Archive of the Monitoring – Speakers, Headphones, Amplifiers Category

Sennheiser Unveils Premium Headsets Optimized for Microsoft Lync, Enabling Increased Quality in Unified Communications Deployments

Audio specialist Sennheiser announced the launch of two headset lines optimized for Microsoft Lync. The Circle Series wired headsets and the DW Series wireless headsets have been optimized for Microsoft Lync to enhance productivity in busy working environments. The new headsets help enable organizations leverage productivity advantages of a unified communications environment while providing comfort, voice clarity and premium sound quality for users.

Circle Series
The Circle Series includes two Microsoft Lync-compatible models: the dual-sided SC 260 ML and the single-sided SC 230 ML. Each is designed to deliver HD voice clarity sound and comfort to busy contact center, office and Unified Communication professionals. “In increasingly busy workplaces, smart communication tools that allow users to work more efficiently can give a competitive advantage. With Sennheiser’s launch of its new wired Circle Series headsets optimized for Microsoft Lync, we can help provide our mutual customers with an even wider choice of Unified Communications tools to improve their business productivity,” says Giovanni Mezgec, General Manager Lync Marketing at Microsoft Corp.

DW Series
The DW Series DECT wireless headsets includes three Microsoft Lync-compatible models: the 2-in-1 DW Office ML with headband and ear hook, the DW Pro1 ML single-sided headset and the DW Pro2 ML double-sided headset. “The DW Series of headsets optimized for Microsoft Lync leverages Sennheiser’s expertise in sound quality, noise cancelation and wireless audio transmission,” said Tori Seliokas, channel manager for telecommunications at Sennheiser’s U.S. headquarters. “The DW Series features an intelligent design, intuitive pairing options and a generous wireless range of approximately 180 feet within a typical office building. These features, especially when combined with Microsoft Lync optimization, can be a very powerful unified communications tool in just about any workplace.”

“Sennheiser is very pleased to be extending our portfolio with these five new wired and wireless products, each of which are now optimized for Microsoft Lync,” Seliokas concluded. “With our leadership in sound quality, comfort and hearing protection, contact center, office and Unified Communication professionals can enjoy an enriched communications experience.”

Photo captions:
Sennheiser’s Circle and DW Series headsets are now optimized for Microsoft Lync.

Neumann KH 120 Monitors Maintain Sonic Consistency in WWE’s Challenging Multiple-Medium Post-Production Environment

The production standard is set extremely high for post-production engineers at WWE (World Wrestling Entertainment, Inc.), a global entertainment company headquartered in Stamford, Conn. that reaches over 13 million viewers in the U.S. and broadcasts to more than 145 countries in 30 languages. Recently, WWE installed several pairs of Neumann KH 120s in its editing and post-production suites, which are used to monitor its weekly television, web and live auditorium programming.

The Neumann KH 120 was chosen for its versatility and its ability to deliver consistent sound quality across multiple broadcast mediums. Post-production staff at WWE relies on monitors in their non-linear video editing suites to produce audio that will provide viewers with the best possible listening experience on television, online and in arenas.

WWE produces seven hours of domestic television and another 80 hours of international content every week of the year, in addition to two home video titles and a pay-per-view event each month. When it came time to upgrade the video editing suites in WWE headquarters, the production team spent 18 months investigating options to get audio quality that sounded like “real speakers,” said Chris Argento, vice president of post-production at WWE.

“I fell in love with the audio quality of the small, self-powered Neumann KH 120 monitors,” Argentino says. “The stereo imaging and center channel information are absolutely perfect, and it’s incredible how accurate they are. There’s no artificial high end or feeling of processing. They sound like ‘real speakers’ and enable us to develop programming where we can judge the sound for television, online and the arena.”

Argento tested a variety of monitors while upgrading WWE’s Audio Mixing suites. For large suites, he selected Neumann’s new O 410 active midfield studio monitors. Having been extremely pleased with the crisp sound of the O 410s, Argento turned again to Neumann for the smaller non-linear video editing suites, which he chose to outfit with KH 120 monitors after getting firsthand experience with them during the 2011 NAB Show in Las Vegas.

WWE initially deployed pairs of KH 120 monitors in six non-linear editing suites, and subsequently added pairs to 14 additional suites. Now that the Neumann KH 120 has become the standard for WWE monitoring environments, Argento says he plans to add even more pairs of KH 120 monitors to additional editing suites in the near future.

Following its mantra of “good video is made by good audio,” WWE engineers are faced with a daily challenge of providing a consistent quality across existing and future media. Argento says the Neumann KH 120 monitors have made it easy to achieve this consistency, while maintaining the company’s high standards of audio quality.

The monitors have also aided editing and production staff in finishing programs that must forego audio post-production. Argento said it is critical post-production engineers are able get the same listening experience viewers will have later, and in this regard, he says the KH 120s have exceeded expectations.

As the first of Neumann’s line of studio monitors, the KH 120 is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. It represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.

Antelope Audio Eclipse 384 AD/DA Converter Brings Master-Quality Audio to Korn Frontman Jonathan Davis’ Road Rig

Korn shook up the rock world at the end of 2011 when the L.A.-based band released its tenth studio album, “Path of Totality,” featuring collaborations with a host of dubstep producers including multiple Grammy Award-winner Skrillex. Now, Korn frontman Jonathan Davis is doubling down on his recent statement that “North American dubstep is the new electronic heavy metal” through a side project, Killbot, and a solo project under his DJ name, J Devil, recording into a laptop on the road and in the studio, using Antelope Audio’s new Eclipse 384 converter, master clock and monitor controller.

Davis recently added the Eclipse 384 AD/DA converter in order to streamline his mobile production rig after spotting it on the Antelope Audio web site. The 384 kHz A-to-D/D-to-A converter is clocked using the same Oven Controlled Clock and 64-bit Acoustically Focused Clocking technology that is implemented in Antelope Audio’s renowned Trinity Master Clock. The Eclipse 384 offers additional features conducive to mobile production applications, including two dedicated headphone amplifiers and a custom USB interface, as well as two large peak meters on the front panel. In order to simplify operation, users can create up to five custom presets of favorite setups via the system’s OS X- and Windows-compatible software control panel that may then be recalled from the Eclipse 384’s front panel.

“This is all I’ve got now; I used to have racks of stuff,” says Davis, who records vocals, guitar and bass into an Apple MacBook Pro through a signal chain comprising little more than the Antelope Eclipse 384, an API Channel Strip and a Shure microphone. “It’s basically my studio all in one box. It’s the best interface I’ve used. I love that everything is right there,” he says of the Eclipse.

Davis, who has been performing DJ sets using the moniker J Devil, is a longtime aficionado of electronic dance music (EDM), and has been producing dubstep-influenced remixes for rock and electronic artists for several years. Having started creating EDM on his laptop “for fun,” Davis has now teamed up with dubstep producers and fellow metal-heads Sluggo and Tyler Blue to form Killbot, a “metalstep” collaboration that has signed to Steve Aoki’s Dim Mak dance record label and has announced plans to release a four-track EP. There is also a J Devil solo EP in the works.

Davis has jumped into EDM production with both feet, making use of every waking minute to create new music for all of his projects. “Making electronic music and learning to produce and learning my new instrument—laptop, I call it—has been an amazing thing,” he told Billboard.com recently. “After every Korn show I come offstage, take a shower and I start writing.”

By utilizing high-grade audio production equipment such as the Antelope Eclipse 384, Davis is able to produce release-ready masters right there on the tour bus or the hotel room. “The Eclipse is essential, because it gives me everything I need to work on the road and not just make a demo. The stuff I actually do on the road I keep and it sounds great—it’s not just a demo that I have to rework or re-record later,” he says.

Sennheiser and Full Compass to Co-Sponsor Vocal Recording Clinic Featuring Leslie Ann Jones of Skywalker Sound

Audio specialist Sennheiser and Full Compass Systems, a national leader in professional audio, professional video, A/V, lighting and musical instrument sales, are co-sponsoring a special audio recording clinic on Tuesday, September 11th at the Full Compass facility in Madison, WI. The event will feature renowned, Grammy® award-winning sound engineer Leslie Ann Jones, who will demonstrate vocal recording techniques and cover best practices when recording live vocals in the studio.

Attendees will be provided with a pair of Sennheiser HD 449s, enabling them to monitor both recording and playback. The event will feature door prizes including a K-array Piccolo audio system, a Neumann TLM 102 microphone and a TRUE Systems P-SOLO microphone preamplifier.

Leslie Ann Jones, who is Director of Music Recording and Scoring with Skywalker Sound, has been a recording and mixing engineer for over 30 years. She began her career at ABC Recording Studios in Los Angeles in 1975 before moving to Northern California in 1978 to accept a staff position at the legendary Automatt Recording Studios. There she worked with such artists as Herbie Hancock, Bobby McFerrin, Holly Near, Angela Bofill, and Narada Michael Walden, and started her film score mixing career with “Apocalypse Now.”

From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. She recorded projects with Rosemary Clooney, Michael Feinstein, Michelle Shocked, BeBe & CeCe Winans, and Marcus Miller, as well as the scores for several feature films and television shows.

In 2003, Leslie was nominated for a Grammy Award for Best Engineered Recording, Classical, and received a Grammy Award for The Kronos Quartet’s recording of Berg: Lyric Suite, which won Best Chamber Music Album. This year, she won a Grammy Award for Best Engineered Album, Classical for Quincy Porter: Complete Viola Works by Eliesha Nelson & John McLaughlin Williams.

World renowned DJ legend Bob Sinclar becomes Sennheiser’s first global headphones endorser – combining music with style

Old Lyme, Conn., August 7, 2012 – With a list of hits including ‘World Hold On’ and ‘Love Generation’ as part of his back catalogue, Bob Sinclar can truly be described as a DJ legend. The man who brought the groove back to the dancefloor – a man who marches to the beat of his own tune, producing number ones around the world which are played on radio stations in every country and on every continent. Bob Sinclar has carved out a reputation as one of the most talented DJs on the planet and Sennheiser is proud to announce that he will be its first global endorser for the new Amperior headphones. This is a collaboration be¬tween a man and a company who are both passionate about music and style.

The Sennheiser Amperior brings DJ-club sound quality to the streets – perfect for everyday music fans wanting superior sound as they listen to their beats on the move. The Amperior mobile headphones are a must-have for users wanting to experience the professional quality enjoyed by Bob Sinclar. They combine the pureness of sound of a great performance with a high-end look and style.

For Bob Sinclar sound quality is paramount. Whether three people in a small room are listening to his hits, or a dance floor full of clubbers, the sound needs to be precise and exact, and he gets this with Sennheiser – having used their HD 25 headphones for years. For him, nothing is more important than sound quality in order to share the energy of the songs with his audience; for them to hear, enjoy and react to each beat and every word.

For Bob Sinclar, being a DJ is a way of living – and was his dream since the age of 16. He is passionate about sharing energy with the crowd, creating an environment for them to escape to and lose themselves in their enjoyment of the music.

From the States to South America, Europe, Asia and Australia, the demand for Bob Sinclar’s smooth disco-tinged house sets is unwavering. His flair for blending vocals, instrumentals and rhythms into one soaring, euphoric house set rocks clubs to their very foundation wherever he touches down.

On the partnership with Sennheiser, Bob Sinclar commented, “I have worn Sennheiser headphones since I was 18, since the start of my career, because of the quality of sound. It goes straight to your ear so you can enjoy and lose yourself in the music. I want people on the streets to experience with the Amperior what I myself experience when I DJ, when I produce, when I listen to the music that I not only make, but that inspires me. Sennheiser creates a professional quality of sound for every day, and is the best in the industry.”

Sennheiser Amperior headphones are part of the lifestyle range. Their sound signature has been derived from the legendary HD 25 monitoring headphones. They bring together cutting-edge and superior sound technology with stunning materials to create headphones that people want to be seen wearing. The Amperior come in a silver or blue aluminium finish and are the perfect choice for those who don’t want to choose between perfect sound and cool design. Allowing people to experience club beats wherever they are – a real design statement which means you’ll stand out in the crowd and show your real appreciation for quality sound. Demonstrating their exclusivity, Sennheiser Amperior headphones are currently only available in Apple stores and Apple online stores and they are the perfect fit for the iPad, iPhone and iPod.

Peter Callan, President, Consumer Electronics at Sennheiser explained, “These headphones are essential for all music lovers who want to experience the pure joy of a great sound performance – whenever they want and wherever they go. We are extremely excited and proud to be working with Bob Sinclar, a true musical legend, who combines fashion and style with music – just like the new Amperior.”

At Skaggs Place Studio in Nashville, Ricky Skaggs Depends on Neumann KH 120 Monitors to ‘Tell the Truth’

Nashville, TN – July 12, 2012: Once again, multiple GRAMMY winner and Christian artist Ricky Skaggs has been hard at work with “the boys” — his longtime band Kentucky Thunder, which have been playing bluegrass music alongside him for over 15 years. Each time Skaggs and his band enter the studio — usually at his own “Skaggs Place Studio” — the resulting music pays homage to the early trailblazers of bluegrass music, while forging entirely new paths within the seemingly timeless genre.

As an artist, Skaggs is wholly committed to authenticity and detail in his recordings. He is an avid collector of vintage microphones and esoteric gear, and constantly in pursuit of the latest sonic building blocks that will help make his recordings stand the test of time. The latest addition to his studio? The new Neumann KH 120 studio monitors. We chatted with Ricky to learn more about his recent projects, and why it’s important to have a loudspeaker that tells the truth…..

What have you been up to lately?
“Me and the boys [Kentucky Thunder] have gotten together and will be putting out a bluegrass record — the first one since Honoring the Fathers, which we recorded several years ago. We’ve cut two days of tracks, about six songs on which we are now working on overdubs. In the coming weeks, we will be doing more tracks, as well as singing and overdubs. For this record, which will have a lot of variety, I’ve brought in Gordon Kennedy [producer] for moral support. I really wanted him involved because I didn’t want it to be just another bluegrass record. Gordon is able to bring some input and creativity that I wouldn’t necessarily think to bring to the project. Beyond this, I’ve been working on a live CD of Bruce Hornsby and myself. Last time we toured, we did a lot of live recordings on the road and we’ve been going through those live shows and hope to get a record out soon.”

Tell us about your first experiences with the Neumann KH 120 monitors
“When I found out that Neumann was doing monitors, I knew they wouldn’t do anything unless it was excellent — because they have never done anything outside of excellence. If it was Neumann, it was going to be great. I first heard the KH 120s out at Winter NAMM and I was just blown away. I really loved what I was hearing. There is something in the midrange that highlights the acoustic instruments and strings, and the highs are not too bright or harsh. Finally, I just can’t believe how small they are and how great they sound.”

How about the low end?
“Typically it is a little bit harder to define the low end, but everything translates great through the KH 120s. In general, I was really impressed and surprised with their performance given their small size, and could not believe that that such clarity in the low end could be achieved without a subwoofer. The low end of my mixes sound tighter now — and in bluegrass, this is important on instruments like the upright bass and the acoustic guitar. We know that when we get to the mastering facility, that the entire low end will be nice and tight.

Why is the crossover important and how does the KH 120 perform in this regard?
“For any instrument that occupies the midrange, you’ve got to have crossovers that are extremely quick, smooth and transparent. The crossover on the Neumanns is very smooth and you can really hear this on acoustic guitars and mandolins. This is exactly what I hear from the KH 120s, and highlights the thing that I love most about them: the midrange. My instruments sound like I know they should.”

Why have the KH 120s earned a place at Skaggs Place Studio?
“I want the safety net of having a great monitor system — it takes the guesswork out of recording and mixing, and you can be more confident in what you are putting down to tape. I know the low end is there, as well as the mids and the highs. Nothing is falsified and it is the real thing. I don’t like cutting any corners — especially in the recording studio. Once you cut something and put it out, it is out there forever. As an artist, I want to make sure that the recording represented the best that I could be at that moment in time.”

You are no stranger to Neumann. Tell us about your collection of Neumann microphones

“My history with Neumann goes back a long way, and to me, the company’s microphones represent the gold standard. I have a U 47 that was once used by folks like Dolly Parton, George Jones and Johnny Cash. I also have two U 69s, which we use on everything including the piano on the recent Bruce Hornsby recording. I bought some KM 64s years ago that had been owned by a traveling gospel band, The Happy Goodman Family. My Neumann KM 66, an early version of the KM 86, is our all-time favorite guitar mic. I also use and appreciate the newer Neumann microphone models such as the TLM 102, TLM 103 and of course the M 149 and U 87.”

Photo captions:
1. Ricky Skaggs, pictured alongside the Neumann KH 120 monitor
2. The Neumann KH 120 monitors are the latest edition to Nashville’s Skaggs Place Studio

Acoustics First® adds Speaker Isolation Stands to improve sound at the source


Acoustics First now carries the ISO-L8R155. These speaker isolation stands make a perfect complement to the www.PhaseFOAM.com or www.ToneTiles.com acoustical systems. Just as both systems allow you to adjust the acoustical material to tune your room, these speaker isolation stands instantly improve the focus and sound of studio monitors. Each box ships with all the parts to create a short or long stand. For use in critical listening environments, these speaker stands are great in recording studios, broadcast facilities, home listening, mastering suites, desktop gaming and more.

Speaker Isolation Stands (IsoAcoustics ISO-L8R155)
Set of two stands (Right and Left)
Product Code: AFISO-L8R
$99.00 ea.

***Free Standard Shipping Through the End of July 2012**

Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

Sennheiser Silent Disco brings interactive club atmosphere to The Governors Ball Music Festival

New York– July 9, 2012 – Audio specialist Sennheiser hosted a Silent Disco during The Governors Ball Music Festival on Randall’s Island on June 23 and 24. Thousands of festival-goers donned Sennheiser RS 120 wireless headphones and danced under a ‘big top’ tent to energetic mixes from international DJs. To onlookers, it appeared as though participants were dancing in silence as the mixes could only be heard by those wearing Sennheiser wireless headphones.

“The Sennheiser Silent Disco was one of the festival’s biggest draws,” said Tammi Montier, senior vice president of partnership marketing for Revolution Marketing, who worked closely with Sennheiser and The Governors Ball Music Festival to host the event. “At a festival like this, there is always dancing by the stages while the bands are playing, but there are plenty of people who want to interact with friends and express themselves in more of a dance club experience — it creates a memory. With Sennheiser running the silent disco, it heightens the quality of the experience for music fans while bringing even more credibility to the festival as a whole.”

The Sennheiser Silent Disco began at 2:00 p.m. on each day of the festival. International DJs such as Nobody Beats the Drum, Cont^ct, DJ Sookai and Hype Machine pumped out mixes for 10 hours straight each day before the festival closed at 11:00 p.m. each night. During the evening hours, the silent disco tent was illuminated with strobes, colored lights and a mirrorball, adding a psychedelic visual touch to the audio experience.

Amsterdam-based act Nobody Beats the Drum, longtime users of Sennheiser’s legendary HD-25 DJ headphones, gave headline performances each day and were enthusiastic about the event: “I really like the vibe,” commented Sjam Sjamsoedin, one third of Nobody Beats the Drum. “It is a very intimate style of performance where everyone hears exactly what you are doing. As far as our equipment is concerned, we’ve been using Sennheiser HD 25 headphones for ages and prefer their quality both in the studio and on the road. The one I am using is 11 years old — the entire frequency range holds up and they just don’t distort.”

Sennheiser is in a unique position of being able to provide a complete solution at silent discos such as this, which are becoming more popular at top-level music festivals around the world. “For an event like this, we are able to provide not only premium wireless consumer headphones, but also professional wireless systems that are used by top touring artists around the world,” said Tim Moore, artist relations manager at Sennheiser’s U.S. headquarters. “Both of these products work seamlessly together to offer a complete solution for the Governors Ball NYC, or any other large festival.”

Photo captions:
1. Sjam Sjamsoedin of Nobody Beats the Drum works the Sennheiser Silent Disco on the first day of The Governors Ball Music Festival.
2. In the evenings, the Sennheiser Silent Disco was illuminated with a mirror ball, colored lights and strobes, adding a psychedelic visual element to the audio experience.
3. Sjam Sjamsoedin and Jori Collignon of Amsterdam-based DJ act Nobody Beats the Drum are long time users of Sennheiser’s HD 25 headphones.

K-array Ensures Graduation Message to San Diego Bernardo Heights Middle School Students is Heard Loud and Clear

San Diego, Calif. – June 28, 2012 — The K-array KR400S ultra-light powered speaker system provided a clear and superb listening experience for faculty, staff, students, friends and family at the San Diego Bernardo Heights Middle School graduation ceremony in mid-June.

Paul Svenson, owner of San Diego-based audio/video specialist PSAudioVideo, consulted with Sennheiser Area Sales Manager John R. Borja to outfit the outdoor ceremony with a single KR400S speaker, as well as Sennheiser ew 100 G3 wireless transmitters and receivers. Svenson ran the microphones directly into a PreSonus digital mixer, which was then connected to the K-array KR 400S.

“In previous years, people on the periphery of the 1,200-person crowd complained about not being able to hear very well, but this year, we received compliments,” said Svenson, who has been the school’s trusted provider of audio solutions for more than a half-dozen graduations in recent years. “I believe this was due to the effective sound dispersion characteristics of the K-array KR400S.”

Svenson adopted the KR400S after using a pair of the speakers to provide audio for an indoor concert for 3,000 people. The compact speakers were able to deliver so much power that Svenson immediately added them to his audio toolbox and now uses them for indoor and outdoor events.

For the graduation, Svenson set up only one KR400S, which he says provided more than enough coverage for entire area — including the 80-foot wide stage, the gallery of graduates, seating for family and friends, and standing room. Svenson said the KR400S not only provided high-quality sound to the entire graduation ceremony, but could also be heard across the parking lot to the local high school.

The KR400s cast a wide dispersion without any appreciable drop-off, giving Svenson a long throw to hit the very back row of people and the standing room only section, which he has not been able to achieve with other speakers.

In addition to the speeches given by graduates and faculty, the graduates and their families were also treated to the vocal harmonies of the school’s 250-singer choir, for which Svenson used three ew 100 G3 Sennheiser wireless microphones on the soloists, among other microphones.

“The K-array KR400S has surprised me time and again for its ability to throw long distances while still maintaining a consistently high sound quality,” Svenson said. “The choir leader was also very impressed with the speaker’s ability to cast a wide dispersion while retaining the sharpness needed in a vocalist microphone.”

Acoustics First® Office Space to Voice-Over Suite

Acoustical Panels in a Voice-Over StudioThis office space was converted into a voice-over production suite for Moe Rock. Installed are 2′x4′ acoustical wall panels and a 2′x4′ acoustical ceiling cloud over the listening position. A corner bass trap was created using corner impaling clips with one of the standard Sonora Panels. Photo courtesy of Moe Rock: http://www.moerock.com/

With a wide range of available recording equipment, from computers to hand held devices, recording audio is easier than ever! With some simple gear and a good microphone, a quality recording is just moments away. However, before you begin, take a few moments and consider Acoustics First! If proper acoustical material is not in place, you may be recording unwanted room modes or excessive reverberation. Our brains, in combination with our eyes and ears, can compensate in less than ideal conditions, whereas microphones cannot.

Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

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