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

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

The Best Sound, the Biggest Broadcast Events:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Taking to the Stage – A Smash Hit in Theatres:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Making Live Audio Come Alive:

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

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

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

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

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

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

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

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

Depended on by Top Rental Companies:

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

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

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

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

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

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

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

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

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

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

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

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

Photo captions and image information:

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

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

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

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

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

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

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

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

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

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

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

Neumann KH 120 Monitors: when accuracy counts

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

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

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

About Sennheiser

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

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

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Bringing Pristine Audio into a Visual World: Sennheiser MKE 400 and MKE 600 Microphones Create ‘Gold Standard’ for Amateur and Semi-Pro Filmmakers

As Worldwide DSLR Market Continues to Grow and a New Social Video Culture Takes Hold With Innovative Platforms Such as Vine, Sennheiser Brings Audio Integrity into the Mix

Old Lyme, CT – September 18, 2013 — Sound has always been an integral element to modern filmmaking, and for decades Sennheiser has represented the ‘gold standard’ in capturing audio — both in the studio and on-location. Over the last several decades, sound mixers and boom operators have come to rely on both vintage and modern classic shotgun microphones from Sennheiser — including the ME 66, the MKH 416 and MKH 8060 — to make their films ‘come to life’ with dialog, effects and music. As devices such as DSLRs and smartphones continue to proliferate the consumer market — and as the use of innovative content sharing platforms such as Vine and Instagram become commonplace among consumers, Sennheiser is now bringing its microphone technology to an entirely new generation.

According to a press release by Transparency Market Research, digital cameras represent one of the most popular segments of the consumer electronics products market, and the worldwide digital camera market is projected to grow to 138 million units by the year 2015. Meanwhile, applications such as Vine and Instagram bring elements of immediacy and authenticity that were simply not available to the general videomaking consumer in the past. For amateur and semi-professional filmmakers, this means there has never been a better time to create and share video.

Enter the MKE 400, MKE 600 and KA 600i

Just as it has provided premium solutions to professional filmmakers for the last several decades, Sennheiser recently made its MKE 400 and MKE 600 shotgun microphones available to would-be filmmakers and video enthusiasts all around the world. These solutions, designed to be used in combination with camcorders, DSLRs and now smartphones, help content creators realize the dream of ‘no-compromise audio.’ These microphones focus on sounds in front of the camera, while attenuating unwanted sounds coming from the sides and rear. Both the MKE 400 and MKE 600 feature a universal shoe mount and have low cut filters, which help minimize wind noise in demanding situations.

With the KA 600i, Sennheiser makes it possible to capture high qualtiy audio with simply a smartphone, when used in conjunction with the self-powered MKE 600 microphone. As smartphones become more and more powerful, and applications become more creative and flexible, the KA 600i places an unprecedented amount of power into the hands of both amateur videographers as well as professional journalists and others capturing video while ‘on the go.’

What does sound mean to YOU?

Starting this week, Sennheiser is launching a contest directed to both amateur and semi-pro filmmakers. Entrants must answer the question “What does sound mean to you?” and will submit responses through the Vine app for iPhone and Android. One grand-prize winner will win a premium Sennheiser MKH 416 shotgun microphone, and second and third place winners will take home a new Sennheiser MKE 600 shotgun microphone. Interested participants should visit the Sennheiser website [http://en-us.sennheiser.com/avcontest] between now and October 7th; entries will be judged on creativity, originality, and use of audio.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headsets 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.

Captions:
1) The Sennheiser MKE 600, outfitted with the MZW 600 windshield, available as an accessory.
2) The Sennheiser MKE 600, pictured here with the MZW 600 windshield, features a low cut filter to help minimize wind noise.
3) The MKE 400 shotgun microphone, designed for use with DSLR cameras.

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25×25: World-famous DJs wish Happy 25th Birthday to the Sennheiser HD 25

Old Lyme, CT, September 16, 2013 – Iconic, cult, legendary: only a product that inspires passion and remains in demand after 25 years earns this level of acclaim. Launched in 1988, Sennheiser’s HD 25 has come to define the ultimate DJ headphone. Alongside the launch of a new edition – the HD 25 ALUMINIUM, the anniversary is being marked by 25 of the world’s greatest DJs, who wish the iconic headphone a “Happy Birthday” and explain its essential role in their music and performance.

Top DJs and their HD 25s – The stories and memories

Over the past 25 years many of the world’s greatest DJs have selected Sennheiser’s HD 25 as their first choice of headphone, with some using theirs over years and even decades. That enduring appeal is expressed by 25 of the world’s leading DJs (and HD 25 fans), who send their birthday wishes in a special film by Sennheiser. Star DJs including QBert, Bob Sinclar, and Luciano describe how their HD 25s become an integral part of performance and the experience of music itself. They also share stories of their first DJ performances, describe the feeling of playing to an audience and the role their headphones play in delivering a great performance. To watch the Happy Birthday HD 25 video and exclusive DJ interviews, visit www.sennheiser.com/dj.

That special something: What makes the HD 25 the perfect DJ headphone?

Built for a life behind the decks, the HD 25’s highly insulated rotatable capsules deliver high levels of background noise attenuation, make one-ear monitoring easy, and stay comfortable when worn for long periods. And the daily punishment of professional use is more than matched by its robust build quality and serviceability.

But keeping the world’s greatest DJs happy is about more than the features and specifications. For DJ legend and four-time DMC champion QBert, the magic of the HD 25 is its precise signature sound, a characteristic that’s prized by many DJs: “My ears are accustomed to the Sennheiser sound. I love that the HD 25s have a flat sound, so you hear how the music really is – not coloured, but pure – the way the artist wanted to put their music out. I’ll be using these for 50 years – 100 years!”

“I’ve been using the HD 25 for a long time and Sennheiser headphones even longer – they made the first headphones I ever used!” said Swiss-Chilean DJ, Luciano. Likewise, Canadian superstar DJ Mike Shannon has found over the course of his career that the HD 25s are built to last: “I’ve been using the HD 25s since they came out,” he explains. Commenting on the sound performance, which offers tightly controlled bass and detailed treble while handling high sound pressure levels, Shannon said: “The clarity of the sound, it’s a clean reference – it’s very real. In the studio, listening to a mix, the sound is tight – it’s one to one with how it’s intended.”

Like Shannon, Parisian electro house DJ, producer and label boss Martin Solveig has had a lifelong affair with the HD 25: “I’ve never ever DJed without it. If you look online at the pictures of all my performances and every party you’ll never see me using another headphone. It’s the only piece of equipment I’ve never changed. The reason is the same reason everyone will tell you – it’s the best headphone. The response is linear enough to be trusted even in a studio or recording situation. Of course, I know the sound, and it matches the references in my head – I’m formatted to this headphone!”

In daily use, performance has to be matched with comfort and durability. Ibiza legend and Pacha resident Andy Baxter explains that the headphones’ longevity also reflects its perfect blend of both sound and a robust design that offers a great fit over long periods of use: “I’ve been using the HD 25 for many years now – there’s no more comfortable headphone out there that can deliver such good sound quality, for myself and for many of my favourite DJs that use the HD 25, too. Happy 25 years of listening pleasure to the one and only Sennheiser!”

The HD 25 ALUMINIUM – The cult classic reborn

Marking the 25-year milestone, Sennheiser has launched the HD 25 ALUMINIUM, a new version featuring a unique, premium aluminium construction. Taking the legend into the future, the HD 25 ALUMINIUM naturally delivers peerless sound quality in a headphone that is now even more desirable. With earcups lathed individually from single blocks of strong, lightweight aluminium, the HD 25 ALUMNIUM is ready for a lifetime in the DJ booth. Find out more at: www.sennheiser.com/hd-25-aluminium.

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, Canada, Mexico, the USA and now Australia and New Zealand, 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: Sennheisers legendary HD 25 celebrates its 25th birthday with a new aluminium version.
2: DJ superstar Luciano behind the decks with the new HD 25 ALUMINIUM.

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Osheaga Music and Arts Festival Leaps Onto the World Stage as Sennheiser Provides Exquisite Sound for Fourth Year in a Row

Montreal, September 12, 2013 – Montreal’s Osheaga Music and Arts Festival, held every summer at the city’s breathtaking Parc Jean-Drapeau on Île Sainte-Hélène, is not only well established as Canada’s top music festival, but is also ranked as one of the top music festivals in the world. With many thousands of passionate indie music fans in attendance, audio manufacturer Sennheiser was on hand to support the Green Stage (La scène verte) for the fourth year in a row, along with loudspeaker manufacturer K-array.

Since launching in 2006, when headliners including Sonic Youth, Ben Harper, and the Flaming Lips drew a crowd of 25,000, Osheaga has grown to attract no less than 135,000 music fans – and along the way has become an essential stop among many touring artists’ itinerary. In 2012, Pollstar ranked Osheaga Music and Arts Festival as the 11th largest in the world. This year, amidst mostly sunny skies, international touring artists gracing the Green Stage included The Breeders, The Gaslight Anthem, Tricky, Explosions in the Sky, Beach House and many others. Sennheiser’s Global Relations Team supported Osheaga’s Green Stage by supplying an impeccably pre-configured rack of its wireless solutions including IEMs (in-ear monitors), while Sennheiser Canada supplied a comprehensive selection of instrument and vocal microphones as well as the latest energy-efficient loudspeakers from K-array.

“The Osheaga Music and Arts Festival continues to enjoy an increasing international profile as a ‘destination music festival’, attracting music fans from all around the world with the beautiful backdrop of Montreal,” said Sennheiser’s Kristy Jo Winkler, relations manager, Americas. “Four years ago, Sennheiser helped the Green Stage establish an impressive standard in sound quality, staging and power efficiency. We hope to continue doing this for many years to come.”

Sennheiser makes Osheaga’s La Scène Verte sing

Dozens of veteran and emerging artists delivered electrifying sets through to a rapt audience of as many as 25,000 at the Green Stage. Living up to its “green” moniker, the stage featured the latest, highly efficient line of K-array speakers, as well as Sennheiser’s 2000 series wireless transmitters and receivers, its evolution series wired microphones, and its ew 300 IEM G3 wireless monitoring systems.

Sennheiser e 935 wired microphones were used as well as MMD 935-1 microphone capsules in conjunction with SKM 2000 XP handheld wireless transmitters. “I have been using Sennheiser 935 capsules for many years now and I love them,” states Greg “Monk” McClement, front-of-house engineer for the Sennheiser Green Stage. “We used them throughout the festival, in both wired and wireless applications. That’s the main vocal capsule I use on anything I do.”

Sennheiser’s evolution series microphones were also used throughout the backline. Monk had Sennheiser mics covering the entire drum kit on the stage, starting with the e 602-II cardioid microphone on the kick drum: “When the e 602-II mic came out, suddenly I had the attack, as well as the softness that is necessary for the type of music that I am doing,” he says. “All kick drum mics are different, but the e 602-II gives me more options to find the sound I am looking for.”

For the rest of the drum kit, Monk used a Sennheiser e 905 on the snare, an e 604 on the toms and a Neumann KM 184 on the hi-hat. “The e 604 clip-on is great because it not only sounds great but also helps facilitate the quick changeover we need in between acts for the patch guys on stage,” observes Monk.

The guitars amplifiers were covered by Sennheiser e 906s and e 609s, which were used in combination with a Sennheiser MK 4 large-diaphragm microphone on some of the amps. “The large-diaphragm on the MK 4 helps me pick up the mid-range frequencies properly. On the guitar amps, we had the mic pretty close up to the speaker and the capsule really held up,” Monk says.

Monk was particularly pleased with the state the Sennheiser rack containing the wireless receivers and handheld transmitters arrived in. “Everything seemed to be tuned, and it was super-easy for us to access all the packs and handhelds we needed,” he says. In a live scenario where every production minute counts, this made set up more efficient: “We don’t have time to mess around,” he says. “We are doing live music and everything has to work on the first shot.” The Sennheiser IEMs, as well as the wireless transmitters, proved to be a magical combination for both the production staff and the artists: “When the in-ears sound this good, the bands are all just so happy,” Monk observes. “The clarity between the wireless mics sending and the in-ears receiving is just insane – I have never heard that kind of quality from any other company.”

K-array Powers The Green Stage for Four Years Running

The self-powered PA system on the Green Stage consisted of ten KH4 two-way speaker systems, ten KS4 dipole subwoofers, and ten KO70 dual-21-inch sub-bass cabinets, with additional KH4/KS4 arrays as well as KH15 compact two-way speakers providing fill and delay. “It felt like we were indoors,” says Monk. “It’s very difficult when you are outdoors to have that feeling, but the K-array system managed to deliver that. All the bands’ sound guys were very impressed and really felt like they were mixing inside.”

Vaino Gennaro, Business Director-Live sound Sennheiser Canada, articulated how the K-array speaker system continues to deliver significant energy and cost savings: “The power consumption on the K-array KH4/KS4 speaker system is reduced to a minimum thanks to the use of digital amplifier modules with high-energy output from minimal power input, hence saving energy and becoming the first ‘green’ PA in the market.”

“The compact size, shape and light weight of the K-array system will fit most PA system demands while requiring only a minimal footprint,” Gennaro continued. “This results in savings on trucking – smaller trucks mean lower rental costs, savings on fuel, and requires only a regular driver’s license.” He also observes that the labor for set-up and teardown is minimized, because less crew and man-hours are required. “A lighter system requires fewer rigging points, smaller motors, and can be easily ground-stacked,” he says.

Aside from the cost and set-up efficiencies, the K-array over-delivered when it came to the sound. With its built-in DSP settings, the entire rig was easy to tune and optimize for the venue. “It delivered an awesome clean and true sound that could be heard even from a distance!” says Gennaro. One of the main considerations in setting up the PA was ensuring that the PA would deliver sufficient headroom, in case a sound engineer were to push the system by a few dBs. Gennaro recalls such an instance: “During a set by C2C, the engineer pushed the system and the K-arrays really rose to the occasion and sounded amazing,” he says. “On the live console faders for a system this large, the difference of zero plus one or zero plus two can mean a huge amount of sound. We knew the speakers would handle this and there was absolutely no distortion.”

Looking back on another successful Osheaga festival, Monk is grateful to have Sennheiser at his back: “Sennheiser takes professionals very seriously, and the company stands behind their products when they are engaged at a festival like this,” he concludes. “Each time, they put a really good team together with a lot of experience. This goes a long way during a festival that has many of us working long hours over the course of many days. It is also great for the bands coming in to play, because they know they’re going to get great sound.”

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

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

Photo captions:
1: Sennheiser Canada artist Misteur Valaire performs on the Green Stage using Sennheiser equipment
2: Richie Follin from Guards, singing through a Sennheiser e 935 wired microphone
3: Front-of-house engineer Greg ‘Monk’ McClement, manning the Green Stage at Osheaga
4: Racks containing Sennheiser ew 300 IEM G3s wireless monitors and 2000 series wireless microphones
5: France’s C2C turntable quartet pushed the highly efficient K-array PA system to its limits
6: The K-array KH4 and KS4 loudspeakers, at left of main stage

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iZotope Releases RXTM 3: A Complete Audio Repair Suite

IBC, Amsterdam, Netherlands, (September 12, 2013)iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in real time, and new features for post production, music production, mastering, and more.

“RX 3 and RX 3 Advanced are the culmination of three years of invaluable user feedback. We’re happy to bring these customer-driven improvements to our industry-leading repair software,” says Alex Westner, Director of Product Management at iZotope, Inc. “Crafting broadcast-quality audio is now even easier with RX 3’s workflow improvements designed to enhance speed, power and flexibility for time-strapped professionals working in post production.”

KEY FEATURES:

What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using InsightTM, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRCTM sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+TM dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now. Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.

RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3.

Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

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.

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

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Audio Expert Mike Thornton to Explore iZotope’s Innovative RX 3 Toolkit for Post Production Professionals During SuperMeet at IBC

Amsterdam, September 10, 2013 – With IBC approaching next week, one of the most pressing issues facing post production professionals is how to create and deliver high quality audio tracks in an increasingly ‘noisy’ modern world. Next week on September 15th, sound designer, audio producer and post production expert Mike Thornton will address these challenges, and explain how iZotope’s new RX 3 audio restoration software can help overcome audio issues in post production with unprecedented efficiency.

During his showcase appearance at CPUG Amsterdam SuperMeet during IBC, Thornton will give his 20-minute stage presentation Rescue Bad Audio from the Cutting Room Floor in Amsterdam’s Grand Hotel Krasnapolsky on Sunday night between 7:00 p.m. and 11:00 p.m. — product demonstrations will begin at 4:00 p.m. Following is a brief preview of what attendees can expect, according to Mike:

What are some of the modern challenges post production professionals face in maintaining integrity in their audio?

One of the biggest challenges we are all facing is that there are less and less sound recordists being booked to record audio, so very often these tasks are left to production assistants, cameramen or directors rather than audio engineers. The reality is that these people can’t be expected to do everything at once and achieve an optimal result. What we see time and time again is that the sound suffers accordingly. As a result, very often, lower grade sound arrives in the edit room and now we can address this with intelligent tools such as iZotope RX 3.

What about audio coming from ‘controlled environments’?

In my opinion, the world is getting noisier and noisier. So even if you have good sound recordists on location to capture the audio, trying to get a truly quiet soundstage is quite a challenge and becoming next to impossible. Television studio floors on ‘light entertainment shows’ are incredibly noisy, for example. There are very often lights with motors in them, projectors, fans and other gear that introduces more acoustic noise. That means that the audio coming into the microphones is already substandard, even though there are good quality microphones on the set positioned by professionals. All of these things together mean that more and more of the audio we see in post-production is noisy, and we’ve got to deal with this. These are the kinds of challenges we see post professionals dealing with on a daily basis.

What are some standout features of the RX 3 audio restoration software?

First, it’s the Dialogue Denoiser, which operates in real-time. Until now, denoising was something that the software had to learn based on a specific noise after you assigned it a “noise profile.” Now, RX 3 reduces the background noise in real time, without adding any significant latency. The low latency aspect is key, because if you are working in television, you need to keep everything in sync. The Dialogue Denoiser is also incredibly easy to use.

What about the Dereverb module?

This is another key product feature, because very often you have situations where non-professionals are recording and maybe the microphone is further away or positioned differently than a professional would have had it. Or perhaps the recording was good, but just captured in an overly reverberant facility, such as a church. With RX 3, iZotope has made it incredibly easy to reduce or remove reverb altogether. You get the RX 3 to learn a bit of the audio with the reverb, and then RX 3 provides recommended settings that would be needed to remove it. This gives the user a tremendous starting point, making it all the more easier to achieve a great result. The Dereverb and the Dialogue Denoiser are the biggies for me, but there have been other improvements right across the board. iZotope has worked very hard at improving the GUI as well, and this helps tremendously with the overall user experience.

Why is ‘ease of use’ so important?

It comes down to the old adage ‘time is money’ — if it takes me three hours to clean up the audio, chances are the client won’t want to pay for it. If I can do this in ten minutes though, the client is delighted and everybody is happy. One of the problems we have in the industry is diminishing budgets and how much time people are willing to devote to a project. We are very often constrained in post production and have limited time to finish a program. So we have to make good decisions about what we can do in the time we have available. If there is a tool such as RX 3 that enable us to do a really good job very quickly, then our client is happy because they get a great finished product. And we get more work!

About Mike Thornton

Mike has worked in the broadcast audio industry for his entire working life, some 35 years. He has worked with Pro Tools since the mid 90s, growing up with it when it could record 4 tracks on a good day with a following wind! He has been recording, editing and mixing documentaries, comedy and drama for both radio and TV, as well as working the occasional music project. Adding to all that, Mike has provided 24/7 Pro Tools support for 15 years, as well as being a broadcast audio consultant & trainer and is deputy editor of Pro Tools Expert.

About iZotope RX 3

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

For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3

About iZotope, Inc.

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

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Essential Style: The new Sennheiser MOMENTUM On-Ear in black, brown and red brings performance and sleek, understated beauty

Old Lyme, Conn., September 9, 2013Sennheiser goes minimal with new MOMENTUM On-Ear colors. At IFA in Berlin, the audio specialist introduced three new versions of its MOMENTUM On-Ear. Now available in high-gloss black, classic brown and intense red, the new headphones revisit the stylish, minimalist urban look of Sennheiser’s acclaimed MOMENTUM, delivering a combination of pure, clean aesthetics and high performance in a compact on-ear design.

The MOMENTUM On-Ear headphones are the perfect fusion of style and substance; delivering great performance, crafted from the finest materials and featuring a sleek, understated look. The first four MOMENTUM On-Ear versions launched this summer in a burst of color – a celebration in fresh, energizing tones. “With the three new color versions, Sennheiser has re-imagined this essential, cool design in richer, more subtle tones,” said Charles Cha, Product Manager at Sennheiser. “Where the MOMENTUM On-Ear headphones first showed their playful and extroverted character, the new versions are a more discrete revelation of luxury that hints at their superb performance.”

High quality materials, high-end design, high performance
The MOMENTUM On-Ear headphones’ great looks reflect both its clean, minimalist design and the tangibly high quality materials and workmanship. The ear pads and headband have been finished in Alcantara®, a high-tech material produced in Italy. Alcantara’s® unique combination of suppleness, durability and breathable finish makes it highly valued in fashion, interior design, and automotive applications. Here, it provides the listener with the ultimate in comfort, even for long periods of listening enjoyment. The headband of the MOMENTUM On-Ear is made of premium brushed stainless steel. They are the perfect choice for those who demand top quality and don’t want to compromise in any aspect.

Similarly, no compromises have been made on sound quality. Powered by Sennheiser’s proprietary 18-ohm transducers, the MOMENTUM On-Ear serves up a full stereo sound in a frequency range from 16 to 22,000 Hz, delivering incredible clarity and detail with a slight bass emphasis. The closed, on-ear design ensures reliable isolation from external noise for a great listening experience on the move – even in noisy urban environments.

In control, on the go
The MOMENTUM On-Ear headphones feature a single-sided detachable cable with convenient in-line remote and microphone for Apple iDevices, for easy control of music playback and to make and receive calls on the go. The three new variants of the MOMENTUM On-Ear in high-gloss black, classic brown and intense red are available at selected retailers from autumn 2013.

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, 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: The MOMENTUM On-Ear in classic Brown captures the essence of modernist urban style.

2: The new Sennheiser MOMENTUM On-Ear in high-gloss Black

3: The MOMENTUM On-Ear in intense Red

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Moog Announces Discontinuation of Little Phatty Analog Synthesizer

ASHEVILLE, NC – September 9, 2013Moog Music today announced the discontinuation of the Little Phatty Stage II analog synthesizer. Moog plans to continue building a limited quantity of units at their factory in downtown Asheville while parts and materials last, which is not expected to be more than two months. The Little Phatty was released in 2006 as a tribute to the life and legacy of Moog Music founder and synthesizer pioneer, Bob Moog. Following the passing of Dr. Moog, The Little Phatty was the first Moog synthesizer designed by Moog Music’s Chief Engineer, Cyril Lance.

“After Bob’s passing, we faced the immense challenge of creating a new synthesizer that would embody the values that we all treasured in Bob,” Lance recalls. “We worked around the clock to develop an instrument that was founded on his continually forward-looking view of synthesis.”

Over the course of its seven-year production run, the Little Phatty has gone through three incantations including The Tribute, Stage I, and Stage II editions. During that time, the Little Phatty has become one of the best selling professional analog synthesizers in history. Its sonic impact on modern music can be heard on thousands of records, and its signature swooped-back silhouette can be seen in top recording facilities around the world as well as on the stages of internationally touring musical acts such as Rush, Jack White, Queens of The Stone Age, No Doubt, Bernie Worrell and the hit shows American Idol, Nashville and Portlandia.

“The Little Phatty represented a key foundational element in what would become the future of Moog Music,” said Michael Adams, Moog Music President & CEO. “It was the synthesizer that proved to the world that Moog Music would continue to create market leading, forward-thinking synthesizers. The fact that the Little Phatty remains an industry standard instrument for artists and producers to this day, is a testament to its design.”

The Little Phatty Stage II is still available in limited quantities at stocking dealers in standard and custom colors while supplies last. For pricing and availability, please visit www.moogmusic.com/dealers.

Mini Documentary and Promotional Incentives

Moog Music released a mini-doc entitled Moog Lives. Play On.: The Making of the Little Phatty today which can be viewed on the Moog website. In the video, Moog Music President Mike Adams, Chief Engineer Cyril Lance, and Product Development Specialist Steve Dunnington recall how the Little Phatty came to life, the challenges that were faced when Dr. Moog fell ill, and how they were eventually overcome to create this one of a kind instrument.

As a thank you to existing Little Phatty owners, Moog Music is offering a free Little Phatty Gig Bag (an $80 value) with the purchase of the Little Phatty CV Output Modification. The modification adds one gate and four CV outputs to the Little Phatty for those desiring greater expressive flexibility. Moog Music is also offering a free percussion and legacy preset pack for Phatty owners available via down-load on its website.

The Phatty family of synthesizers lives on through the new Sub Phatty analog synthesizer and the Slim Phatty desktop synthesizer. For more information on the Phatty family of analog synthesizers go to: www.moogmusic.com/products/Phattys

Links:
• Video Link: http://www.moogmusic.com/content/moog-lives-play-making-little-phatty
• Free Percussion and Legacy Preset Pack Link: http://www.moogmusic.com/content/percussion-legacy-presets
• CV Out Modification: http://www.moogmusic.com/products/phattys/little-phatty-cv-out-modification
• Moog Music website: http://www.moogmusic.com/
• Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
• Moog Music on Facebook: http://www.Facebook.com/MoogMusicInc/

###

About Moog Music:

Moog Music synthesizers and other electronic musical instruments are designed and lovingly handcrafted in the Moog factory in downtown Asheville, N.C. Moog Music and its customers carry on the legacy of Dr. Robert Moog, inventor of the Moog synthesizer and Founder of Moog Music Inc.

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iZotope at IBC: New RX 3, Complete Audio Repair Suite, to Debut at CPUG SuperMeet on September 15

September 4, 2013 · Amsterdam, NetherlandsiZotope, Inc., a leading audio technology company, will be showcasing the new RX 3 audio repair suite at the CPUG Amsterdam SuperMeet during IBC on September 15th. In addition to personalized demos at the iZotope demonstration stand, Post Production Specialist Mike Thornton will conduct a 20-minute main stage presentation Rescue Bad Audio from the Cutting Room Floor.

Using real-world examples, Thornton will show how RX 3 can resolve common audio problems in post-production and broadcast applications, highlighting features like the new real-time Dialogue Denoiser, the revolutionary new Dereverb module, and RX 3’s powerful spectral audio editor.

Presentation Details:
• WHAT: iZotope RX 3 product demonstrations and main stage presentation during CPUG SuperMeet
• WHO: Presented by iZotope and Post Production Specialist Mike Thornton
• WHERE: CPUG SuperMeet, Grand Hotel Krasnapolsky, Amsterdam, Netherlands
• WHEN: Sunday, September 15th, from 19:00- 23:00 CEST, with product demonstrations starting at 16:00

iZotope RX 3 is an industry-leading audio repair solution for audio engineers, post produc-tion professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more. Work up to six times faster than before thanks to processing enhancements and a redesigned user interface. Remove or reduce reverb, clean up dialogue on the fly, recall session details with the new RX Document format, and much more with the new RX 3.

For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3.

About iZotope, Inc.

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

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About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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