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The Hills Come Alive with Antelope Audio and “The Earth Harp”

Artist and Instrument Craftsman William Close Turns to Antelope to Capture Unique and Unprecedented Recording, Using Natural Valley as the Instrument’s Resonating Chamber

Santa Monica, CA, November 20, 2013 – Ever since his art school days in the late 1990′s while attending the prestigious Chicago Art Institute, William Close pursued his dream of building and performing with unique, handmade instruments whose sounds have never been heard anywhere in the world. Now, The Earth Harp, his masterpiece instrument creation of unprecedented physical scale and sonic beauty, has been captured in astonishing fidelity in a brand new recording — thanks to the digital clocking and conversion technology of Antelope Audio.

His new album with The Earth Harp Collective, Behind the Veil, captures the authentic sound of this spectacular instrument — from its lavish root notes to its rich harmonics and heavenly overtones. Close attributes the success of the recording in large part to Antelope Audio’s new Rubicon A to D converter, which was used as the primary mastering device, and its Orion32 multi-channel interface, which was used during playback. “I’ve never heard The Earth Harp sounding so good on a recording,” he says. “The instrument has so many beautiful harmonics and overtones, and many times these are lost in the process. The Antelope equipment was awesome and helped us finally achieve a true representation of how The Earth Harp actually sounds.”

Marcel James, mastering engineer and Director of Sales and Marketing for Antelope Audio (USA), mastered the project. Interestingly, he was not familiar with The Earth Harp when he first heard the final mixes. When he stumbled on a video of Close’s performance on America’s Got Talent, he got chills: “When I saw his video on America’s Got Talent, suddenly it all made sense,” he recalls. “From that point on, the project took on a new meaning. Here was a relatively new artist, a new instrument and a special new piece of equipment from Antelope that had an A to D converter and a built-in atomic clock.”

While James used Antelope gear throughout the entire process, the starting point was the Orion32, which was clocked to a 10M. Despite using only two channels for playback, he considers the Orion32 a very capable playback converter for mastering: “The sound of the Orion is very neutral, but also very musical,” he says. “I use very high end EQs during the mastering process, and if you start EQing with an inferior sounding device, all you are doing is adding problems.”

After playback, James routed the signal to his Sontec mastering EQs for dynamics processing before sending it via USB to an Antelope Audio Rubicon, which was running Logic X off of a second MacBook Pro as the ‘final recording device.’ “I had just gotten the Antelope Rubicon, so I thought I would try its A to D capability on this project,” he recalls. “The sound of The Earth Harp suddenly had this larger than life sound that really lent itself well to the material.”

For monitoring, his D to A conversion was handled by an Antelope Zodiac +, which was also being clocked to the 10M. “I had the best clocking feeding the most neutral, transparent D to A converter,” he says. For loudspeakers, he used ATC 150 monitors in conjunction with an ATC sub. Finally, he used an Antelope Eclipse 384 as a monitor control. “The Eclipse384 is extremely viable as a monitor management tool,” he explains. “First, it has a very high quality headphone output as well as a sub management system built-in. Second, its preset capability allows instantly recall the original mix, the ‘post-analog’ stage where I introduce the EQ, and after the Zodiac + — the very end of the chain. It gives me a very clear picture.”

In the final mastering phase, James printed audio files for the CD at 44.1, but also made 96 kHz, 24-bit masters, which he wants to help Close make commercially available. Given the unique audiophile nature of the recording, he also ran a pass of 96/24 audio with no limiting and had vinyl records cut on a mastering lathe.

About Antelope Audio

Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

Photo captions:
1. William Close speaks to Marcel James, mastering engineer and director of sales and marketing at Antelope Audio, in the latest “Hanging Out” series featuring The Earth Harp.
2. William Close performs on The Earth Harp on America’s Got Talent, fall of 2012.

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Moogfest and Moog Music announce 4th Circuit Bending Challenge

Some Soldering Required*

ASHEVILLE, NC – October 29, 2013Moog Music was born when a young Bob Moog, started tinkering with electronic circuitry. As a boy, Moog built small radios, amps, and theremins in his basement workshop with his father and the rest is history. This experimentation with the inner workings of electronic devices to create new sounds and effects has been developed into an art form known as circuit bending.

Circuit bending is a creative medium that combines technology, sonic artistry and creativity. By altering the internal circuitry of electronic devices such as keyboards, drum machines, and children’s toys, circuit benders are able to produce new sounds not intended in the original design.

In celebration of this creative curiosity that fueled a young Bob Moog and all of those that follow in his footsteps, Moog is sponsoring its 4th annual circuit bending contest.

This year, Moog’s circuit bending contest is challenging entrants to take a battery powered device and circuit bend it into an instrument capable of creating new and unique sounds for a total budget of $70 or less.

Entrants will create and post videos on YouTube featuring their completed instruments and documenting the process of their creation. Moog will select three finalists and invite them to showcase their creations at Moogfest in April of 2014 where Moog’s judges and the general public will decide a winner of the contest.

Grand Prize: Moog Sub Phatty & Two Passes to Moogfest 2014
2nd Place: Moog Slim Phatty & Two Passes to Moogfest 2014
3rd Place: Moog Minitaur & Two Passes to Moogfest 2014

More information on the contest and a full list of rules for entries can be found at www.moogfest.com/circuit-bending.

Stay updated on Moogfest through www.moogfest.com and on Facebook at www.facebook.com/moogfest.

*Actually, soldering isn’t required. You can use any medium you wish in order to bend your device including (but not limited to) bubble gum, bottle caps, foreign currency, used chopsticks, unicorn hair, or a really cool hat.

About Moogfest:

Since 2004, Moogfest has been a gathering for the musicians that worked closely with Bob and his instruments. In 2014, Moogfest is amplifying its vision and becoming a 5-Day 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 23-27th, 2014 in downtown Asheville, NC. To learn more, visit www.moogfest.com.

About Moog Music:

Moog Music is the leading producer of analog synthesizers in the world. The company and its customers carry on the legacy of its founder, electronic musical instrument pioneer, Dr. Bob Moog. The company hosts Moogfest, a five-day 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. To learn more, visit www.moogmusic.com.

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Invisible Cities Opens to Sell-Out Performances at Los Angeles’ Union Station as Sennheiser Technology Enables ‘Artistic Creation Without Borders’

City of Los Angeles Issues Proclamation to Invisible Cities as Sennheiser Delivers Highly Personalized, Yet Communal Artistic Experience to Consumers

Los Angeles – October 25, 2013Invisible Cities, the world’s first large scale opera for wireless headphones, opened to critical acclaim on October 19th at the iconic Union Station, where it was issued a Proclamation by the City of Los Angeles. The visionary production, which was written by Christopher Cerrone and produced by The Industry and L.A. Dance project, is made possible through the professional and consumer technology of leading audio manufacturer Sennheiser.

Invisible Cities, which is based on the 1972 novel by Italo Calvino that explores Marco Polo’s descriptions of fantastical cities as described to Emperor Kublai Khan, turns the classic operatic archetype on its head, transforming Los Angeles’ iconic Union Station into a constantly moving and artistically unique experience for each participant. Invisible Cities pushes the limits of artistic production and is made possible through Sennheiser’s wireless headphone and microphone technology. This enables patrons to experience a vastly repurposed art form both as independent participants and as a connected, communal audience.

“Over the last decade, we have seen technology increasingly become a primary driver in the creation of art,” commented Stefanie Reichert, director of strategic marketing, Sennheiser. “Invisible Cities relies on a very creative application of Sennheiser’s leading edge wireless microphone and headphone technology to deliver an ingenious, pioneering artistic experience to its audiences. As Invisible Cities illustrates, Sennheiser’s wireless microphone and headphone technology enables the consumer to be more of a participant in the artistic performance itself.”

Sennheiser’s wireless headphones enable participants to have a unique perceptual experience based on an almost infinite number of vantage points from which they can view the performance. At the same time, participants are gathered together in the highly ‘communal’ environment of a train station and all wearing headphones. Union Station, with its illustrious history and exquisite architecture, serves as the perfect backdrop to this tale of people in imaginary cities as cast members intermingle with both active audience members and ordinary passers by.

“Being in your own space, yet still being part of a community is a very common style of today’s generation,” Reichert said. “As social media and personalized listening experiences permeate the lives of modern consumers, Invisible Cities illustrates that people can share a communal experience with others while still enjoying art independently. This production actually leverages this phenomenon into its dramatic presentation, creating a deeper and more meaningful experience for participants.”

With its unorthodox approach and creative use of Sennheiser wireless technology, Invisible Cities successfully reinvents the traditional opera in many ways. For example, with no opera house or assigned seats, audience members are free to move about the entire performance space — a public train terminal — as the opera progresses. This often puts them directly ‘on-stage’ aside actors and performers. Regular terminal passengers and bystanders — perhaps initially unaware that a dramatic event is unfolding before their eyes — become an impromptu element in the performance as someone standing directly beside them dressed in 14th century attire, suddenly breaks out into beautiful song.

In addition to Sennheiser’s RS 120 consumer headphones worn by participants, Invisible Cities‘ technical production also relies on Sennheiser’s state of the art Digital 9000 professional wireless system, which transmits pristine audio for the duration of the performances. This system, which was launched last year after having been under development for over a decade, is the most advanced wireless system in the world and used in top level theatre, music and broadcasting events.

For more information on Invisible Cities, including performance dates and ticket information, please visit http://invisiblecitiesopera.com/.

About The Industry:

The Industry is a new home for new and experimental opera in Los Angeles. Founded and led by director Yuval Sharon, The Industry creates ambitious productions that expand the traditional definition of opera and explore new paradigms for interdisciplinary collaboration. Mark Swed of the Los Angeles Times writes “The Industry is quickly and dramatically becoming an essential component in American opera. It’s now indispensable to the LA scene.” The Industry’s inaugural production, Anne LeBaron and Douglas Kearney’s Crescent City, was instantly hailed as “reshaping LA opera” (Los Angeles Times) and “changing the face of music-theater in this city overnight” (Out West Arts). The large-scale multimedia production, featuring the work of six visual artists in a 25,000 sq. ft. warehouse in Atwater Village, performed over three weeks in May 2012 to capacity audiences. The Industry recently presented First Take, a west coast opera workshop showcasing excerpts from six new operatic works-in-progress by the legendary Pauline Oliveros, and rising star composer Mohammed Fairouz at the Hammer Museum’s Billy Wilder Theater. For more information visit: www.TheIndustryLA.org.

About L.A. Dance Project:

L.A. Dance Project is an artist collective founded in 2012 by renowned choreographer and dancer Benjamin Millepied, along with composer Nico Muhly, art consultant Matthieu Humery, producer Charles Fabius, and film producer Dimitri Chamblas. L.A. Dance Project’s mission is to create new work and to revive seminal collaborations from influential dance makers. Programs include full-length evenings in traditional theater venues as well as various modular performances in non-traditional environments. New works by the company endeavor to be multidisciplinary collaborations with various artists: visual artists, musicians, designers, directors and composers. L.A. Dance Project promotes the work of emerging and established creators, contributing to new platforms for contemporary dance. For more information visit: www.ladanceproject.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, 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 Invisible Cities opera, written by Christopher Cerrone and based on the 1972 novel by Italo Calvino, combines historical fiction with surrealist elements to create an ‘invisible opera for wireless headphones’. (Photo Credit: Dana Ross).

2) Yuval Sharon, artistic director of The Industry, is presented with a proclamation from The City of Los Angeles on Saturday, October 19. (Photo Credit: Dana Ross).

3) The Invisible Cities production included an 11-piece orchestra using Sennheiser and Neumann microphones. (Photo Credit: Dana Ross).

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Sennheiser receives Engineering Emmy‘s® Philo T. Farnsworth Award

Hollywood, CA – October 24, 2013 – Audio specialist Sennheiser has been honored with the prestigious Philo T. Farnsworth Award at last night’s 65th Primetime Emmy® Engineering Awards in Hollywood. The Philo T. Farnsworth Award honors an agency, company or institution whose contributions over time have significantly impacted television technology and engineering. The award originated in 2003 as a means to recognize Panavision’s years of contribution to the film and television industries. Unlike most other Emmy awards, it is not awarded every year. The award is named after the inventor of electronic television, Philo Farnsworth.

Seven Engineering Emmys were awarded at the ceremony: the Philo T. Farnsworth Award, the Charles F. Jenkins Lifetime Achievement Award, Engineering Emmys for YouTube, Aspera’s FASP Transport Technology, Josh C. Kline for creating Digital Dailies®, iZotope RX Audio Repair Technology and Previzion Virtual Studio System (Lightcraft Technology), as well as two Engineering Plaques awarded to Lawo AG for their audio networking and routing system and Final Draft Screenwriting Software.

Daniel Sennheiser and Dr. Andreas Sennheiser accepted the Emmy statuette “on behalf of the passionate Sennheiser staff that helped to create innovative audio products and have provided impeccable customer service in the fields of TV and broadcasting.”

Frank Morrone, governor of the sound branch at the Academy of Television Arts & Sciences, himself an Emmy Award-winning Hollywood audio engineer, congratulated Sennheiser on the award: “I am excited that the Television Academy has chosen to recognize Sennheiser as a leader in developing products that have contributed to advancing the way television is created and produced.”

Daniel Sennheiser commented: “We are thrilled that the Engineering Awards Committee has selected Sennheiser for this much sought-after award. This is an incredible honor for all of us at Sennheiser, and I dare say especially for our teams in North America, who are reliable and enthusiastic partners to the benchmark-setting US TV industry. The award also honors the achievements of my father and grandfather, who firmly grounded and advanced the company in the fields of production and broadcasting.”

Sennheiser’s wireless microphone systems and shotgun microphones are used in TV and film productions the world over. Whether robust and reliable RF wireless systems like Digital 9000 or highly precise gun microphones such as the industry-standard MKH 416 – sound engineers at production centers across the globe rely on Sennheiser microphone technology.

Sennheiser began producing shotgun microphones as early as the 1950s, and when the need for wireless transmission emerged in TV broadcasts at the end of that decade, the company was at hand to liberate hosts and actors from the cable with its first wireless mic in 1957. Since then, of course, technologies have evolved tremendously, resulting in today’s climate-resistant, rugged shotgun microphones and superior multi-channel wireless systems with tiny, easy-to-hide lavalier microphones and excellent handheld microphones.

About the Primetime Emmy® Engineering Awards:

The 65th Primetime Emmy Engineering Awards are overseen by chair Wendy Aylsworth, SVP of Technology, Warner Bros. Committee members are Stuart Bass, A.C.E., Picture Editors Governor, Academy of Television Arts & Sciences; Chris Cookson, President, Sony Pictures Technologies; Kevin Hamburger, Sr. Supervising Producer, THE TALK; Eileen Horta, Sound Editing Governor, Academy of Television Arts & Sciences; David Jensen, Partner, Monitor; Geoff Katz, Vice President, Watchwith; Frank Morrone, C.A.S., Sound Governor, Academy of Television Arts & Sciences; John D. O’Brien, Video Control/Consultant “The Big Bang Theory”; Mark Scott Spatny, VP Digital Effects, Stargate Studios; Barry Zegel, Senior Vice President and General Manager, CBS Television City.

About Sennheiser:

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.

Caption: Daniel Sennheiser and Dr. Andreas Sennheiser accepting the prestigious Philo T. Farnsworth Award at the Engineering EMMY® Awards Ceremony

Emmy®: The Emmy name and the Emmy statuette are the trademarked property of The Academy of Television Arts & Sciences and the National Academy of Television Arts & Sciences.

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Mick Wingert, “Voice of Awesomeness,” Relies on Neumann U 87 and Sennheiser MKH 416 to Capture Nuances of Animation Performances

Wingert, a ‘Natural Born Mimic’ and Voice of Po in Kung Fu Panda, Says Sennheiser and Neumann Microphones Capture Authenticity of Performances

Old Lyme, Conn., – October 19, 2013- Mick Wingert, who is also known as “Voice of Awesomeness” in and around Hollywood, began his love affair with voice acting by imitating and mimicking his favorite cartoon characters at an early age. As his career blossomed and his acting skills matured, he gravitated towards Neumann and Sennheiser microphones as the primary tools of his trade and hasn’t looked back since.

Wingert has made his calling card in large part through his highly outstanding voice performances as Po in Kung Fu Panda over the last four years, in which he has been featured as Jack Black’s vocal stand-in. However, since the beginning, he has always had an ear for the sound of his characters.

“Every time I played a character in the community theater where I started acting, my first question would be, “What does this character sound like,” Wingert recalls. “The movement, the physical sense and even the emotions of the character were never as important to me as the voice. I knew voice acting would probably be my niche early on.”

Now, whether lending his talent to Nickelodeon, DreamWorks or another major Hollywood studio, Wingert prefers using the Neumann U 87 large diaphragm condenser microphone or the Sennheiser MKH 416 shotgun microphone for all of his voice acting work — whether playing animated characters or doing more traditional voiceovers for advertisements.

“In voice acting, people expect the whole world to come through the audio,” observes Wingert. “It behooves the character actor to be able to create a reality both through their acting voices and through their microphone technique. It fascinates me how often I will dance with the microphone to get the best possible sound.”

For his animation work, Wingert most often uses the Sennheiser MKH 416 shotgun microphone. “For me, the MKH 416 seems to capture a solid sound with a nice, crisp upper end and full bottom end,” he says. “My voice has a bright, brassy sound, and for my animation work, the MKH 416 really works with this, and I tend to use the U 87 for more traditional commercial and narration work. I have never had a ‘big announcer’ type voice, but the U 87 does a great job in capturing the baritone/tenor qualities of my voice.”

While voicing Kung Fu Panda’s Po character, Wingert must capture a broad palette of emotions and dynamic expression. “Po often has to apoligize and have sincere moments during the show, because he is the one with the character arc. I might have an apologetic moment where I have to get really close the mic and sound super-sincere. I let the mic do its job by capturing the intimacy of that moment by bringing out the rich, warmer tones of my voice so it sounds like I am standing right next to the person I am speaking with.” Wingert says this intimacy might contrast with another moment in the script where, say, Po is calling out across the courtyard to a crocodile bandit. “For something like this, I might be a little farther off the mic to allow for more space and room tone.”

Wingert, who also teaches voice acting, recommends the Neumann U 87 to his students whenever they are ready to make an investment in a great microphone. “To make your calling card in this industry, you need to combine your best performance and the best microphone for your sound. Get your own Neumann, because that’s what you will be working with in the ‘real world.’ The Neumann sound is solid, and there is a lot of depth and character to it. It captures nuance in a way that other microphones simply cannot.”

About Neumann:

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

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.

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The Freedom of Sound: The New Neumann TLM 107 Microphone

Standard-setting Microphone Features Multiple Polar Patterns for Studio, Broadcasting and Demanding Home-Recording Applications

New York City – October 18, 2013: At this year’s Audio Engineering Society Convention, premium audio brand Neumann [booth 2831] announced its newest studio microphone: The TLM 107 large diaphragm microphone. It stands for innovation based on tradition and is a universal, standard-setting microphone with multiple polar patterns for studio, broadcasting and demanding home recording applications.

The TLM 107 features a surprisingly fresh design and a novel operating concept. Wolfgang Fraissinet, President of Neumann.Berlin, explains: “The TLM 107 is a modern, high-resolution sound transducer with excellent reproduction characteristics that enable it to capture the original sound without any coloration, thus ensuring unlimited design freedom in mixing and post-production.”

For the first time, all of the microphone switch functions are controlled through an elegant, wear-resistant navigation switch. The contemporary, intuitive operating concept includes an illuminated pattern display in the chrome ring, with the Pad and Low Cut status LEDs positioned to the left and right. The switch and display are located on the rear of the microphone so as to not distract singers. After 15 seconds, the display is turned off automatically, allowing the TLM 107 to be positioned discretely on the stage.

The newly developed double diaphragm capsule is inspired by one of Neumann’s top models, the D-01. With its exceptional impulse fidelity, the TLM 107 is particularly suitable for percussion and the finest overtones of stringed instruments. As a multi-pattern microphone made by Neumann.Berlin, the TLM 107 is impressive not only in the cardioid setting, but delivers balanced sound for all five directional characteristics: Omnidirectional, cardioid and figure-8, with the intermediate patterns wide-angle cardioid and hypercardioid.

For all polar patterns, up to 8 kHz the sound reproduction is almost linear, while a slight high frequency boost lends brilliance and freshness to recordings. Particular attention has been paid to the natural reproduction of the human voice, especially the critical “s” sound. Low sensitivity to pop sounds is ensured by an acoustically optimized grille, which has a characteristic Neumann design, with youthful, flowing lines. The capsule is designed to minimize sensitivity to humidity and other environmental influences. For example, the front and rear diaphragms are at ground voltage, thus preventing the electrostatic attraction of dust particles. In order to ensure that no dust enters the interior, the sound transducer — like all Neumann capsules — is mounted in one of the best cleanrooms in Germany.

Transformerless circuitry permits a high degree of linearity and a large dynamic range. The self-noise of only 10 dB-A is practically inaudible. The maximum sound pressure level, specified as 141 dB SPL, can be increased to 153 dB SPL via the two-stage pre-attenuation, so that sound from even the loudest sources can be transmitted without distortion. The switchable Low Cut with the settings Linear, 40 Hz and 100 Hz has been carefully adapted to practical recording situations: The 40 Hz setting eliminates interference noise below the range of fundamental tones, while the 100 Hz setting is ideally suited to speech and vocal recordings.

The TLM 107, which is priced at $1,699.95 and available in late November, is supplied in the colors matte nickel or black, and includes a stand mount. Detailed product information can be found at www.tlm107.neumann.com.

About Neumann:

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

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.

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iZotope Releases Nectar 2 Production Suite

Flawless vocal production is just a click away

AES, New York City, (October 18, 2013)iZotope Inc., a leading audio technology company, has released Nectar® 2 Production Suite. Designed specifically for voice, Nectar 2 harnesses the power of iZotope’s award-winning vocal technologies to quickly and easily treat your voice to sweet results. Whether you’re tracking or mixing, Nectar 2 is designed to deliver professional vocals fast.

“When developing Nectar 2, we focused on adding cutting edge tools like the new Harmony and FX modules, as well as classic tools that have made vocal recordings sound great for decades, like the new EMT 140-modeled plate reverb,” says Brett Bunting, Product Manager at iZotope. “By providing all the tools necessary to create a unique vocal chain, we’re excited to make working with vocals even more inspiring for our users.”

Exclusive to the new Nectar 2 Production Suite, two additional plug-ins are included for perfecting your vocal sound. Pitch correction is simpler than ever with the new Pitch Editor plug-in, and you can remove distracting breaths without tedious, time-consuming editing with the new Breath Control plug-in.

KEY FEATURES:

Explore eleven powerful tools within Nectar 2: Harmony, Plate Reverb, FX, Pitch, Delay, De-Esser, Saturation, Compressors, Gate, EQ, and Limiter.

- Add impact and space to a vocal track with a new EMT 140-modeled Plate Reverb.
- Transform a vocal take into a dynamic, harmonized ensemble of up to twelve voices with a few mouse clicks or by playing your MIDI with the Harmony module.
- Get smooth, pitch-perfect takes quickly with new dedicated Pitch Editor and Breath Control plug-ins.
- Expand your palette of vocal sound with seven new creative effects in the new FX module.
- Tweak each module’s powerful settings and controls in the Advanced View, or make quick adjustments in the streamlined Overview panel.
- Switch easily between Tracking and Mixing modes to improve vocals at all stages of production.
- Hear instant results with over 150+ new presets inspired by current and classic vocal styles.

For more information about Nectar 2, visit www.izotope.com/nectar.

PRICING AND AVAILABILITY

Nectar 2 Production Suite, featuring the dedicated Pitch Editor and Breath Control plug-ins, will be available for $219 through October 30, 2013 (regular MSRP $299 USD / €185 EURO).

Customers who purchased Nectar after August 1, 2013 will receive an email with a free upgrade to Nectar 2 Production Suite upon release.

Users of Nectar 1 or Nectar Elements can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

COMPATIBILITY

Nectar 2 can be used as plug-ins in your favorite host. Supported plug-in formats include 64-bit AAX (Pro Tools 11), RTAS/AudioSuite (Pro Tools 7.4-10), VST, VST 3, and Audio Unit.

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®

For more information on iZotope products, please visit www.izotope.com.

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Sennheiser’s Digital 9000 Wireless System, HDVD 800 and Neumann KH 310 Monitor Nominated for 29th Annual TEC Awards

Sennheiser and Neumann Receive Nominations in Wireless Technology, Amplification Hardware/Studio & Sound Reinforcement, and Studio Monitor Technology Categories

ANAHEIM, CA – October 17, 2013 – Audio specialist Sennheiser announced that its Digital 9000 Wireless System, HDVD 800 Headphone Amp/DAC, and the Neumann KH 310 Monitor have been nominated for Outstanding Technical Achievement for the 29th Annual TEC awards. The presentation ceremony is scheduled to take place during the 2014 NAMM Show, to be held in Anaheim, Calif. in January 2013.

Sennheiser’s Digital 9000 Wireless System, which has been nominated in the ‘Wireless Technology’ category, is the most advanced professional wireless system in the world and supports professionals across broadcast studios, theaters, and live performances. The HDVD 800 Headphone Amp/DAC, which has been nominated in the ‘Amplification Hardware/Studio & Sound Reinforcement’ category, allows for optimal performance when paired with any Sennheiser audiophile headphones. The Neumann KH 310 Monitor, meanwhile, is a three-way active tri-amplified monitor that is nominated in the ‘Studio Monitor Technology’ category.

“We are thrilled to have such a strong presence once again at this year’s TEC Awards for both Sennheiser and Neumann,” commented Greg Beebe, president of Sennheiser Electronic Corp. “We would like to thank all of our employees around the world for their unrelenting commitment in developing and marketing these groundbreaking products, and of course our customers for their loyalty and continued feedback.”

Presented by the Technical Excellence & Creativity Foundation, the TEC Awards are the professional audio industry’s most prestigious awards. Nominations in Outstanding Technical Achievement in Product Design were made by a select panel of sound and music industry professionals in numerous audio specialties, and were were based on product entries by audio manufacturers. Products and projects released and in commercial use during the period of September 1, 2012 to August 31, 2013 were eligible for a nomination.

The Sennheiser Digital 9000 Wireless System:

The Digital 9000 Wireless System offers completely uncompressed and artifact free digital audio, combining sonic purity and outstanding dynamics. It’s the first digital wireless system that works without compression, allowing for full HD audio transmission. The system uses extremely steep filters to allow a very narrow set-up of the respective radio frequencies within the available frequency range. Through this, the risk of intermodulation is eliminated, allowing for the most reliable wireless operation.

Senheiser HDVD 800 Headphone Amp/DAC:

The HDVD 800 Headphone Amp/DAC is a solid-state amplifier that generates the ultimate acoustic performance when paired with any of Sennheiser’s audiophile headphones. It highlights crisp, balanced and distortion-free sound through a high-quality Burr-Brown digital/analog converter (DAC). The amplifier is outfitted with an symmetrical input socket, which allows for incoming signals to be symmetrized before processing takes place. The HDVD 800 also offers an extra USB input, allowing for 24 bit data transmission at 192 kHz.

Neumann KH 310 Monitor:

The Neumann KH 310 monitor can be used in a wide range of acoustical conditions in a variety of locations such as project and recording studios, broadcast centers and OB vans. Its many uses range from a near-field monitor, a front loudspeaker in mid-sized multi-channel systems, or a rear loudspeaker in a larger multi-channel system. The KH 310 is a three-way active tri-amplified monitor utilizing Mathematically Modeled Dispersion™ Waveguide (MMD™). It offers flexible acoustical controls, various input options, and a wide range of mounting hardware.

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.

Photo captions:
1. The Sennheiser Digital 9000 Systems
2. The Sennheiser HDVD 800 Amplifier / DAC
3. The Neumann KH 310 monitor

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Crisp, Binaural Sound Takes Leading Role as Neumann KU 100 “Dummy Head” Microphone Features in “Boom Up!” Short Film

Entire Film Shot in 3D from Boom Mic’s Perspective with Neumann & Sennheiser Capturing Sound, Revealing Behind-the-Scenes “Realities” of a Film Set

Old Lyme, Conn. – October 15, 2013: “Boom Up!” is a new short film by award-winning writer/director Guy Chachkes that challenges the traditional sensory perspective of the movie-going experience. The 12-minute film is shot entirely from the perspective of the boom microphone, with the audio experience playing the lead role. The “lead character” — or primary microphone used on set — was a Neumann KU 100 “dummy head” microphone mounted to a boom pole.

“Boom Up!” reveals a crew setting up for a low-budget sci-fi movie, not unlike François Truffaut’s “Day for Night” [1973] — a classic, Academy Award-winning film that also deals with the challenges that accompany the movie-making process. In “Boom Up!”, the viewer is actually a critical piece of recording equipment, omnipresent during the entire process, and often atop the actors. “Everyone is setting up for a scene,” explains Chachkes. “The electricians are setting up the lights, the producer is arguing with everyone on set, and scandals are brewing in the background — it’s a very ‘real world’ production.”

Since the film narration is inextricably tied to the point of view of the boom microphone, capturing a realistic, authentic sound was a fundamental concern during the filmmaking process. “Since the movie is called ‘Boom Up!’, it was very important to have the best possible sound. My producer [Jesse R. Tendler] came across the concept of recording in binaural surround sound, and after doing some research, we determined that the Neumann KU 100 would be perfect,” Chachkes recalls. “In most applications I’ve seen, the KU 100 microphone is stationary — but we moved it around with the camera itself. We pointed the ‘dummy head’ wherever the camera was looking, and it helped create a very realistic experience.”

The binaural sound picked up by the Neumann KU 100 was augmented by a Sennheiser MKH 416 shotgun mic, which was also mounted to the pole. Additionally, there were (14) Sennheiser MKE 2 Gold sub-miniature omni-directional lavalier microphones positioned on the actors and crew, which were used in conjunction with (14) Sennheiser EM 300 G3 receivers and (14) SK 300 G3 bodypack transmitters. “We combined the binaural tracks from the Neumann KU 100 and Sennheiser MKH 416 with the other lavalier tracks, and it created this 3D sensation like you are right there with the actors. The sound is incredible!” says Chachkes.

The video for the movie was captured in a similarly unconventional fashion, using a GoPro 3D system consisting of two small cameras mounted to the boom pole. “We needed a camera that was high quality, yet light enough and durable enough to capture the exact motion of the boom pole to which it was attached,” says Chachkes.

Chachkes recalls his original inspiration for shooting such an unconventional film: “I was making another short. We were breaking for lunch one day and the sound guy let me hear the scene we had just shot with his headphones. The most interesting thing happened. After playback stopped, I could hear everything the boom mic was picking up, all of the private conversations of the cast and crew. I thought to myself, ‘This would be an amazing concept for a movie, just showing an active movie set from the perspective of a boom microphone that catches everyone’s interactions.’”

After Chachkes explained the concept to the film’s producer, Jesse R. Tendler, Tendler sent Chachkes a YouTube video that was made using the KU 100. “As soon as I heard it, I said ‘That’s it!’” he recalls. Chachkes says he couldn’t be happier with the outcome of the film, which has since been submitted to the Sundance Film Festival and 11 other festivals for consideration.

About Neumann:

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

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 www.sennheiserusa.com.

Photo captions:
1) Actor Chris Kapcia holds the “boom cam” above actresses Catherine Gibson (left) and Jessica Grant (right). Dummy head operator Arman Rogers stands behind.

2) The Neumann KU 100 “dummy head” binaural microphone.

3) Matt King (Sound Mixer & Associate Producer) setting up the Sennheiser EM 300 G3 wireless receivers.

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Antelope Audio Orion32 Interface Receives Technical Achievement Nomination for 29th Annual TEC Awards

Orion32 Captures Nomination in “Computer Audio Hardware” Category

Santa Monica, CA, October 14, 2013Antelope Audio announced that its groundbreaking new Orion32 interface has been nominated for the 29th Annual Technical Excellence & Creativity (TEC) Awards in the ‘Computer Audio Hardware” category. The TEC Awards is the pro audio industry’s most prestigious awards show honoring outstanding achievement in product innovation and sound production. The 29th Annual TEC Awards will be presented during the 2014 NAMM Show in Anaheim, CA.

Nominations are based on product entries made by a select panel of industry professionals in numerous audio categories. Products must be released and in commercial use during the period of September 1, 2012 to August 31, 2013 to be eligible for nomination.

Igor Levin, president and founder of Antelope Audio, commented: “We are pleased the Orion32 has been nominated for Outstanding Technical Acheivement by the TEC Foundation. The Orion32 is a best-in-class product that sets new standards in recording and playback in recording and live sound environments, delivering unmatched audio quality and value in a single 1U rackspace unit.”

Orion32: World’s First 32 Channel AD/DA and Master Clock in a 1U Rack

The Antelope Audio Orion32, which is priced at just $2,995, is compatible with all major recording software platforms and is the world’s first 32-channel AD/DA converter and audio master clock in a 1U rack. The device supports both MADI and USB interfaces and is clocked by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) technology.

The Orion32 allows 192 kHz I/O streaming of 32-channel digital audio through its custom-built USB chip, which provides simple connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its Fiber Optic MADI I/O connections, which can be used to connect with any suitably equipped MADI device.

For more information about the Orion32, visit:
www.antelopeaudio.com/en/products/Orion32-Multi-Channel-AD-DA-converter

For more information about the TEC Foundation, visit:
www.tecfoundation.com

About Antelope Audio
Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

# # #

All brands and trade names are the property of their respective owners.

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