Archive of the Microphones, Mic Processors Category

As Rockport Music Expands Operations and Musical Repertoire, Neumann KK 205 Capsule Delivers Unmatched Performance

Rockport, MA – July 25, 2012: Premium audio brand Neumann announced that Rockport Music has acquired several Neumann KK 205 capsules in addition to four channels of Sennheiser 2000 series wireless. The new equipment helps Rockport ensure it is able to deliver premium sound quality over the course of its 52 week programming schedule.

Rockport Music, which is best known for its Rockport Chamber Music Festival which began in 1981, has recently undergone significant expansion of both its physical footprint and musical repertoire. In 2010, it opened the Shalin Liu Performance Center, an elegant building that houses its 334 seat, world-class concert hall as well as a multi-function/reception space located on the 3rd floor used for corporate meetings, intimate performances, wedding receptions and many other activities.

The acquisition of the Neumann KK 205 capsules, as well as Sennheiser EM 2050 two channel receivers, Sennheiser SKM 2000 handheld wireless transmitters and lavalier body packs, in addition to a new antenna combiner, helps Rockport realize enormous performance flexibility while offering an unmatched dimension of audio quality to discriminating artists — many of whom insist on performing with Neumann.

Since the new facility opened, Rockport has gone from being a six week performance operation to a 52 week one, simultaneously expanding its repertoire beyond classical to now include jazz, folk, world music, pop and just about every other conceivable musical genre. The new concert hall has advanced A/V facilities including a 20 foot projection screen, and routinely features high definition simulcasts of performances by the Metropolitan Opera and England’s National Theater.

“During my first year here in 2010, one of my first goals was to bolster and enhance our in-house P.A. equipment,” commented David Shriver, technical operations manager for Rockport. “Having very high quality wireless handheld mics and belt packs was very important to me since I wanted a system that could be mostly used on stage but also offer flexible usage applications for other spaces in our facility.”

“The deciding factor for me in adding the Sennheiser 2000 wireless series came when Neumann introduced the KK 204 and KK 205 capsules this year,” Shriver continued. “I get rider requests for Neumann mics all the time, and I knew this was the direction we needed to go in. Neumann is the gold standard in microphones, and when an artist comes in and sees a Neumann mic, they are instantly confident in its ability to deliver.”

When the new Sennheiser 2000 wireless system is not being used in the concert hall, Shriver is able to use it on the 3rd floor multi-function/reception space: “Sennheiser’s Dave Missall came out, looked at the situation, and recommended an RF solution with antennas in the reception space and an antenna combiner to the existing antenna system in the concert hall. This enables me to use my four new RF systems in both places.”

While evaluating the new capsules and wireless sytem, Shriver relied on Rob Pemberton of Wellesley, MA-based Parsons Audio, who was proud to assist in the upgrade of such a world class facility, as well as Sennheiser area sales manager Mike Cleary. “Mike was great,” recalls Shriver. “He would let me try out a bunch of different microphones while we were trying to figure out what to buy — not just for handheld vocal mics, but for drums and other instruments as well.”

Shriver and Rockport Music are pleased with their new equipment acquisition: “The quality has been just top notch,” comments Shriver. “Since we added the Neumann capsules, a number of guest engineers and visiting bands have expressed their interest in working here and performing with the Neumann capsules on the stage. The sound makes a world of difference and also makes my job easier. I can run the mics flat and they sound great — also there is greater feedback rejection when compared to other microphones.”

Award-Winning Features
The acoustic features of the KK 204 and KK 205 capsule heads are derived from the multiple award-winning wired Neumann stage microphones, the KMS 104 and KMS 105. The KK 204, with its cardioid pattern, ensures the best possible suppression of sound originating from 180 degrees to the rear, while the supercardioid KK 205 has greater directivity, and maximizes incident sound from the front as compared to sound from the rear. Due to the “single polar pattern design,” the polar patterns are very uniform over the entire frequency range and provide excellent resistance to feedback.

Colorado Symphony Orchestra and Minnesota Public Radio Enhance Workflow with Neumann Digital Microphone Technology

Denver (CO), Minneapolis (MN), 24 July 2012 – Recording a large orchestral performance can involve extreme dynamic level changes, highly reverberant environments and dozens of channels of microphones, cables and associated electronic circuitry. Using traditional analog equip­ment, controlling these factors can be cumbersome, and maintaining a simple, agile workflow is often difficult. Using several dozen analog microphones onstage significantly raises the noise floor, and may introduce distortion during loud passages. Now, with Neumann’s pioneering range of digital microphones, users can experience an all-digital workflow — dramatically increasing signal integrity and user controllability.

A “Twenty-First Century Orchestra” Goes Digital

Since returning to the Colorado Symphony Orchestra (CSO) to take up the position of President/CEO, Gene Sobczak has begun to modernize the organization with an ambitious program of performances featuring pop and rock artists, recordings, webcasts and educational outreach. Sobczak has also forged relationships between Mike Pappas, a Denver-based recording engineer, and Sennheiser Electronic Corporation to ensure that every nuance of the orchestra is captured with innovative digital microphone technology from Neumann.

The CSO has already shared the stage this year with Trey Anastasio of the rock band Phish, Denver-based multi-instrumentalists DeVotchKa, and Boston-based alt-rockers Guster. In his role as volunteer engineer for the CSO, Pappas captured all three of these shows with an arsenal of Neumann digital microphones.

Realizing Agility and Simplicity

Pappas used 56 KM D series Neumann digital mics in a variety of omni-directional, cardioid and hypercardioid polar patterns. The mic list also included a Neumann KU 100 dummy head binaural stereo microphone for hall ambience, and a KMR 82 D shotgun for spot miking.

When using analog microphones and mixers, self-noise causes the noise floor to become more audible as channel counts increase. This is not the case with digital microphones however, which maintain a consistent noise floor whether one is using a single unit or three dozen units. “In a conventional analog mic setup,” says Pappas, “mix 24 channels together and the noise floor comes up by 15 dB. Now, take 56 analog microphones and you’re looking at the noise floor coming up by 20 or 25 dB. This is significantly lower when using digital microphones. With a Neumann digital microphone you go from capsule to A-to-D converter in less than an inch. What that means is that you don’t have this low level analog signal running through hundreds and hundreds of feet of cable, and then into your preamps. In the end, all the cable does is add more noise.”

Simple Workflow, Astounding Results

Pappas’ workflow is typically very simple: Neumann mics plugged into Neumann Digital Microphone Interface (DMIs), with the signals converted into MADI for transport to a DiGiCo mixing console for monitoring while recording into a computer running Apple Logic software. “The workflow is easier because there’s less stuff you need to worry about when you use digital mics,” Pappas observes. “You plug them in, fire up the software and the system pretty much runs itself. Plus we don’t have problems with things like hums and buzzes.”

“We recorded analog for many years with some of the best gear on the planet,” says Pappas. “When we switched over to full digital, the first thing we noticed was that we could hear the hall very clearly. We couldn’t hear this with analog gear because the noise floor of the gear was significantly greater than the noise floor of the hall.” Since Pappas received his first batch of Neumann digital mics back in 2004, he hasn’t looked back.

A Leading Broadcaster Forays into Digital Mics
Minnesota Public Radio (MPR), which established itself in 1967 as a classical music station, has grown to become one of the United States’ premier public radio entities and currently operates a 43-station radio network. American Public Media (APM), MPR’s parent organization, is the nation’s largest distributor of classical music programming. MPR frequently records and broadcasts the St. Paul Chamber Orchestra (SPCO) for “Performance Today,” a program that reaches 1.3 million listeners on 256 stations each week.

The SPCO is a 34-piece ensemble and the only full-time chamber orchestra in the U.S. Now in its 53rd season, the ensemble enjoys a reputation as one of the finest chamber orchestras in the world.

In early April, Cameron Wiley, MPR technical director for SPCO programming, implemented an eight-channel system at a performance by the ensemble at Wooddale Church in Eden Prairie, MN. He recorded the concert to a Nuendo system using Neumann KM 183 D, KM 184 D and KM 185 D digital microphones, with the main mic array arranged in a modified Decca Tree configuration.

Since there was no rehearsal, Wiley had to take an educated guess while setting levels based on his experience recording the SPCO with his analog rig – the tympani proved troublesome. Thankfully, he recalls, the increased headroom afforded by the Neumann digital system handled the KM 143 D spot mic with no distortion. “That mic was being hit pretty hard, but it handled this very well. If we had used analog, it wouldn’t have survived those levels.”

As a longtime user of analog microphones, Wiley appreciates the benefits of an all-digital mic setup – especially the control provided by Neumann’s Remote Control Software (RCS). “Being able to control polar patterns as well as onboard DSP can be a lifesaver. Having that capability in a mic is fantastic and it certainly makes workflow much easier to deal with.”

To learn more about Neumann digital microphones, please visit http://www.neumann.com.

Image Captions:

CSO_1.jpg:
Resident Conductor Scott O’Neil conducting the Colorado Symphony Orchestra with a Neumann KM 133 D capturing the sound (photo credit: Darius Panahpour)

CSO_2.jpg:
The Neumann KM D digital microphones feature extended dynamic range and an extremely low noise floor, making them perfectly suited for orchestral recordings (photo credit: Darius Panahpour)

Neumann_KM D_family.jpg:
The Neumann KM D family of digital microphones features an agile selection of omni, cardioid and super-cardioid polar patterns

Neumann KM 184 D.jpg:
The Neumann KM 184 D was used during a recent recording by MPR

Sennheiser Partners with Channel IQ to Implement Dealer Verification Badges for its Network of Authorized E-commerce Dealers

Old Lyme, Conn., May 30, 2012: Audio specialist Sennheiser announced that it has partnered with channel management solutions developer Channel IQ to implement an innovative badging program for its network of authorized e-commerce dealers beginning this month. The program provides assurance to consumers that they are purchasing genuine Sennheiser products from an authorized dealer.

The authentication system, developed by Channel IQ with cooperation from Sennheiser, provides ‘instant dealer verification badges’ on authorized e-commerce sites, thereby adding an extra layer of protection for consumers during the online purchasing process. The badging system also enables Sennheiser to more effectively implement pricing controls, while mitigating the potential for grey market and counterfeit activity.

“By partnering with Channel IQ on this authentication program, we are able to tighten our distribution network while providing assurance to our loyal customers that they are purchasing genuine Sennheiser products,” commented Bill Whearty, vice president of sales and marketing for Sennheiser’s U.S. Retail division. “This is a tool that will help protect our premium brand image, while providing consistency in pricing among our valued dealer network.”

Sennheiser is an early adopter of the new Channel IQ program, which is beneficial to both consumers and dealers. The dealer verification badges — which provide third party indemnification to the consumer at the SKU level — each contain a unique serial number that changes any time a page is refreshed and cannot be copied.

“Channel IQ has a longstanding relationship with Sennheiser on minimum advertised pricing (MAP) violations and monitoring, and they were the first to step forward and implement this progressive program,” commented Jeff Messer, general manager, brand protection services, Channel IQ. “Consumers want to know that they are purchasing products through a secure and trusted partner. This program not only provides that confidence, but also adds legitimacy and authenticity to a dealer’s online shopping cart. It is a win-win for the consumer, the dealer and Sennheiser.”

Sennheiser is a world leading manufacturer of high performance and best-selling headphones and microphones, considered indispensable among music lovers, audiophiles, recording studios, sound professionals, custom installers and home theater enthusiasts. Sennheiser products feature superb sound reproduction quality, making them the first choice for many high-profile recording artists.

Sennheiser’s Professional System Division Names B&H Photo Video “Dealer of the Year” for Third Year in a Row

bh_sm.jpgOLD LYME, Conn. – May 30, 2012: The U.S. subsidiary of headphone and microphone manufacturer Sennheiser named B&H Photo Video its 2011 dealer of the year for excellent sales, customer support and comprehension of Sennheiser’s diverse line of professional audio systems and solutions.

“We are pleased to announce B&H as Dealer of the Year, Professional Systems,” said Jeff Alexander, vice president of sales and marketing for Sennheiser Electronic Corporation’s professional systems division. “Having achieved Dealer of the Year for three years in a row is quite an accomplishment. B&H remains an incredible resource to the professional audio community and is known for having one of the easy-to-use websites in the industry. We congratulate their entire team for their continued success and for their incredible ongoing customer commitment.”

“We are extremely pleased to receive the Dealer of the Year Award from our more

Influential Tech Brand BGR Brings Production Integrity to the Fore with Sennheiser Wireless Mics as it Debuts The BGR Show

Old Lyme, CT – May 24, 2012— For six years, BGR (Boy Genius Report) has been a primary destination for consumers to get a first glimpse at breaking news and cutting-edge consumer products in the tech space. For BGR, one of the most prominent tech and mobile sites in the world, quality is key. Now, as it is making new forays into video, BGR has turned to Sennheiser for the best possible audio.

BGR, which was originally founded under the precept of providing viewers with not only the latest tech and product news but also leading commentary and insights from industry influencers and tastemakers, is focused on quality rather than quantity when creating content for its viewers.

Therefore, as it launches The BGR Show, a weekly video report that looks at the different ways technology has permeated our daily lives through the lens of manufacturers, celebrities, personalities and executives, BGR has armed its production team with a fleet of DSLR cameras coupled with Sennheiser ew 100 ENG G3 wireless microphone systems. The BGR Show debuts on BGR.com on May 31st.

“Most devices that are connected to the Internet these days — whether they are laptops, monitors or headphones, wired or wireless — are capable of delivering a high quality experience to people,” commented Jonathan Geller, President and Editor-In-Chief of BGR.com. “In terms of production quality, we wanted to partner with Sennheiser to make sure that everything we did with audio was to the highest standard.”

“Regardless of where we are capturing the content, Sennheiser’s microphones and wireless equipment play a fundamental role in this process,” he continued. Sennheiser’s wireless expertise regularly contributes to the success of events such as The Super Bowl, The Grammy Awards® and many other major broadcast productions.

The BGR Show is being launched in partnership with Pharrell Williams and Google and will cover the latest tech and lifestyle products, while featuring prominent celebrities, executives, and other influencers. Ken “Duro” Ifill, a Grammy winning mixer & producer who has worked alongside chart topping artists such as Jay-Z, The Beastie Boys, Usher, Mariah Carey and many others will be co-executive producing the show alongside Geller.

Video content will be capturing using Canon’s DSLR family, which provides both image quality and editing flexibility and the audio will be captured with Sennheiser ew 100 ENG G3 wireless microphone and transmitter sets, which provide not only outstanding audio quality but also ruggedness and reliability in the field.

For more information on The BGR Show, please visit http://www.bgr.com/2012/05/21/presenting-the-bgr-show/.

Tony Nominee LEAP OF FAITH Takes Broadway Sound Production to New Heights Using Neumann Digital Microphone Technology

OLD LYME, Conn. – May 9, 2012 – Audio specialist Sennheiser announced that LEAP OF FAITH, Broadway’s latest roof-raising Tony-nominated musical, is the first Broadway production to utilize digital microphone technology from Neumann. The musical, which features a score by eight-time Oscar® winner Alan Menken, opened late last month at the St. James Theater on 44th Street and features no less than 12 Neumann digital microphones in the orchestra pits.

Broadway is widely recognized as maintaining the “gold standard” when it comes to live sound production quality; its sound designers routinely specify Sennheiser and Neumann microphones and wireless equipment for their unrivalled sonic performance on both the stage and in the orchestra pit. For LEAP OF FAITH, Sound Designer John Shivers and Associate Sound Designer/Mixer David Patridge specified Neumann digital mics on the brass and woodwind sections of the orchestra, which were then fed into a Neumann DMI before reaching the DiGiCo SD7 digital console.

LEAP OF FAITH has two separate orchestra pits, both of which use the digital microphones. The pit below the stage and directly in front of the audience contain the woodwind section, which uses four Neumann KM 184 Ds as overheads and four TLM 103 Ds in a low position, approximately 15 inches off the floor and resting at a 120-degree angle towards the instrument. The other pit was situated below and to the rear of the stage and contained the brass section, which was miked with four TLM 103 Ds in a low position similar to that of the woodwinds.

An exquisitely pristine sound character
“We had already specified the analog versions of these microphones when Masque Sound brought up the possibility of our using digital microphones on this show,” Shivers recalls. “We jumped at the chance to use them since I am always interested in increasing the overall sound quality of the production. We didn’t get a chance to A/B these against their analog counterparts in a controlled environment, but my sense is that there is an increased clarity and transparency to these microphones.”

“These microphones exhibit an open, detailed sound,” Patridge adds. “I think additional clarity is evident in the high frequency range and the microphones themselves require less EQ. As for the noise floor, it is non-existent: these microphones are absolutely pristine.”

Realizing the benefits of remote control
According to Patridge, the benefits of using Neumann digital mics in the theater extend well beyond just the pristine sound, since many parameters such as shelving, padding and even polar patterns can be remote controlled from the FOH position*: “The pit can be a difficult area to access, and during sound checks I often have to send somebody in there to ensure there is no shelving or padding on the mics,” he observes. “With the Neumann digital mics, I can control all these settings from software interface on the console, which saves time and gives my production team one less thing to worry about.”

Shivers agrees that being able to control the microphones from a remote location is beneficial: “If a musician is playing particularly loud, having the ability to go to a control panel and adjust the padding could be very helpful. Also, having the capability to remotely switch to a hyper-cardioid from a cardioid pattern could give you a tighter sound and more rejection without having to move the microphone position. But for me, the audio quality is always most important.”

Prior to its official opening on Broadway on April 26th, LEAP OF FAITH was in previews for three straight weeks, during which time the Neumann digital microphones were put through their paces. “We were very impressed with how they sounded right out of the box,” Shivers says. “We knew from the reputation of the company that it would be an improved product, and now we can assuredly say that it is. The quality of these microphones is of a very, very high standard and I would love to use them again.”

*(available in the Neumann D-01 microphone, which features 15-switchable polar patterns at the click of a mouse).

Photo captions:

Greg Thymium of the LEAP OF FAITH woodwinds section plays into Neumann TLM 103 D digital microphone in the low position and a Neumann KM 184 D digital microphone in the overhead position (photo: Cheryl Fleming).
The Neumann KM 184 D is among the digital microphones currently being used in the LEAP OF FAITH musical production on Broadway (photo: Cheryl Fleming).
The Neumann TLM 103 D digital microphone was used in the low position on both woodwinds and brass during LEAP OF FAITH.

Elevation Church Embraces Recent Sennheiser Endorsement, while Putting New Neumann KK 205 Microphone Capsules to the Test

Charlotte, NC – April 18, 2012: Recognized by Outreach Magazine as one of the fastest-growing churches in the United States, Elevation Church serves over 10,000 congregants each weekend and maintains six worship campuses — four of which are ‘portable.’ To keep pace with this growth, Elevation has had to establish itself on a solid technology footing and has maintained a strong relationship with Sennheiser since opening its doors in 2005. Recently, Elevation became an official Sennheiser endorsed worship facility and was among the first to put the new Neumann KK 205 capsules — which are designed for the Sennheiser 2000 series wireless transmitters — through their paces.

Brian Poole is technical director at Elevation Church and has worked closely with Sennheiser to ensure that the clarity and sonic integrity of the facility is all that it can be, no matter which campus congregants are attending. Recently, Elevation added five Neumann KK 205 microphone capsules to its arsenal of live performance and recording tools. Poole discusses how he has helped Elevation continue to deliver superior sound with Sennheiser and Neumann.

Can you describe some of the challenges that go along with the growth that Elevation has experienced?
We are six years old and have six campuses in the Charlotte area. All in all, we are running at about 10 or 11 thousand people every weekend. With that growth, there have been a lot of rapid changes we have had to make, especially considering that audio is a very big part of what we do. Sennheiser has been there for us the entire time and has provided the best product and support we could ask for — and even more so now that we are endorsed. A big challenge as a multi-campus church is ensuring that we will have gear that we know will be reliable and sound great. Four of our campuses are portable, so we are lugging gear in and out all weekend; when we plug it all in and turn it on, we know it is going to work. Sennheiser has also helped us through our RF coordination, which can be very complex.

How familiar are you with Neumann microphone capsules?
We have always loved Neumann microphones and already had the KK 105 capsules on our pastor’s [Steven Furtick] speaking mic with a Sennheiser SKM 5200 transmitter. Our pastor does a lot of singing as well, and the performance of the SKM 5200 / KK 105 combination has been fantastic. By making a Neumann capsule that works with an SKM 2000 transmitter is really a game changer for us. Now we can have Neumann sound not only for the pastor, but all our other lead singers and it is a very economical solution.

Tell me about your first impressions with the KK 205s.
We just received them three weeks ago, and they are already on our primary lead vocal microphones [used in combination with the Sennheiser SKM 2000 handheld transmitters] at our two permanent campuses. One of these campuses is a warehouse with low ceilings, and the acoustics aren’t ideal. The KK 205 has a supercardioid pattern so we are able to get plenty of gain before feedback — this is huge for us because we like it loud and we like it to sound good. I was 100 percent comfortable that I could take the KK 205 right to the stage without going through weeks of rehearsals first.

For our Easter service, the new Neumann capsules went into our broadcast facility. We have a big spoken word element in our Easter service, and this is the first thing right out of the gate during our worship experience. All our main worship leaders were on the KK 205s and the feed went out to all six of our campuses. It was also put online for everyone to see and participate in. Everything worked out great and all the voices were very rich.

Do you intend to use the KK 205s in other applications?
We do a lot of recording both for CDs and streaming on our website. In fact, our worship band has just signed a pretty big record deal and we expect the KK 205s and the SKM 2000s will be used on future live recordings. Our first live album and live DVD was a big deal for us and it is very exciting that Sennheiser has released a ‘Neumann for the Masses,’ if you will.

How has your experience been with Sennheiser overall, including with the new Neumann KK 205s?
First of all, Sennheiser has rock solid RF and the sound quality is best of the best. We’ve got 36 channels in our auditorium of Sennheiser wireless and I’ve never had a single issue of anything dropping out. Now, with the KK 205s, we can put Neumann performance in the reach of all our singers, increasing the overall quality of our worship experience. Audio quality has always been an incredibly important component of worship for Elevation Church and the KK 205 capsules truly represent quality for the masses — the cost/performance ratio cannot be beat. All in all, our relationship with Sennheiser has been fantastic and we feel very blessed.

Caption:
Brad Hudson, Worship Leader at Elevation Church, uses a KK 205 on a SKM 2000 during Easter rehearsals at Elevation’s Blakeney campus.

Neumann Introduces KK 204 and KK 205 Microphone Capsules, Designed to Complement Sennheiser’s 2000 Series Wireless Handheld Transmitter

Old Lyme, Conn. – April 16, 2012: Premium audio brand Neumann announced that it will be showcasing its new KK 204 and KK 205 microphone capsules at the Sennheiser booth [C2632] during NAB 2012. The new capsules, which are available in cardioid (KK 204) and supercardioid (KK 205) patterns, are compatible with Sennheiser’s 2000 series of wireless handheld transmitters.

The acoustic features of the KK 204 and KK 205 capsule heads are derived from the multiple award-winning wired Neumann stage microphones, the KMS 104 and KMS 105. The KK 204, with its cardioid pattern, ensures the best possible suppression of sound originating from 180 degrees to the rear, while the supercardioid KK 205 has greater directivity, and maximizes incident sound from the front as compared to sound from the rear. Due to the “single polar pattern design,” the polar patterns are very uniform over the entire frequency range and provide excellent resistance to feedback.

Wolfgang Fraissinet, President of Neumann, commented: “Neumann capsules have already been used in combination with the Sennheiser SKM 5200 handheld transmitter for the past 10 years on some of the largest stages of the world, where the highest demands are placed on a high-resolution sound and transmission reliability. With the development of the KK 204 and KK 205 capsule heads, the Neumann sound is now also available for the Sennheiser 2000 Series. The synergies between the key areas of expertise of Sennheiser handheld transmitters and Neumann capsule sound permit us to offer our customers a wireless system of absolutely uncompromisingly quality, even for the most demanding live applications.”

In developing the new capsules, particular importance was placed on the effective damping of pop sounds and handling noise, as well as on the extremely low level of self-noise. The KK 204 and KK 205 capsule heads also have an extremely wide dynamic range and were designed to be very easy to service.

The aesthetic design complements the construction of the SKM 2000 handheld transmitter, and each capsule — like the SKM 2000 transmitter — is available in both nickel and black finishes. Each capsule includes a large nylon bag designed to hold the capsules, the handheld transmitter, battery packs and additional accessories.

    Both the KK 204 and KK 205 feature:

Reduced handling noise: Very low sensitivity to handling noise with a steep roll-off from approximately 78 Hz
Reduced plosives and sibilance: Both capsules feature a foam-lined grille to ensure smooth sound
Wide dynamic range with high SPL capability: 126 dB-A of dynamic range with 150 dB MAX SPL
Low feedback: Incredibly smooth and flat frequency response provided high gain before feedback
Easy to service components: Neumann understands the rigors of the road and has made the KK 204 and KK 205 exceptionally robust but easy to service if necessary

    Specifications:

Directional pattern: Cardioid (KK 204) / Super-cardioid (KK 205)
Frequency range: 40 Hz – 20 kHz
Sensitivity (at 1 kHz into 1 k?): 2.8 mV/Pa ± 1 dB
Equivalent noise level, CCIR1): 35 dB
Equivalent noise level, A-weighted1): 24 dB-A Max. SPL for 0.5% THD2) 150 dB
Dynamic range (A-weighted): >126 dB-A
Weight (including transmitter and power supply unit): Approx. 17.6 oz.
Dimensions (including SKM 2000)/length: 10.7 in., ø 2.2 in.

1) according to IEC 60268-1; CCIR-weighting according to CCIR 468-3, quasi peak; A-weighting according to IEC 61672-1, RMS
2) measured as equivalent el. input signal

Sennheiser adds the SKP 300 G3 plug-on transmitter to its evolution wireless series

Old Lyme, Conn.–April 16, 2012– Audio specialist Sennheiser is extending its evolution wireless ew 300 G3 series with the addition of the SKP 300 G3 plug-on transmitter. Whether it is for a speaker’s podium or for fast mobile use in video productions, the SKP 300 G3 converts any conventional cabled microphone quickly and easily into a wireless version. The phantom power required by condenser microphones is also supplied by the rugged transmitter – a highly versatile device that enables cabled microphones to become wireless with ease.

“With the new SKP 300 G3, we are further expanding the application possibilities for the evolution wireless series,” explained Robb Blumenreder, channel manager for professional systems products at Sennheiser’s U.S. headquarters. “The plug-on transmitter comes with its own phantom power supply, enabling it to be combined with any microphone with an XLR-3 output.”

For applications in the Installed Sound sector, the plug-on transmitter can be combined with an EM 300 G3 rack-mount receiver, thus making it possible, for example, to have a speaker’s podium without the visual interference of cables or to implement mobile lecterns. For video journalists, the SKP 300 G3 is an ideal partner for the EK 100 G3 camera receiver.

The SKP 300 is powered by two AA batteries or the optional BA 2015 accupack. The plug-on transmitter is available in eight frequency ranges, and is quickly and easily synchronized with its receiver using an infrared link.

The SKP 300 will be available in April 2012.

Caption:
SKP 300.jpg: Wireless with ease: the SKP 300 G3 plug-on transmitter with switchable phantom power turns cabled microphones into wireless ones in next to no time

Technical Data: SKP 300

Modulation wideband FM
Frequency ranges A: 516–558 MHz; G: 566–608; GB: 606–648 MHz;
B: 626–668 MHz; C: 734–776 MHz; D: 780–822 MHz;
E: 823-865 MHz

Frequency banks 20 frequency banks each with up to 24
intermodulation-free presets; 6 frequency banks
with up to 24 frequencies freely selectable by the user
in 25 kHz steps
(Please note that the EK 100 G3 camera receiver has
only twelve frequencies per channel bank)

Switching bandwidth 42 MHz
RF output power 10/30 mW
Nominal/peak deviation ±24 kHz/±48 kHz
Phantom power 48 V ± 2 V
Compander system HDX
Audio frequency response 80–18,000 Hz
THD 0.9%
Signal-to-noise ratio > 120 dBA (1 mV peak deviation)
Audio input XLR-3F, balanced
Power supply 2 AA batteries (1.5 V) or BA 2015 accupack
Operating time typ. 8 hrs (30 mW RF power, without P48)
Dimensions 105 x 43 x 43 mm
Weight with batteries 195 g

NYCTaper, Archivist of New York’s Live Indie Music Scene Captures the Best of Austin’s Music Festival with Sennheiser

Austin – April 11, 2012: Since starting his NYCTaper website in the mid-nineties, Dan Lynch (a.k.a. NYCTaper) has been recording and streaming hundreds of recordings over the Internet, reflecting the best that New York City’s live indie scene has to offer. Lynch, who strives to make the listener feel like he or she ‘was actually there,’ is well known to indie music lovers in New York City and well beyond — his listening audience extends from not only major U.S. metro cities like New York, Los Angeles and Chicago, but to more distant geographies such as Japan, Europe and the far reaches of Australia.

While his own backyard is New York City, NYCTaper decided to capture the best of what Austin had to offer during its famous music week last month — listen to some of the results here. Armed with a pair of Sennheiser MKH 8040 cardioid microphones, his HD 280 closed back headphones and a trusty Edirol digital four-track portable recorder, he became “AustinTaper” for a week and recorded some of the best live set lists south of the Mason Dixon line.

What did you record while in Austin?
I have a pretty good relationship with Brooklyn Vegan over the years and the list of bands they were hosting was impressive. So I set up at Hotel Vegan in the afternoons and at the Impose Magazine parties during the evenings and recorded everything I could. In terms of genre, I am particularly drawn to indie rock but I also like any artist that has talent, imagination and something a little different than all the other music out there. For me, it can’t be a formula or promoted by any particular product — I want to see original talent.

What are some of the challenges you encountered in Austin versus what you’re used to in New York City?
Well, there is obviously a lot of extraneous noise when you are recording outdoors. The Sennheiser MKH 8040s are cardioid microphones and this makes them perfectly suited for this kind of thing. Normally, you’d have wind noise to deal with, but this was not an issue since the 8040s have a cardioid pattern and also come with these gigantic windscreens, which are very useful. Wind noise aside, there is not much you can do about the typical chatter you hear during these outdoor type shows, as well as some of the extraneous noise coming through from neighboring stages, but the pattern on the 8040 helped minimize these issues as much as possible.

Did you get a chance to audition the 8040s before you left for Austin?

Yes. Just before I left, I did back-to-back shows in New York City: I recorded Sharon Van Etten at the Bowery Ballroom and Craig Finn from The Hold Steady at Mercury Lounge. I used only the two channels of 8040s in both of these rooms, which I happen know very well, and they worked great. A typical problem I get in some rooms are reflections you get from the ceiling — which sound very ‘claustrophobic.’ With the 8040s, it was the first time I heard my recordings without these annoying reflections. So I knew they would work perfectly well in Austin well before I left.

What was your specific set up during each performance?
I had two Sennheiser MKH 8040s mics set up about eight inches apart in a 110 degree pattern on a stand, which was approximately 8 feet high. In addition to the two live mics, I sourced the left and right main mix feeds via direct outputs from the board. My recorder is an Edirol R44 4-track recorder with modded preamps, and I was capturing 24-bit audio. I was monitoring the recordings through my Sennheiser HD 280s, which are closed back, over the ear headphones.

How did the MKH 8040s perform on the ground in Austin?
First off, there was absolutely no issue capturing the high sound pressure levels on these mics — they can handle anything you throw at them and I have experienced virtually zero distortion. I am getting an extremely clean signal, and in terms of frequency response, the MKH 8040 delivers a sweet and crisp lower end and the highs are very tight. In general, the frequency response was so good that I didn’t have to EQ at all. The mic had basically a zero signal to noise ratio and there was no handling noise or self noise. Ultimately, the combination of the 8040’s cardioid pattern and its ability to perform without any audible distortion makes it the right mic for this kind of festival recording.

Tell me about your monitoring setup while you’re in the field.
For what I’m doing, maintaining isolation is very important because there is just so much noise happening all over, and to that end, I just can’t say enough good things about the Sennheiser HD 280s. Using these headphones, it was the first time I’ve ever recorded a show where I could only hear what was coming through the mics and the board — you are literally inside the cans and I love that. This means I can focus much more, because now I can hear what I’m doing and adjust things like mic positions or levels. They are also fit just right over my ears — I recorded over 35 shows while in Austin and experienced no discomfort whatsoever.

Do you also use the HD 280s while editing and mixing?
Yes. When I am using the HD 280s in hotel room for editing and mixing after a show, I can hear everything. Maybe there is a kick or a snare drum that was a little hot — now I can pinpoint that and make adjustments if necessary. I also enjoy the experience of just listening to music I’ve recorded on the HD 280s while I’m relaxing. One of the nice things about being NYC Taper or AustinTaper is that eventually I get to go home and actually listen to all these recordings, just like the fans of my site.

Listen to some of NYCTaper’s Austin tracks here: http://www.sennheiserusa.com/nyctaper

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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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