Archive of the Monitoring – Speakers, Headphones, Amplifiers Category

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).

Acoustics First’s Paintable Design Friendly Acoustic Panel

For Immediate Release

Acoustics First Unveils Tone Tiles™. (Paintable, Design Friendly Acoustical Panel System)Tone Tile™ Paintable Design Friendly Panels

www.ToneTiles.com

As a follow up to the recent PhaseFOAM™ system, the Acoustics First design team has invented a new wall panel system named Tone Tiles™, www.ToneTiles.com. Tone Tile™ acoustical panels are now ready to be shipped and deployed into any application requiring sound control. This new acoustical system offers acoustical absorption with limitless design potential and installation possibilities.

The white soft drywall texture appearance of the tile allows you to install them right out of the box or paint with a matte finish spray paint to complement colors on site. These sound absorbing panels are covered with a paintable / printable finish, allowing you to match any design scheme.

The unique 2’x1’ size of the panel allows one the freedom to create diverse wall tile patterns and mount around existing room obstructions. Optional 2” Stand-Off Mounting Brackets further acoustical control by creating an air gap, increasing absorption and improving low frequency response. The 2″ space behind the panels also presents an opportunity for back lighting effects. Employing optional Corner Mounting Clips permits the installer to construct one foot wide or two foot wide custom bass traps in room corners.

10 ea. 2′ x 1′ Tone Tile™ panels in each box for $350.00 USD.
Optional Mounting Clips:
Acoustics First 2″ Stand off Clips, Box of 20 Clips AF2SC20 $ 80.00
Acoustics First Corner Clips, Box of 8 pair (8 Left & 8 Right) AFCC8 $ 48.00

-Spray Paint Panels to Complement Color Schemes
-Locally Print Images on Panel Face
-Design Unique Wall Patterns
-Apply Stencil Designs
-Increase Absorption Using 2″ Stand off Clips
-Easily Construct Custom Bass Traps

www.ToneTiles.com

Ryan Larkin
Sales & Marketing
www.AcousticsFirst.com
Acoustics First Corporation
PH: (804) 342-2900

RTW TM3 TouchMonitor Now Shipping Worldwide

Affordable, Compact Addition to TouchMonitor Range Supports Compliant Loudness Metering

LAS VEGAS, APRIL 16, 2012 — RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce that it is now shipping worldwide the new TM3 TouchMonitor. The TM3 is the latest introduction in the company’s successful range of products marking the next generation in compliant professional audio signal metering, which will all be on display at the RTW booth (C1844) during NAB 2012.

The TM3 includes features of the larger TM7 and TM9 TouchMonitor versions and is controlled using a touch-sensitive display. With its budget-friendly base price, a 4.3-inch touch screen and stylish exterior allowing for horizontal and vertical placement, the TM3 is a highly appealing, compact solution ideal for editorial offices, edit suites and small control rooms.

“The TM3 has received such wonderful feedback thus far and there have already been a large number of units sold in advance, so we are thrilled to begin shipment,” says Andreas Tweitmann, CEO, RTW. “It was important to us to provide the broadcast community with a range of solutions that will help them meet CALM Act compliance standards by the end of this year. The timing of the TM3’s shipment could not be better.”

Featuring PPM and true-peak instruments, the TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-2/1771, ATSC A/85 and ARIB. Instruments include single-channel and summing bar graphs, an LRA instrument and numerical displays. The basic version handles analog and digital stereo audio, while the 5.1 option adds the support of six-channel digital input.

Full technical details about the TM3 and all of RTW’s products can be found at www.rtw.de.

About RTW
RTW, based in Cologne (Germany), has more than 40 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on professional audio signal metering tools that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio highlights the TouchMonitor range, a new series of tools for visual signal analysis and comprehensive loudness metering. The TouchMonitor combines the highest of flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. The high-end SurroundControl series of products with fully fledged loudness measuring combines the convenient metering options of the RTW surround display devices and the control functions of an eight-channel monitoring controller.

For more information, visit www.rtw.de or www.facebook.com/rtw.de, or call +49 (0) 221 709130.

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

Neumann KH 120 Monitors Provide Precision and Clarity for Mateusz Zechowski, Classical Recordist for Yale Symphony Orchestra

New Haven, Conn. – April 10, 2012 – Since 2000, Mateusz Zechowski’s STUDIOTEO has been providing freelance recording services to some of the most renowned orchestras, choirs and ensembles in the northeastern corridor. Based out of New Haven, Zechowski, who has just upgraded his monitoring system to include the Sennheiser-distributed Neumann KH 120s, has a versatile geographic reach working with clients in and around neighboring Yale University as well as New York City and Boston. He counts Yale Symphony Orchestra, Orchestra New England, New York Choral Society and Juilliard Baroque Ensemble among his clients.

“For classical recordists, there are generally two types of recordings,” says Zechowski. “One is taping concerts, in which you are more or less battling a recording environment that has already been chosen, and the other is ‘co-creating’ a recording with a client where you can exert more artistic control. Both scenarios — and in fact all the work I do — require top-notch studio monitors and now I am 100 percent dependent on the Neumann KH 120s.”

Zechowski is a native of Poland who studied at the Chopin Academy of Music in Warsaw and more recently at the Yale School of Music in New Haven. His recordings regularly appear on internationally regarded classical labels such as Naxos, Carus Verlag and Dels. The Neumann KH 120 active near field monitor is his monitor of choice whether he is on-location or working in his mastering suite in the lower level of his home. He was introduced to the KH 120 during the AES show in New York, when he met Sennheiser product specialist for studio products, Christopher Currier.

“I asked Christopher about the Neumann KH 120s at the booth, and he said he was happy to bring a pair by for me to demo in my studio,” Zechowski recalls. “When he did, I was in pretty deep shock because when compared to my other set — a respected large format British monitor — it was immediately apparent that the Neumann’s clarity, openness and large sound stage was far superior. My first impression was that they were on the bright side, but later I realized that this was due to its extended clarity.” The other thing that struck Zechowski was the amount of sheer bass force and dispersion in the low end: “It is quite incredible that such small monitors can generate such a large sound stage — especially in the lower frequencies. It is quite a remarkable achievement.”

Once Zechowski acquired the KH 120s and began using them on a regular basis on his work with choirs, small ensembles and large orchestras, the sonic attributes of the KH 120s became even more apparent: “These speakers are very precise, and this becomes very important when you have singing voices. With this kind of precision, you can hear and fix things immediately, whether it is a miking set up, EQ, or whatever. They give you an exact read.” The compact size and extreme portability of the KH 120s also enable Zechowski to bring them on location to his sessions. “They are a real winner for what I do and help me quickly assess what kind of mic set up I want to use, whether it is a Decca tree, a traditional spaced pair or a coincident mic arrangement.”

Zechowski now relies on the KH 120s to ensure his work sounds good outsideof the studio, as well. “All the mixes I do on the KH 120 translate beautifully to the external world, whether it is a mundane car stereo, a home-based system or audiophile setup alike,” he says.

As Zechowski continues his relentless pursuit to increase the quality of his recordings, the phone keeps on ringing: “In this profession, everything depends on word of mouth,” he observes. “Musicians relate to each other and recommend recording engineers like other people might recommend dentists. I’ve managed to build a steady group of loyal clients, because I am always looking to improve on what I’m doing.”

The Neumann KH 120 studio monitor
The Neumann KH 120 is a compact near-field studio monitor that delivers unprecedented accuracy and versatility within a broad range of monitoring environments. The KH 120 is perfect for tracking, mixing and mastering in music, broadcast, project and post-production studios.

The KH 120 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible. It has a Mathematically Modeled Dispersion™ (MMD) waveguide, flexible acoustical controls, analog class-AB amplifiers, various input formats and an extensive mounting hardware range. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment and physical locations.

Reliable Sennheiser RF Equipment Supports Super Bowl XLVI

Indianapolis, Indiana – March 8, 2012: In the fractured and multifarious landscape of modern media, the Super Bowl stands as a monolith, gathering the nation together before its television sets to partake of common experience. Indeed, this year’s game between the New York Giants and the New England Patriots was the most-watched program in television history, earning 111.3 million viewers. Of course, the modern Super Bowl experience includes much more than football. In addition to the multi-million dollar commercials, many are drawn to watch the celebrities and celebrity performances. This year, Country Music’s first couple, Miranda Lambert and Blake Shelton, kicked things off with a rousing duet. Shelton was later featured in his judge’s chair on the season premier of NBC’s hit, The Voice. At halftime, Madonna starred in a richly choreographed medley of her chart-toppers (to the tune of 114 million viewers – more than the game itself!). Rock-solid Sennheiser RF equipment gave everyone involved as much peace of mind as one dare hope at this, the most critical of all mission-critical events.

With a stirring rendition of “God Bless America,” Lambert and Shelton gave the Super Bowl a patriotic commencement. Lambert sang into a new custom-made pink Sennheiser SKM 2000-XP handheld mic with an MMD 935-1 capsule that was created for this event. Shelton sang into a Sennheiser SKM 5200-II handheld mic with an MD 5235 capsule. “On such a high-pressure show with so many top-of-their-field experts managing such a massive logistical undertaking, one has to be adamant to get the mics you want,” observed Brad Baisley, the duo’s monitor engineer. ”Of course, Miranda used her new pink Sennheiser microphone, and Blake the Sennheiser SKM 5200. The top end is always superb, the sound is natural, and Miranda and Blake know how to work those capsules. Of course, Sennheiser’s RF has always been rock-solid for us, and that was proved once again at the Super Bowl. In addition to their great products, the assistance from Sennheiser’s Tim Moore was fantastic. He was extremely helpful in ensuring we had the equipment we needed in the appropriate frequency ranges.”

To put the magnitude of the Super Bowl in perspective, Madonna’s 2008-2009 Sticky & Sweet tour – the highest grossing tour by a solo artist and the fourth highest grossing tour of all time – played to 3.5 million people in just over a year’s time. If you crunch the numbers, Madonna would have to play over thirty such tours back-to-back to match her one-time TV-land attendance at the Super Bowl! “Once the show starts, there’s not a lot you can do if something goes wrong,” said Matt Napier, Madonna’s longtime monitor engineer. “The best – and really the only – thing you can do in a situation like that is to have the best equipment available and to prepare thoroughly. I trust Sennheiser in Madonna’s high-stakes concerts, and that trust was rewarded with a perfect performance at the Super Bowl.”

“On tour, we have our own dedicated RF tech,” said Napier. “But as a general rule, we keep things simple and reliable by using Sennheiser wireless exclusively and their Wireless Systems Manager software, which is an effective tool for managing our frequencies.” Madonna used the Sennheiser HSP 4headset at the start of the medley and then switched to a Sennheiser SKM 5200-II handheld Blake and Mirandatransmitter with an ME 5005 capsule for the remainder. All of Madonna’s guests (Nicki Minaj, MIA, LMFAO) used Sennheiser SKM 5200-II handheld transmitters with Neumann KK 104 capsules. Cee Lo Green’s mic used the MD 5235 capsule. Sennheiser EM 3732 receivers captured the on-stage magic for the wired world beyond. Finally, Sennheiser 2000 Series wireless personal monitors rounded out the equipment list for Madonna at her request.

“No matter where we’re playing, the combination of the Sennheiser SKM 5200-II transmitter, ME 5005 capsule, and EM 3732 receiver delivers fantastic audio quality and reliable, flexible RF performance,” said Napier. “Together with Sennheiser’s 2000 Series wireless personal monitors, we’re high fidelity start to finish, with rock-solid reliability and easy frequency coordination. In addition, having the full support of Sennheiser affords me peace of mind. We needed a gold-plated SKM 5200-II transmitter for Madonna and a chrome SKM 5200-II for Cee Lo. With no time to spare, Kristy Jo Winkler and Tim Hunten, Sennheiser, and Jason Bellamy at Soundtronics arranged the delivery of these transmitters. The mics were on their way the same day. That kind of service means a lot in this industry. A big thanks goes out to the Sennheiser team!”

Sennheiser Partners with UniqueSquared to Bring Mobile Studio to Austin During World-Famous Music Week

AUSTIN – March 06, 2012: Audio specialist Sennheiser announced that it has partnered with music retailer UniqueSquared to bring a 45-foot mobile recording studio bus to Austin during its world-famous music week between March 14th and 16th. The UniqueSquared Mobile Studio, which will make stops at various locations in downtown Austin during its music festival, is being co-sponsored by Sennheiser and features a control room, isolated vocal booth / tracking room, a listening lounge and plenty of gear from Sennheiser and Neumann. Music fans are encouraged to attend and admission is free.

The UniqueSquared Mobile Studio will feature an assortment of world-class microphones from Sennheiser and Neumann and several dedicated listening stations equipped with a selection of the latest headphones from Sennheiser — including the HD 800, which many audiophiles consider to be the best-sounding headphone in the world. Following is a selection of the audio equipment that the mobile recording studio will have on hand for musicians and fans to demo:

– Sennheiser e 906, e 914 and MK 4 instrument / vocal microphones
– Sennheiser e 835 and e 935 dynamic vocal microphones
– Neumann TLM 103 condenser microphone
– Sennheiser Amperior, HD 25, HD 205, HD 280, HD 650,HD 800 headphones and others
– TRUE Systems P2 Analog preamplifier (distributed by Sennheiser)

“We are happy to co-sponsor the UniqueSquared Mobile Studio this year in Austin,” commented Tim Moore, artist relations manager, Sennheiser. “It is exciting to interact with so many diverse music fans in one place, and the Mobile Studio enables them to try out a wide range of Sennheiser and Neumann products in a professional environment before making a purchasing decision.”

The UniqueSquared Mobile Studio, which will also have products for sale, is being presented in conjunction with the Sennheiser / Paste party at The Stages on Sixth — where 33 artists will perform over the course of three days.

Over the course of the showcase event, one pair of Sennheiser HD 800 headphones will be given away each day to three lucky registered showcase attendees and hundreds of cards will be given away featuring free music downloads of Sennheiser artists. A dedicated, interactive listening station will be provided for the duration of the event so music fans can experience Sennheiser’s latest products including the Amperior DJ-style headphones, which were recently unveiled at CES 2012.

Lady Antebellum Expands Tour and Sennheiser Endorsement

Old Lyme, Conn.– February 21, 2012: Few need an introduction to Lady Antebellum, who, in the four short years since its formation, has won six Grammys, scored six number one hits on country radio, has sold over six million albums across the globe and is currently on its 2012 Own The Nightworld tour. Sennheiser is supporting the tour with equipment, such as SKM 5200-II wireless vocal microphones and ew 300 IEM G3 wireless personal monitors, along with the expertise to ensure that no glitches ever distract from Lady Antebellum’s spellbinding performance. With an agreement brokered by Tim Moore, artist relations manager for Sennheiser USA, and Kristy Jo Winkler, Sennheiser global relations manager for the Americas and Canada, reigning Country Music Awards and Academy of Country Music Awards Vocal Group of the Year Lady Antebellum is now a Sennheiser Global Relations endorsed artist.

FOH engineer Brett “Scoop” Blanden was careful to select the perfect wireless vocal mic for the tour. “The stage setup includes a forty-foot runway that extends well in front of the house PA,” he said. “I needed a microphone and a capsule that would be well-suited to all six vocalists – who might all be on that runway at the same time! By using the same capsule, with the same frequency response and polar pattern, on all six mics, I am able to tune the PA without fear of the unpredictable interactions that can occur when different capsules are open on stage.” Blanden selected the Sennheiser MD 5235 dynamic capsule, which features a floating directivity that is super-cardioid at high frequencies and cardioid at low frequencies. The Sennheiser SKM 5200-II handheld RF transmitter completes the vocal setup, and two additional SKM 5200-II/MD 5235 combinations go to the opening acts.

Monitor engineer Peter Bowman organizes the RF channels for the show. “I have had zero RF issues since we made the switch to the Sennheiser 5000 series on vocals,” he said. “In addition, I’m also very happy with how useful the Command Function is for Lady Antebellum. Whether they need the guitar turned down or a cup of tea, they can communicate with ease from any point on the stage.”

Instrument mics include the Sennheiser e 901 on kick, the e 904 on rack toms, the e 902 on the floor tom, and a small diaphragm e 614 on the ride. “I’m particularly fond of the e 904 and e 902 on the toms,” said Blanden, who is himself a drummer. “I love the tonal picture of those dynamic mics – it’s familiar and comfortable to me. The frequency response and transient response are perfect. I can run those inputs flat on my channel strip because all the right color is captured by the mic. The convenient mounting hardware on the e 904 is also nice.” For all three guitar cabinets on stage, Blanden uses the classic Sennheiser MD 421-II. “What a standard! Even in my studio days,” he said, “I was always a fan of the MD 421 on guitars. It has the perfect combination of top-end bite and low-end growl to deliver the ideal rock ‘n roll guitar sound.”

In addition to the eight Sennheiser SKM 5200-IIs for vocals (and their associated command channels), Bowman manages eight Sennheiser EK 300 IEM G3 stereo wireless personal monitors, for a total of twenty-eight wireless frequencies. “I set them myself every day,” he said. “And with the scanning options available on both the G3 and 5000 series, that process is fairly simple. I love that when the monitor system is networked together, I have the ability to set all the transmitters to new frequencies using just one bodypack. I usually scan one bodypack during the day, even before I get power to monitor world, and then use it later to synch up all the transmitters.” For antennas, Bowman uses one Sennheiser paddle antenna and one Sennheiser A 5000?CP circularly polarized antenna. “Although I know there are several valid approaches, this system works well for me,” he said. “Our RF performance has been perfect.”

Even the band’s guitars and bass benefit from Sennheiser wireless technology. To navigate the tour’s large stage with the crowd-pleasing confidence that a wire won’t allow, every fretted instrument is equipped with a Sennheiser ew 572 G3 wireless transmitter, save for one acoustic guitar which uses an ew 572 G2 unit. There are eleven units in all. “Our RF performance has been absolutely flawless,” said guitar tech Steve Castro, who formerly worked with Sugarland. “We all work together to maintain clean channels. If someone gets stepped on, it’s a simple matter to use the scan feature to dial in a new clean channel.”

“The Sennheiser team has really gone above and beyond for us,” said Blanden. “Tim Moore has been there for us during the last four years. Throughout our trips to Australia, Europe and various television performances, Sennheiser is the gear we rely on for consistency wherever we are performing.”

Winkler added, “For decades, Sennheiser has supported emerging artists as well as mega-stars. All of us on the Global Relations team welcome Lady Antebellum to this special tier of artists and congratulate them on their creativity, musicianship, performance excellence, and industry dedication.”

(Photo Credit: © 2012 Adam Boatman)

Antelope Audio’s Zodiac DACs with iPad Control Bring Extra Level of Convenience and Performance to Audiophiles and Music Lovers

Santa Monica, February 15, 2012 — Antelope Audio’s Zodiac D/A converters are now compatible with iPad, allowing music lovers to enjoy pristine audio of up to 384 kHz, played and controlled from their iPad through the Zodiac DAC.

It is easy to connect and operate. Simply plug an Apple(R) Camera Connection Kit jack into the iPad and then plug in a USB cable to the Zodiac DAC – that’s it. The devices are connected. Then swiftly tap the Music App on the iPad and play the track.

“The compatibility between Zodiac DACs and iPad makes it easier than ever to enjoy high-resolution music from just about any location,” commented Marcel James, Director of Sales and Marketing, Antelope Audio, USA. “As the market evolves and adapts to smaller multifunctional devices — such as the iPad — we want to ensure that we are able to help deliver the highest possible audio quality to all music lovers. We are proud we are giving the people the opportunity to experience the pleasure of pristine audio with just a simple set up of a PC, MAC and now even iPad.”

The Zodiac DACs are compatible with iPads running the latest operating system (e.g. 5.0.1 or later). The DACs support files up to 384 kHz and FLAC files through FLAC player up to 192 kHz.

Short video demonstrating the plug & play functionality of iPad and Zodiac DACs is available here or paste http://bit.ly/zYbAl0 into your browser.

About Zodiac Gold 384 kHz D/A Converter
The Antelope Audio Zodiac Gold is a sophisticated and powerful DAC, Pre-Amp and Headphone Amp engineered to deliver pristine audio with keenly articulated pitch and a spectacular soundstage. The DAC received the prestigious Audio Excellence Award 2012, Tokyo, Japan. The unique sound of Zodiac D/A converters is based on Antelope’s Oven Controlled Oscillator and 64-bit clocking technology used by the world’s top audio engineers. Zodiac Gold DAC is among the very few on the market with 384 kHz audio streaming capability thanks to the custom designed USB controller chip that streams digital audio up to 480 Mbits. A dual-stage headphone driver architecture unveils every sonic detail, while the relay based volume control assures superb stereo imaging at any listening level.

SOLID STATE LOGIC’S BROADCAST EQUIPMENT DEMONSTRATION VEHICLE BEGINS ITS EPIC U.S. TOUR

SSL teams up with technology partners Genelec, Miranda and RTS to showcase the C10 HD Compact Broadcast Console in a state-of-the-art mobile broadcast studio

NEW YORK – Solid State Logic is proud to announce its newly completed Broadcast Equipment Demonstration Vehicle has set out on a non-stop tour of the United States and Canada. The tour began in San Antonio, Texas on Feb 1, 2012 and will continue onwards for the next three years. The custom designed mobile production vehicle features SSL’s C10 HD Compact Broadcast Console and associated routing and I/O solutions in conjunction with all of the key audio and video monitoring and communications systems required for a modern broadcast production facility. Housed in a Russ Berger designed acoustically accurate space, the vehicle enables potential clients to have hands-on experience of SSL’s on-air audio production technology right outside their front door.

“This is an incredibly exciting moment for us,” says Piers Plaskitt, CEO of SSL Inc. “This vehicle gives us a unique opportunity to take a sophisticated broadcast production environment out on the road to connect directly with our customers in their own locality. We know that money is tight and that many organisations simply can’t send as many people to exhibitions like NAB anymore so this vehicle gives us the chance to show the whole production team the benefits of SSL and our partners’ technology. Bringing a mini-NAB to our clients ties in nicely with the way we have designed the product to fit today’s more challenging budgets. The vehicle is equipped to demonstrate a range of broadcast production systems and will be visiting local broadcast stations, sports arenas and houses of worship. This is also a fantastic opportunity for us to visit our extensive network of educational clients to share knowledge and insight with aspiring young audio engineers. We serve up an impressive cup of coffee, too!”

The SSL Broadcast Equipment Demonstration Vehicle, designed by SSL’s Project Engineering team, was built on a 2012 F550 Ford chassis with a custom body and was crafted by leading mobile vehicle specialist Shook Mobile Technology. Russ Berger Design Group (RBDG) provided the acoustic design for the space using both absorbing and diffusing treatments as well as SpaceCoupler technology for the ceiling. The vehicle is presented in association with SSL’s technology partners: Genelec, Miranda, RTS and Savant. The truck demonstrates the capabilities of all of these systems and the integration that is possible between them.

The mobile control room space is completely climate controlled, sound isolated and treated to provide a comfortable and acoustically accurate demonstration environment. The space can accommodate several people and a larger group can watch demonstrations from outside the vehicle via an external audio monitoring system and video display, which is linked to internal cameras.

The audio monitoring system inside the vehicle is a complete Genelec 8020.LSE Espresso 5.1 system, which consists of five Genelec 8020B two-way, bi-amplified active monitors matched with a Genelec 7050B LSE™ Series Active Subwoofer. A pair of 6010A Bi-Amplified Active Monitors for PFL (pre-fade listen) and a pair of 8030A Bi-Amplified Monitors for the outdoor display round out the audio system. A Miranda Kaleido-X16 multi-viewer offers high quality and space efficient monitoring with silent operation, and Miranda’s Densité processing offers simplified signal management using multi-functional modules. An RTS Adam-M system with two key panels is employed for intercom, while a Savant True Image interface handles the vehicle’s lighting and video switching.

The SSL Broadcast Equipment Demonstration Vehicle will visit local U.S. broadcasters, houses of worship, systems integrators, key sports and entertainment events, as well as being showcased at trade exhibitions. The schedule for 2012 begins with demonstrations in Texas, moving on to locations in New Mexico, Arizona and California, stopping in Las Vegas for the NAB Show in April, on to Utah and then the Eastern Seaboard.

You can find out more about the vehicle and the equipment, view a tour schedule (with interactive map) and request a stop at your location online at www.solidstatelogic.com/worldtour.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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