio specialist Sennheiser announced that First United Methodist Church (FirstChurch), a landmark of downtown Dallas for over 165 years, recently replaced its sound reinforcement system with K-array Installation series components. The new system, which consists of (10) custom color KP102 line array elements, (2) KK52 line array elements, (2) KMT18P passive subwoofers, (4) KA40 amplifiers and (12) custom color K-array KT22 Tornado 2-inch point source compact speakers, was designed by Dallas-based Wrightson, Johnson, Haddon & Williams, Inc. (WJHW) and installed by Electro Acoustics, Inc. of Fort Worth.

With a rich music program, congregational activities and two worship services each Sunday for roughly 1,000 congregants, FirstChurch sought to replace its existing sound system with a more current, innovative solution that could deliver greater intelligibility for both music and the spoken word. The K-array’s small footprint and no-compromise audio quality made it perfectly suited for the system redesign.

Jim Burdette of WJHW handled the overall project design, which had to be sensitive to both the architectural and acoustic requirements of the interior structure: “This was a large, high ceiling space with challenging acoustics,” he says. “The existing cluster was quite a ways up and was not able to deliver the pattern control or throw that we can now achieve with modern technology. So we looked at options and eventually decided on K-array.”

Since FirstChurch is a historic and an architecturally ornate structure, getting the aesthetics just right was of paramount importance as was the overall sound quality. “Part of the criteria and design directive was to move towards a low-profile column array like the K-array,” Burdette says. “We also wanted to have greater control over the sound dispersion while reducing any gain before feedback issues.” Burdette arranged to have the K-array KP102 line arrays brought in for a scaled demo at the church. “In use, we just loved the concept — the performance to size ratio was very impressive,” recalls Chris Jordan, president of Electro Acoustics.”

The installation itself involved a split array of the KP102s: an upper module consisting of three units, and a lower module of one unit. They were mounted at the proscenium line on the front face of the wall, with the lower array positioned approximately 6′ off the main floor directed at the main floor, and the upper array positioned approximately 21′ off the main floor and pointed towards the church’s balcony. “The precision of the KP102s afforded us the ability to throw deep into the room while staying close to structure and unobtrusive,” Burdette explains. “As well, we were able to position the speakers so they could disappear among the moldings.

In addition to the primary line array speakers for the main seating areas, Burdette also specified (12) KT22 point source compact speakers to reinforce audio directly beneath the balcony. “There were some old conventional style speakers there that they were going to reuse, but I recommended switching to the K-arrays because it was much less visually intrusive,” Burdette says. “From an audio perspective, this increases intelligibility for congregants seated under the balcony.”

In the choir loft, a pair of K-array KK52 line array speakers was mounted. “The choir wanted a little more presence and even coverage,” explains Chris Jordan. “That made it perfect, and now the choir members could not be more delighted.” The overall system was rounded out with a pair of K-array KMT18P ultra-light subwoofers, which were mounted into existing soffits within the structure: “The client didn’t want us to cut into any of the existing structure, so we found old speaker cutouts in the proscenium walls,” says Burdette. “We opened these back up, put grille cloth in front of them and mounted them. This turned out really well for the architecture.”

Since completing the installation, feedback has been resoundingly favorable among the congregation. “The church likes how the new loudspeaker system is performing,” reports Burdette. “Both speech intelligibility and music clarity have increased, and the K-array solution played an integral role in achieving this.”

Wrightson, Johnson, Haddon & Williams:

Wrightson, Johnson, Haddon & Williams, Inc. is a consulting firm offering state-of-the-art design services in sound systems, audio visual, scoreboard & video displays, broadcast provisions & video production, acoustics & noise control, theatre planning, lighting & rigging, distributed TV & satellite, video surveillance & access control, and tel/data structured cabling. Our strengths lie in the combined talents of principals and employees, our diverse technical and business skills, and experience accrued over the years from hundreds of successfully completed projects.

K-array:

The incredibly thin and lightweight K-array loudspeakers are manufactured in Italy and distributed in the U.S. and Canada exclusively by Sennheiser. Despite their small size, K-array speakers deliver impressive power and sound quality for small, medium and large-scale applications, including touring, special events, installed sound and broadcast. For more information, please visit www.k-array.com.

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 company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences. For more information, please visit www.sennheiserusa.com.

Captions:
1. The K-array KP102 line array elements were mounted at the proscenium line at the front of the sanctuary.
2. K-array KT22 Tornado 2-inch point source compact speakers were placed underneath the balcony, providing enhanced audio intelligibility.
3. The K-array system was unobtrusive to the overall aesthetics and architectural splendor of FUMC.

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Sennheiser’s K-Array Anakonda Loudspeaker Brings Extraordinary Sound and Flexibility to Musical Instrument Museum (MIM) Music Theater

Anakonda is the Perfect Front-Fill Solution for 300-Seat Music Theater That Features Diverse Artistic Performances and Exquisite Acoustics

Phoenix, AZ, February 26, 2014: Phoenix’ Musical Instrument Museum (MIM) is home to nearly 15,000 instruments and objects from all over the world, providing a unique museum experience for guests of all ages. The museum features an exquisite, 300-seat music theater that features performances from a diverse range of artists — including well known, nationally touring musical acts as well as traditional and eclectic acts from every corner of the globe. Designed and constructed as an intimate, world-class concert hall offering comfortable seating and state of the art acoustics, the theater hosted 193 concerts last year and recently was the first venue in Arizona to install the new K-array Anakonda speaker solution from Sennheiser.

The K-array Anakonda speaker system was installed directly across the edge of the stage as a front fill solution, providing greater definition and sonic clarity to the first several rows. The new installation helps the theater deliver an unparalleled listening experience for all its patrons no matter where they are seated, ensuring even sound dispersion and intelligibility.

“Our former front fills were point source, mounted just below the stage,” comments Ted Greenbaum, music theater manager. “There wasn’t even coverage and these were in the more expensive seats. So when Jerry Delgado of Sennheiser brought the Anakonda in for us to test, it was phenomenal.” “Our main PA system is built into the shell and each side is pretty far away from the center of the audience and in the first couple of rows intelligibility and imaging is an issue,” explains Jim Zick, technical manager for the Theater. “When Sennheiser brought in the Anakonda, which sounded great and was aesthetically attractive, I thought it would be a perfect solution to set this up right across the front of the stage.”

Six Anakonda loudspeakers were daisy chained at the edge of the stage and powered by a single K-array KA40 amplifier complete with DSP control. The system made its debut one evening as renowned country singer/songwriter Suzy Bogguss sang for 300 enthralled fans. “It was phenomenal,” Greenbaum recalls. “After that night, we got several emails from audience members saying it was the best sound they ever heard. Before, the front fill was lacking and the Anakonda really came through as a great solution — it was the final piece to the puzzle.”

Anakonda: Astounding intelligibility, flexibility:

In addition to theaters, the Anakonda is a perfect solution for a range of indoor or outdoors installations. Since each speaker element is bendable, the Anakonda can be wrapped around poles, columns, or mounted to curved or otherwise uneven surfaces. Speakers are available in 6′ lengths, and up to 16 combined elements can be linked and powered from a KA40 amplifier using the Anakonda’s integrated NL4 connectors. The speaker’s dedicated presets support a variety of configurations, including both standalone and combination use with K-array KMT Series subwoofers.

The Anakonda, which is priced at $859.95, is available exclusively in the U.S. through authorized Sennheiser dealers.

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 company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific 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 http://www.sennheiserusa.com.

Photo captions:

1) The K-array Anakonda solution was installed at the Musical Instrument Museum theater as a solution to provide increased intelligibility.

2) Six K-array Anakondas were daisy chained at the front edge of the stage, providing a great sounding and aesthetically attractive solution.

3) From the rear of the theater, the Anakonda is barely visible on the front part of the stage.

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Lady Antebellum embark on TAKE ME DOWNTOWN TOUR with Sennheiser Digital 9000 wireless microphones

Old Lyme, Connecticut, February 25, 2014: Lady Antebellum continue to build on their success with seven GRAMMY Awards, platinum-certified sales and their TAKE ME DOWNTOWN TOUR, which stops at nearly 80 cities across North America. The Nashville-based trio insists on the best possible audio in all its live performances and has been an officially endorsed Sennheiser artist since 2008. Most recently, Lady Antebellum have integrated Sennheiser’s Digital 9000 wireless system into their live touring rig, enabling the band to deliver pristine wireless sound to audiences at every performance.

Now almost one month into the tour, Lady Antebellum’s front-of-house engineer Brett “Scoop” Blanden reports that the Digital 9000 system has been performing flawlessly, delivering the pinnacle of audio quality and reliability night after night: “Things are going really well,” he says. “Sonically, since there is no companding in the microphone, it sounds far more like a wired mic than any other RF microphones.”

Currently, Lady Antebellum’s production team is using eight channels of Digital 9000 – the only microphone system that is able to transmit uncompressed audio in the UHF range, allowing for full HD sound.

According to monitor engineer Peter Bowman, channels 1 and 2 are allocated to Hillary Scott (lead vocals) and Charles Kelley (lead vocals). Dave Haywood (backing vocals) has three wireless microphones throughout the stage to accommodate his playing an assortment of instruments, which includes electric and acoustic guitar, mandolin, banjo, bouzouki, and piano. Each vocalist uses the SKM 9000 handheld transmitter coupled with an MD 9235 capsule. Channel 6 is currently being used for production/spare, and channels 7 and 8 are allocated for Lady Antebellum’s guest artists, who are also singing through SKM 9000 handhelds with MD 9235 capsules.

Since using the Sennheiser Digital 9000 system, companding and limited bandwidth are no longer an issue for Lady Antebellum’s production team, and latency has never been an issue. “The analog to digital conversion takes place at the transmitter itself, and then the signal is decoded at the receiver,” explains Blanden, who says that switching over from their analog SKM 5200/MD 5235 mics to SKM 9000/MD 9235s has resulted in sonic advantages: “This has really opened up the top and provided still more audible uniformity among the microphone capsules we are using. Overall, I really like the clarity and it has brought about more warmth in the capsule.”

Bowman has been very pleased with the reliability and RF performance of the Digital 9000 system: “The range is very good. I have walked the hallways in the back of the arenas and since it’s digital RF there is no loss of signal quality – even when you are hundreds of feet away. We start each show in the back at front of house, so having this range is very important to us.”

Digital 9000: opening channels of communication:

Lady Antebellum are using a special version of the SKM 9000 transmitter with a built-in command function. On the SKM 9000 COM, users can disengage the microphone channel and engage a talkback channel that may be assigned to an engineer, for example. “This has worked great for several of our artists,” says Blanden. “Being able to push a button and communicate directly with a monitor engineer no matter where they are is huge. We also have both channels patched to my squawk box at front of house, so if there is an issue happening on stage I can help facilitate that request rather than making a pit stop at monitors,“ Blanden explains.

Beauty in simplicity:

For both Blanden and Bowman, the ultimate goal is to achieve a true sonic representation of the source in the most efficient way possible. With Digital 9000, they are able to achieve this, both at front of house and at monitors: “The less you have to do, the better off you are,” says Blanden. “If I put up a microphone, I want it to sound like the source. This system helps us achieve a true representation of the source material out of the box.“

Bowman agrees: “Our artists are very comfortable with the sound of the MD 9235 capsule with very little EQing. These capsules and the Digital 9000 system itself gives me a true reference to what they are hearing in their in-ear monitors because the microphones sound so good just as they are. This is definitely noticeable to the artists, the production staff and of course the audience.”

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: Lady Antebellum are on their TAKE ME DOWNTOWN TOUR with Sennheiser Digital 9000 wireless microphones (photo credit: Adam Boatman)

2: Brett “Scoop” Blanden, FOH, and Peter Bowman, monitors (l/r)

3: The eight-channel Digital 9000 receiver in Lady Antebellum‘s touring rack

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Mixerman’s Pairing of Antelope Audio Orion32 and Isochrone 10M Clock Enhances Clarity and Deepens Soundstage While Reducing Mix Times

Renaissance Man of the Recording Arts and Accomplished Mix Engineer Discusses The Next Big Step in Digital Audio and the Fictitious ‘Daily Adventures of Mixerman’

Santa Monica, CA, February 20, 2014: Eric Sarafin, aka Mixerman, has an accomplished CV, having published three audio related music titles and having mixed recordings by top artists, including Ben Harper, Barenaked Ladies, Amy Grant and most recently, Foreigner— which enlisted Mixerman’s signature talents on its newest Foreigner Live album. With all his diverse projects and interests, Sarafin is something of a renaissance man in the recording arts. Indeed, he is constantly pursuing the best possible audio quality in his own mixes, and has recently discovered the ultimate pairing of digital audio technology with Antelope Audio’s Orion32 multi-channel converter and its Isochrone 10M clock. Antelope caught up with Mixerman at the recent 2014 NAMM Show, where he discussed how this conversion and clocking combination has moved the dial ahead on digital audio.

Tell us about your recent and upcoming projects.

Mixerman: Well, I’ve got a total of three books out right now: The Daily Adventures of Mixerman, which was my first, Zen and The Art of Mixing and Zen and The Art of Producing. I am currently working on my next one, Zen and the Art of Recording, which will be approached from a ‘source-centric” position and talk about all the things you can do to improve the source before you even think about how to capture it.

Did you use the Antelope Orion32 and 10M combo on the new Foreigner album?

Mixerman: Yes and it made a huge difference. I had done some mixes for Foreigner previously on their ‘Unplugged’ album — this was similar because there was no drums and this makes working on a live project much easier. I was mixing some of the greatest songs ever written and had nothing in my way. It was one of the most enjoyable records to mix ever, and with the Orion32 and 10M I was no longer fighting the technology.

When did you first begin using the Orion32 — and subsequently the 10M?

Mixerman: When my assistant told me about the Orion32, which offered 32 channels for 3000 bucks, my first reaction was, “That’s great. No way it’s any good.” Then I talked to Howie Weinberg who raved about the Antelope products, and this was certainly enough for me to try it. I felt that the Orion32 sounded certainly as good, if not better than my existing converter. But once I plugged the 10M clock into the Orion32, it was a whole different ballgame. The soundstage was deeper, wider, richer— it was super-obvious. The whole soundscape opened up and I could interpret the mix sans the usual digital impediments.

How has the Orion32 / 10M improved your workflow?

Mixerman: I have always been slightly frustrated with digital because it always seemed like I had to work harder on my mixes than I did in the analog domain. But the Orion32 and 10M has significantly helped my digital set up, to the point I feel like there’s nothing in the way of me and the music. This is the biggest step forward I’ve experienced in my rig, or in any digital environment, in quite some time. It’s easily shaved an hour off of every mix I do, if not more. It’s crazy how good this combination [Orion32 and 10M] sounds — everybody needs to get both of these products in their rigs.

What else does your current set up consist of?

Mixerman: In addition to having everything clocked with the Orion32/10M and I am running Logic X on a Mac Mini. Logic X goes out to the Orion32 via USB, which is awesome because now I don’t need to use a PCIe chassis. I have heard other people say USB is sketchy, but I’ve haven’t seen or heard any evidence of this. In fact, it’s rock solid. The Orion32 outputs go into two Dangerous summing boxes, which then go out to my SSL G384 analog compressor. I’ve got a couple of Pulse Techniques EQP1a3s in line after that, then I go right back into the Orion32 / 10M combo. I have a variety of monitors, but these days I’m using the SE Munro Egg speakers in combination with my Tannoy 800As — all of this is plugged into my Dangerous monitor section, that is until my Raven MTX arrives.

Finally, was The Daily Adventures of Mixerman fact or fiction?

Mixerman: A lot of people believe that it was based on fact, and it’s a reasonable theory. But that story was completely from my imagination. I’ve hesitated telling people that because I feel like the story unfolds better if you believe it is real, but it was completely fictitious. Basically. I’d get up everyday and start writing, and people started going crazy on the Internet. Then I would read what they said and start constructing the next chapter. I would think about things that happened to me over the years and grabbed the personalities and experiences I had among those I’d worked with. It was classic satire that got more and more outrageous as it went along. That didn’t seem to shake off a great many readers. Ah, you gotta love the internet.

About Antelope Audio:

Antelope Audio is a leading manufacturer of master clocks, A/D & D/A converters and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 32-channel AD/DA USB audio interface and extremely precise master clock in only 1U. Orion32 is a breakthrough technology, offering both studio and live-recording audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

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Sabaton storms ahead with Sennheiser

Old Lyme, CT, February 19, 2014: Swedish heavy metal act Sabaton are currently preparing to head stateside in April to join two other bands – American metallers Iced Earth and the Dutch metal band Revamp – for the Worldwide Plagues tour which takes them to all four corners of the US and Canada. Sabaton will be using the tour to support their latest DVD, Swedish Empire Live. Filmed in front of 600,000+ enthusiastic fans at their headlining festival appearance at Poland’s Woodstock festival, Swedish Empire Live captures the band’s high-energy live stage show celebrating the triumph of the human spirit. Sabaton, who perform with a full complement of Sennheiser microphones and wireless systems, will be returning to European soil at the end of May where they will be headlining at some of Europe’s biggest heavy metal festivals.

Formed in 1999, in Falun, Sweden, the band’s massive popularity has remained unscathed even though many of the original members have chosen different directions. Band spokesman and bassist Pär Sundström and lead singer Joakim Brodén, whose distinctive vocals have characterised the Sabaton sound from the very beginning, remain at the core of the new line-up announced in April 2012.

When it comes to choice of equipment, microphones are a subject close to the band’s heart (not to mention vocal chords…). Sabaton uses Sennheiser microphones throughout, and for good reason according to monitor engineer Otto Kroymann. “Joakim Brodén, our lead singer, has such a wide dynamic range that we have had real problems finding a suitable microphone,” he explained. “However, when we had the chance to test the Sennheiser SKM 2000 wireless system combined with the MMD 945 capsule, we knew that our search was over. The microphone is really well suited to Joakim’s dynamic range and the sonic quality is exactly what both engineers – me on monitors and Elvis [Elfstrom] at FoH – were looking for.”

Brodén himself is very happy with the results. “I liked the feel of it from the start,” he said. “It has just the right balance for my style.” He uses a total of three handheld SKM 2000 / MMD 945 systems during the show as they have to be changed regularly to keep them dry.

As a result of this positive experience, it was decided to switch the rest of the band over to Sennheiser vocal microphones as well. “The audio quality and tone were just perfect for the whole show,” reported Kroymann. “In fact, we are also using the SK 2000 beltpack transmitters for our guitars and bass in combination with the SKM 2000/MMD 945 microphones – this was a solid choice for us from an audio point of view and also meant that we could benefit from the integrated antenna combiner of the EM 2050 and reduce the problems we had previously with RF interference.”

From here it was a logical step to move the drummer over to Sennheiser as well. “Personally, I always liked the evolution 900 Series for drums, so it was an easy choice to switch to Sennheiser for our drum kit. Once again it has been proven throughout countless shows that the high-quality sound and robust build of these mics make them a great choice for us. All in all, the entire Sennheiser package that we are using for Sabaton is working really well for our shows.”

However, Kroymann was quick to note that the sonic side of the deal is only part of the story. “In the touring industry, a lot can depend on the personal relationship with a company such as Sennheiser,” he noted. “It’s important to have the security and the peace of mind that comes from knowing that help is never far away should you need it. Sennheiser has given this peace of mind every step of the way. It’s a very good feeling to work with a company that is both willing and able to go the extra mile for us.”

Sabaton built their reputation by singing almost exclusively about historical wars and battles, a decision that was triggered after seeing the 1999 Academy Award-winning film, ‘Saving Private Ryan’. “For us it means a lot more to write about actual historical events than to make up stories,” says Pär Sundström. Topics are thoroughly researched to ensure the songs paint accurate and objective portraits of the historical event in question. Sabaton host their own three-day festival, Sabaton Open Air, in their home town of Falun during the summer, and have recently returned from their fourth annual Sabaton Cruise on the Baltic Sea, an event which sold out this year in less than a week!

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 credit:
Anna Dave Bertram

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Moogfest teams up with Audiotool for a “Moogfest Audiotool Competition”

Audiotool launches a Moogfest Competition for producers,
Winner gets to play at Moogfest and runners up get released on a compilation

Los Angeles, CA, February 19, 2014: Starting today, Moogfest is inviting anyone to produce a track ­ using the free cloud­based audio workstation Audiotool ­ and submit it to the Moogfest Competition. The winner gets to play a set at Moogfest in Asheville, North Carolina, taking place from the 23rd to the 27th of April 2014. The winner will also, along with 7 runners up, have their tracks included on a limited edition release which will go out to the artists, VIPs and press who will be attending Moogfest.

Participants will have until the 25th of March to submit a track to the competition. A select panel including some of the Moogfest artists will then judge the tracks, with the the winner being announced on 1 April 2014.

Moogfest is the annual festival that celebrates the innovative spirit of founder Dr. Robert Moog, an American pioneer of electronic music and inventor of the Moog synthesizer. Emmy Parker, Brand Director at Moog Music Inc commented: “Moogfest represents the synthesis of technology, music and art. Audiotool’s innovative platform empowers emerging artists to create on their own terms. We are excited to offer Audiotool’s rich community of musicmakers an opportunity to be a part of Moogfest 2014.”

Since the 50s Moog Music has pioneered and developed devices that offer artists endless possibilities when it comes to creating sound. Audiotool, which started in 2008, brings together a range of retro and new school synthesizer emulations running in the browser, allowing collaboration and free access for anyone. The browser­based audio workstation is all about democratising the process of music creation and collaboration in the cloud. This partnership offers a unique opportunity to combine forces and to capitalize on the natural strengths and alignment of the two brands.

Audiotool inventor André Michelle said: “this partnership is huge for us and our users will be super excited about the chance of winning a set at Moogfest, for one just because of the incredible line­up. It’s also a unique opportunity for Audiotool users to have their music critiqued by some of the Moogfest artists.”

Submission phase: 19 February ­ 25 March
Winners announced: 1 April 2014

Grand Prize: Playing live set at Moogfest (flight, hotel and artist pass included)
1st-8th Place: Tracks will be on Moogfest 2014 compilation

More information on the contest and rules for entry can be found at: http://www.audiotool.com/contest/moogfest

About Audiotool:

Audiotool is a cloud­based audio workstation that is all about the process of music creation in an open, inspiring and collaborative way. Audiotool launched in 2010 and has since gained over 500k users. It started as a TR­909 emulation created by Andre Michelle in 2008, earning him the kudos for being one of the most innovative and capable Flash developers in the world. Andre Michelle was subsequently stalked by the idea that everyone should be able to make music through their browser. After 3 years of research and development this vision was fulfilled in the form of Audiotool. It has been awarded internationally for its design and rigorous development and has been praised by electronic music producers and the press: “You can really do everything that you would normally do in a real­world studio.” ­ Richie Hawtin

About Moogfest:

Since 2004, Moogfest has been a gathering for musicians that worked closely with Bob Moog and his instruments. In 2014, Moogfest is amplifying its vision and becoming a 5­Day event dedicated to the synthesis of technology, art and music. Moogfest honors the inventiveness of Bob Moog and the legacy of the analog synth with an experimental line up of daytime conference programming and landmark nightly performances. Moogfest takes place April 23­27th, 2014 in downtown Asheville, NC.

Some of this year’s line­up: Kraftwerk 3D: 3 Concerts, Pet Shop Boys, M.I.A, Flying Lotus, Dillon Francis, CHIC Feat. Nile Rodgers, Daedalus, YACHT.

About Moog Music:

Moog Music is the world’s leading producer of analog synthesizers. The company and its customers carry on the legacy of its founder, electronic musical instrument pioneer, Dr. Bob Moog. The company hosts Moogfest, a five­day festival celebrating the intersection of music and technology in honor of Moog’s innovative spirit. All of Moog’s instruments are hand built in its factory on the edge of downtown Asheville, NC.

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