Archive of the The Wire Category

Inaugural Pensado Awards to Honor Today’s New Brand of Music Professional

— Live ceremony on June 28 and global online broadcast will “recognize the faces behind the sound” —

LOS ANGELES, CA, April 17, 2014 — For the past several years, the acclaimed online video series Pensado’s Place has celebrated the evolving landscape of music and technology and given a voice to its leaders and innovators, and now the producers of that program have created the Pensado Awards, a new award show intended to acknowledge today’s emerging brand of music professional and to “recognize the faces behind the sound.” The live show will take place on June 28, 2014, at the Fairmont Miramar in Santa Monica, California, and will be followed one week later by a global online broadcast. Scheduled to co-host are award-winning producer-engineers Chris Lord-Alge (Muse, Pink, Foo Fighters, Avril Lavigne, Green Day, Daughtry, Paramore, Black Eyed Peas), Marcella Araica (Britney Spears, Madonna, Pink, Duran Duran, Keri Hilson) and Young Guru (Jay Z, Beyonce, Mariah Carey), with additional co-hosts to be announced soon.

The Pensado Awards are a natural outgrowth of the ethos behind Pensado’s Place. In recent years, developments in music and technology have changed the landscape for producers, songwriters, engineers and musicians, encouraging artists and composers of all types to hone their craft. From the self-taught basement amateur to the seasoned industry producer, all manner of music professionals are discovering new methods of working and novel ways to reach fans. The science and art of music-making are in a rapid state of flux, with exciting opportunities awaiting among the talented figures in and out of the spotlight – the people who are currently engineering the next sound that will move the world in the music, film, television and digital realms. Over 100,000 albums and millions of songs are released every year, not to mention the hundreds of thousands of concerts put on worldwide, but the awards often end up in the hands of a lucky select group. So the brilliance and hard work of all those producers, songwriters, DJ’s, engineers, mixers, live wizards and behind-the-scenes technicians in audio often go unnoticed – until now! The Pensado Awards, founded as a means of acknowledging these talented individuals and their work, are a grand opportunity for the best pros, amateurs, brands and press to come together as one community to celebrate the uncelebrated.

Herb Trawick, the Co-host/Executive Producer and Creator of Pensado’s Place, as well as Manager and Advisor to Co-host Dave Pensado, stated, “We are very thrilled about the opportunity to put on an awards show that is by the people and for the people. And we are just as excited to have Chris Lord-Alge, Marcella Araica and Young Guru – and other names to be announced soon – on board as our hosts, and all of our Pro Committee artists and sponsor partners. The buzz has been electric, and we are already talking about making this an annual event.”

“As an engineer and mixer myself, I am acutely aware that so many of the most talented people in the industry never get the recognition they deserve,” stated Dave Pensado (Co-host of Pensado’s Place, GRAMMY®-winning mix engineer, Teacher). “We have founded these awards to acknowledge amateurs and professionals for their craft. We hope you join in the celebration, either in person or online.”

Working behind the scenes to make the Pensado Awards a reality are the producers from Pensado’s Place and a group of top industry PR/marketing professionals. Leading the charge are Pensado and Trawick, along with Pensado Awards producer Karen Dunn of KMD Productions (Producer of the TEC Awards at NAMM for 29 years and various other Pro Audio Events). Rounding out the Pensado Awards Team are social media guru Will Thompson, PR professionals Clyne Media and Lisa Roy, Lead Agent Shevy Shovlin and Business Development manager Khaila Stewart.

Pensado Award categories include OMG! Mix of the Year; Game Changer Producers Award; Songwriters Break Thru Award; Unique Project Studio (Global); Amateurs Best/Mix Recording (Global); Best Non-English Song (Global); Best Tracking Engineer; Outstanding Achievement in Sound for Film, Television & Gaming; Giant Award (industry legend); Master of Mastering; Live/FOH Award; AIR Award (Best Assistant, Intern or Runner); Outstanding Brand; Spin Doctor DJ Award; Dave Pensado Educators Award; and Herb Trawick Visionary Award.

The Pensado Awards Pro Committee is made up of artists, engineers, producers and industry notables (many of whom have been featured guests on Pensado’s Place), who together will serve as the judging panel for the awards. The committee in currently being assembled and is confirmed to include Andrew Scheps (Lana Del Rey, Red Hot Chili Peppers), Jimmy Douglass (Pharrell, Justin Timberlake), John McBride (Martina McBride, The Blackbird Academy), Manny Marroquin (Bruno Mars, Imagine Dragons), Trina Shoemaker (Queens of the Stone Age, Sheryl Crow, Emmylou Harris), Young Guru (Jay-Z, Alicia Keys, Kanye West), Zoe Thrall (Studio Director at the Studio at the Palms) and others.

Opportunities are still available to join the over 100 leading music makers and manufacturers, representatives from 75 countries and over 100 schools who are already active supporters of and participants in the inaugural Pensado Awards. Three sponsorship packages are available. To support the Awards, please visit http://pensadoawards.com/sponsorship_info.html.

Photo caption: Pictured L-R: Herb Trawick (Co-host/Executive Producer and Creator of Pensado’s Place) and Dave Pensado (Co-host of Pensado’s Place, GRAMMY®-winning mix engineer, Teacher). Photo by Zan Nakari (www.zanphotos.com).

About Pensado’s Place
The hour-long weekly web series Pensado’s Place was created nearly four years ago. Co-hosted by legendary mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and show creator Herb Trawick, the show includes interviews with top music industry artists, engineers, producers, mixers, and record executives, as well as in-depth tutorials in production, engineering and mixing. Pensado’s Place has positioned itself as “the most influential show for audio engineers,” mixers and producers (Forbes Magazine) in just three years. Pensado’s Place is more than just a show, as it highlights the very best in the industry of music, gaming, sound identity on film, and audio equipment, with a presence in live events. As a leading educational resource, Pensado’s Place is helping build the next generation of audio greats.

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Audio Engineering Society Educational Foundation Announces the Bruce Swedien Scholarship Fund

— Scholarship to honor Swedien’s career and help carry on his legacy for future generations —

— Swedien family and scholarship organizers reaching out to the audio community seeking contributions for fund —

New York, NY, April 10, 2014 — The Audio Engineering Society Educational Foundation (AESEF) announces the Bruce Swedien Scholarship Fund. This year marks the 80th birthday of legendary producer/engineer Bruce Swedien, whose career in the recording industry spans more than 60 years. The AESEF, working closely with Bruce’s family, is honoring him with a scholarship funded by his colleagues, fans and friends in the business, as a way to say “thank you” for his many gifts and to help aid young recording engineers who believe in putting the “Music First!,” as is Bruce’s mantra.

Since being publicly recognized in 1962 with his first GRAMMY® nomination, for Frankie Valli and the Four Seasons’ “Big Girls Don’t Cry,” Bruce has built a peerless body of work across eras and genres. Bruce went on to record and mix Michael Jackson’s Thriller, the best-selling album in the history of recorded music. Aside from these credits, he is known for his work with Duke Ellington, Burt Bacharach, B.B. King, Jennifer Lopez, Bonnie Raitt, Edgar Winter, Barbra Streisand, Sergio Mendes and many more. Bruce has been nominated for a total of thirteen GRAMMY Awards and won five. He has also been awarded 10 GRAMMY certificates and two ASCAP composer Awards and has been nominated for five TEC Awards. He is being awarded an AES fellowship award this year for his “impact in creating a sonic reference in modern popular music,” while his latest book, The Bruce Swedien Recording Method (Hal Leonard Publishing) inspires the music world.

Those who know Bruce are aware of his ongoing dedication to the craft of recording artistry. In addition to his talents and successes, he continues to be an open book to younger artists – imparting his knowledge and history for the benefit of the entire industry, and supporting initiatives such as the AESEF. And he is also an insatiable learner himself, exchanging ideas with other top audio minds at each year’s AES Conventions and other industry gatherings.

This scholarship honors Swedien’s lifetime of excellence as a producer/engineer, musician, author, educator and mentor for the past six decades while complementing the mission of the Audio Engineering Society Educational Foundation: to support future outstanding audio engineering professionals. Scholarships will be offered annually to graduate students in the recording arts who have a passion for maintaining the highest standards of music recording.

Bob Moses, AES Executive Director, states, “This scholarship is a beautiful way to pass on Bruce’s wisdom and encouragement to the next generation. Somewhere out there is a kid making noise in a basement, destined to receive this scholarship on his way to becoming a recording legend. This is one of the most sacred and meaningful things we get to do at AES, I’m especially grateful to Bruce’s family for working with us to put it together.”

To support the Bruce Swedien Scholarship Fund, please visit http://www.swedienscholarship.org/.

Photo Credit: Mr. Bonzai.

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StreamGuys and Orban Bring Internet Radio Ecosystem to Life

Complete suite of services gives radio broadcasters an affordable multiplatform alternative

Bayside, California, April 14, 2014StreamGuys and Orban have joined forces to bring an affordable turnkey streaming service to market that addresses the complete internet radio ecosystem. The service will help broadcasters cover the entire media landscape of where audiences exist today — and effectively monetize streams to accelerate return on investment.

The new StreamGuys/Orban solution allows broadcasters to use the entire turnkey package, or choose the elements they need today with options to scale moving forward. The overall solution emphasizes reliable content delivery and business growth regardless of how many services a particular broadcast requires — ensuring that independent radio stations and large network operators receive equal attention while establishing and growing an online identity.

“Broadcasters need to provide online and mobile audiences with a high-quality user experience while generating new revenue streams and controlling costs,” said Kiriki Delany, president, StreamGuys. “StreamGuys and Orban are combining historical strengths to ensure a robust and revenue-generating streaming service customized to each broadcaster’s requirements.”

The complete collection of services address the entire content lifecycle, including front-end processing and multiplatform content delivery to ensure quality of service; as well as business software and playout tools to build audiences and drive revenue opportunities.

Process: Orban’s highly efficient audio processing products prepare broadcast signals for multi-platform delivery, retaining optimal signal integrity while encoding metadata-rich streams into multiple formats – making an exceptional user experience possible across any consumer device.
Deliver: StreamGuys’ cloud-based streaming architecture reliably streams live and on-demand content to the web, mobile and in-car devices, internet radios and OTT media players.
Monetize: Dynamic, server-side ad insertion technologies help broadcasters reliably target audiences without complex integrations, while subscription services from StreamGuys enable broadcasters to generate revenue through special content — with rock-solid conditional access protection.
Play: The latest HTML5 and Flash player options ensure audiences can tune in from anywhere — including tablets and smartphones — while rich mobile apps drive deeper engagement with listeners.

The complete solution also ensures compatibility with industry-leading automation systems to enhance content management and reporting across multiple streams. Additionally, the solution incorporates a variety of reporting and analytics tools to help broadcasters understand global audiences, research trends and pinpoint potential growth opportunities.

“Collectively, the Orban and StreamGuys turnkey streaming service brings world-class broadcast technology into the streaming media universe, ensuring that broadcasters achieve the same premium quality and business opportunities they do with their over-the-air services,” said C. Jayson Brentlinger, president and CEO, Orban.

About StreamGuys, Inc.
In business since 2000, StreamGuys is a provider of audio and video streaming toolsets and services. The company has a reputation for outstanding customer service, a robust and reliable network, and competitive rates. More than 600 clients worldwide, across many industries, depend on their mission-critical service. Projects include serving as the technology backbone for live streaming/podcasting for top public broadcasters such as New York Public Radio, WAMU Washington D.C., KQED San Francisco and WXPN Philadelphia; live video events for major auto racing circuits and the British Royal Wedding; audio streaming for government entities such as D.C. Court of Appeals, U.S. Army, and the National Science Foundation; mobile video content for Cisco Systems; and IPTV content for international broadcaster ABS-CBN.

# # #
StreamGuys, Inc – info@streamguys.com – www.streamguys.com – 707.667.9479
P.O. Box 828 Arcata, California 95518 – fax 707.516.0009

Peyroux journeys through The Blue Room with Sennheiser

Old Lyme, CT, April 10, 2014 – Jazz singer-songwriter Madeleine Peyroux is currently on tour throughout Europe, Australia, New Zealand, the Far East and the US to promote her sixth and latest album, The Blue Room. Noted for her trademark smoky vocals and understated image, Peyroux is a genre-blending singer who fuses jazz, blues, country and pop into a style that is undeniably her own, enabling her to revisit and reinvent some of the greatest classics of our time from the likes of Ray Charles, Leonard Cohen and The Beatles.

The Blue Room is Peyroux’s fourth collaboration with distinguished producer and jazz musician Larry Klein (who has also produced Joni Mitchell, Walter Becker, Tracy Chapman and Herbie Hancock amongst others). What started out as a homage to Ray Charles has turned out to be a glorious fusion that also draws in classics from other artists and has become Peyroux’s musical narrative through time and genre, all with her own unique interpretation. Peyroux and the entire band have selected a combination of Sennheiser and Neumann microphones as their systems of choice for this tour, with Peyroux opting for a Neumann KMS 104.

Peyroux’s FoH engineer, Gerard Albo, who was highly instrumental in the artist’s final choice of microphone, explained why he felt that Sennheiser and Neumann would be a good option. “I’m a big fan of Sennheiser and Neumann microphones,” said Albo. “I’ve been working with them since 2006 with artists such as Corinne Bailey Rae, Roisin Murphy, Amy Winehouse, Anastacia and many more. They offer very high quality products with a huge range to choose from covering pretty much any live, studio or broadcast situation with guaranteed results. They also have a massive worldwide network which means I can get access to just about any equipment I need – and support – wherever I am.”

Albo first introduced Peyroux to Neumann microphones last year at the beginning of a tour. After a few tests between the Neumann KMS 104 and KMS 105, they both felt that the KMS 104 cardioid microphone was better suited to bringing out the subtleties of her voice. “Madeleine is a perfectionist,” explained Albo. “Unlike many other artists she knows exactly what she wants and is able to recognize all the frequencies while tuning her monitor. She has extremely good ears and high expectations when it comes to sound. Her performance is very quiet and understated, yet her voice has huge dynamic range so sonic perfection is a must, particularly as every song tells a story and it is essential that the audience understands every word. We went for the cardioid KMS 104 in the end rather than the hypercardioid 105, mainly because Madeleine is very mobile when she sings and often moves away from the microphone. I confess this can be a bit of a challenge for me at times but the 104 is still able to capture all the details in her voice, so we’re both happy! The KMS 104 suits her perfectly, and I honestly can’t think of a better tool to bring out the best of Madeleine’s voice. Finally, it’s solid, road-proof and looks good – what more could you want!”

As far as the rest of the band is concerned, Albo opted for a full complement of Sennheiser microphones, starting with (2) e 614s for snare and hi-hat, 3 x e 908 D for toms, 5 x MK 4 for the Leslie speaker, guitar amp and acoustic bass, an MKH 8040 stereo pair for the grand piano and finally (2) e 935s for backing vocals. “The e 935 is one of my favorite vocal mics,” stated Albo. “It was Amy Winehouse’s mic for the last five years. As for the rest, they are all excellent quality, well-built, reliable microphones. I love the MK 4 on guitar amps, piano lows, cello and overheads, whilst the MKH 8040 is perfect for stereo overhead for the piano – detailed and rich-sounding.”

Albo continues, “I have a great relationship with Pierre [Morant, Head of Global Relations]. He has been an invaluable help for all my projects over the last few years. This close relationship is a massive asset for me as a freelance sound engineer – it enables me to maintain the very highest standards with the artists, and Sennheiser’s level and quality of global support is second to none – it’s enormously reassuring to know that in whichever far-flung corner of the world you happen to find yourself in, Sennheiser support is never far away should you need it.”

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

Photo caption:
Madeleine Peyroux relies on a Neumann KMS 104, while her band and backing singers use various Sennheiser models, from the evolution range to MK 4 and MKH 8040
(Photo credit: Andy Sheppard)

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DSLR Video Guru Barry Andersson Relies on Sennheiser MKE 600 Shotgun Microphone for Authenticity of Sound, Ease of Set up and Reliability

Author of The DSLR Filmmaker’s Handbook: Real World Production Techniques and Instructor of DSLR Dynamics Two-Day Masterclass Says Audio is ‘Mission Critical’

Old Lyme, CT – April 9, 2014 — As the video industry continues to experience unprecedented growth following the advent of DSLRs and the explosion of mobile devices, there has been a massive increase not just in the amount of video consumers, but also video content creators. Barry Andersson, author of The DSLR Filmmaker’s Handbook: Real World Production Techniques and instructor of DSLR Dynamics’ two-day masterclass on video production, is helping thousands of aspiring filmmakers become intimately familiar with the tools they need to create professional looking — and sounding — DSLR-based videos. Andersson depends on his Sennheiser MKE 600 shotgun microphone to deliver consistently reliable and authentic sounding results.

Sennheiser spoke to Andersson, who just completed his nationwide filmmaking masterclass and who is currently in the midst of scheduling another multi-city instruction tour for later this year, about DSLR video technique and the importance of capturing authentic sounding audio.

What kind of audience is drawn to your classes?

They come from all over the spectrum. I would say that 50 percent of them consider themselves professionals. Even among professionals, there are many people that need to catch up their knowledge base. If you are coming from photography, DSLR video is new. If you’re coming from traditional video cameras, DSLR video is new. If you haven’t done video before, of course it’s new. My classes comprise a mix of beginners and advanced skill levels, but there are always gaps that I can help people address. I want to help them get good quality images and sound with the least amount of pain so they can actually work on the creative side instead of constantly worrying about the tech.

What is the most important takeaway in your classes?

I want people to enjoy it. Sometimes people look at making video as very complex. Video and filmmaking used to be a specialized field, but this is no longer the case. Very often, one person does everything — the video, the audio, the lighting, the interviewing. I think people get overwhelmed and it can take joy out of doing it. I like to make them comfortable with their tools, so when they go out, they actually want to be shooting again. There will always be the lens, the sensor, the lighting and the sound. If you master these elements, you have the skill set to be creative no matter where you are or what platform you are on.

What role does sound play in capturing DSLR video?

I think capturing good sound is mission critical, and this is probably the most requested topic among my students. In my experience, people will watch something that looks horrible and sounds good much longer than if they watch something that looks beautiful and sounds terrible. I want my students to understand that capturing great audio doesn’t have to be complicated. I want them to listen to it and say, “Ah, that’s what it should sound like.” It is at that point where we can begin talking about the art of sound.

What do you think of the Sennheiser MKE 600 as a production tool?

The first thing that struck me about the MKE 600 is just how small it is. I am telling my students more and more to carry the least amount of stuff possible, to stay small, light and nimble. The MKE 600 is very small but the audio quality is exceptional. Also, the build quality is very solid – you don’t have to worry about pieces snapping off. All of my equipment has to be able to withstand being dragged up and down stairs, packed and repacked. And in this regard, the MKE 600 is unsurpassed.

Can you describe the audio quality of the MKE 600?

Sure. In videos, 90 percent of the time, people are capturing the human voice on their videos and then pushing them out to the web. With a microphone like an MKE 600, you are golden. I just finished 22 interviews over the course of a week and my MKE 600 was on the camera the whole time. It renders the human voice in an authentic and natural tone, and sounds good in little rooms or big rooms. There is no extra noise or anything that feels like it shouldn’t be there. It just sounds natural and clear. With the MKE 600, Sennheiser is bringing high-end audio out to the masses — this is really exciting.

Are there any other features on the MKE 600 that you find useful?

Yes, the low-cut filter. We were shooting in a large room where we had some low rumble noise — there was a closet that had this loud piece of gear inside and we couldn’t get in there to shut it off. Then we switched the low cut filter on the MKE 600, and it was gone — just like magic. This is incredibly helpful because I know if I record the audio right, I don’t have to mess with it later. I tell my students that there are many tools you can work with in post production, but if you can get it sounding right at the source you can save so much time. And we all know time is money.

What about the durability of the MKE 600?

As soon as I picked up the MKE 600, I sensed that Sennheiser had put a lot of time and effort into the build. This is so important because many of us in this industry are ‘one man band’ operations. We are all moving so fast from place to place, and there is so much wear and tear. If the build quality isn’t there in a product, or if there are these little plastic parts that can break, you are just opening yourself up to problems on already really tight production schedules.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headsets and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

Photo captions:
1) Barry Andersson on a shoot with his Sennheiser MKE 600 shotgun microphone.
2) The Sennheiser MKE 600 shotgun microphone.
3) Barry Andersson at work in his studio.

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Sennheiser Mentorship Program Catapults Former Audio Student Zachary Templin into the Big Time With HBO Pay-Per-View

Templin Serves as A2 in HBO Pay-Per-View’s First Boxing Event Outside the U.S.

Las Vegas, April 9, 2014 – Dr. Fritz Sennheiser, the founder of audio specialist Sennheiser [NAB booth C3217] would often say, “Luck is chance plus preparation.” Since 2009, the company’s Student Mentorship Program has been providing audio students real-world preparation to become audio professionals in the sports broadcasting industry, working in collaboration with top broadcast networks such as HBO and Fox Sports.

Zachary Templin, who participated in Sennheiser’s Student Mentorship Program in 2012, recently got a chance to apply the knowledge he acquired as a participant in the program, having been hired by HBO to be lead RF coordinator on its first Pay-Per-View boxing match broadcast from outside the U.S. Templin, who already had three major national broadcast events under his belt under, one of them in the Mentorship Program, was recruited as an understudy to lead RF A2 Lloyd Jacobsen, who was not able to attend due to an emergency just six days before the crew was set to broadcast the Pacquiao vs. Rios boxing match from Macau, China.

“Zach’s situation represents the perfect scenario of the Sennheiser mentorship program,” commented Jason Cohen, director, sports production at HBO. “This is a young man who started with us in September of last year and quickly immersed himself into the audio team. Almost instantaneously, he became a person we wanted to use in a freelance capacity in an A2 role.”

Templin’s chance to lead as RF coordinator for the Pay-Per-View bout in China came about partly through being at the right place at the right time, but mostly by his being prepared. While shadowing lead RF A2 Jacobsen during the Ward-Rodruiguez bout at the Citizens Business Bank Arena in Ontario, Calif. on November 16th, Zach was asked to be an emergency fill-in for the event in China. “Not only did Zach finish the entire show by himself, but two days later, my lead engineer was supposed to fly to an island off of Hong Kong, Macau, to handle HBO’s first ever international PPV telecast.”

“When my lead RF A2 couldn’t do it, my options were either to cold call freelancers who may or may not know our show, or asking Zach, who just spent the past month working with Lloyd on the RF system, “When I asked Zach how well he knew the system, he said ‘I know it, I can do it.’ He had absolutely no hesitation or pause, and his response was so convincing that I knew he was ready.” Cohen then asked him to fly home to pick up his passport and his bag, and he was in Hong Kong six days later.

For the Macau production, HBO’s mission was to recreate a ‘Las Vegas’ style Pay-Per-View event, maintaining a similar standard of quality the company has firmly established in its domestic broadcasts. This required shipping a flypack setup with over 200 cases of equipment and overcoming other logistical hurdles such as working on off-hours in a foreign country alongside a mostly non-English speaking production crew.

“To achieve a smooth and seamless production, we turned to our friends at Bexel and they sent a Hercules Fly Pack, an elite production system that provided all the flexibility we needed,” said Cohen. “It was the most beautiful, pristine flypack I’ve ever seen and our team was blown away by its firepower and overall monster size.”

Randy Flick, senior audio mixer, HBO Boxing, worked closely with Zach throughout his participation in the Sennheiser Student Mentorship Program, which included many HBO productions including the Pacquiao-Rios bout in Macau. “He just performed wonderfully,” says Flick. “It is a really big deal moving this production outside of the U.S. and the engineering team knocked it out of the park.” As lead A2 RF coordinator, some of Templin’s responsibilities included coordinating frequencies on the RF software program, ensuring RF beltpacks and wireless microphones are operational and assembling RF antennas.

Lloyd Jacobsen has nothing but accolades for Templin: “I had done all the prep work for China, but I couldn’t go due to a last minute emergency,” he said. “Zach just went in my place and just tore it up. What he was able to pull off was very impressive. Having a few shows under his belt leading up to that was key.”

The Sennheiser Student Mentorship Program has proven to be a win-win for not only for students and top broadcast networks, but also for the larger broadcast industry as a whole. “We want to make sure that the new people coming into our shows have the required knowledge, and the only way they can learn is by doing. Our partnership with Sennheiser has been a great and they have provided many capable mentoring students,” observes Randy Flick. Jason Cohen agrees: “The program gives my guys a chance to reach out to this community of younger talent and offer them opportunities that many others didn’t have when coming into this industry. At the same time we are able to build a pool of talent that we can rely on with young men who are eager to learn.”

For Zach Templin, the program has offered a depth of experience that he would not have otherwise been able to acquire: “It’s not experience you can get locally, because these are major national, and sometimes worldwide broadcasts that only happen a few times a year. There is no other mentorship program that I know of that gets you into the thick of things on such a large scale.”

Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the scientific and engineering award of the academy of motion picture arts and sciences. For more information, please visit www.sennheiserusa.com.

Photo captions:
1) The Pacquiao vs. Rios boxing match was broadcast on HBO Pay-Per-View from Macau, China in November, 2013.
2) Former Sennheiser Student Mentorship Program participant Zach Templin served as Lead RF A2 during HBO’s first Pay-Per-View boxing event broadcast outside the U.S.
3) Randy Flick, senior audio mixer, HBO Boxing.
4) The audio team shares a moment at the Pacquiao vs. Rios boxing match, broadcast from Macau, China in November, 2013.

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Genelec NAB 2014 Press Kit

Please click here or image below to view Genelec NAB 2014 Press Kit

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Audio-Technica NAB 2014 Press Kit

Please click here or image below to view Audio-Technica NAB 2014 Press Kit

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Neumann Launches Digital Version of its KH 120 Nearfield Studio Monitor

Enhanced Version of KH 120 Features Digital Inputs, Time Delay Compensation

Las Vegas – April 8, 2014 – Premium audio brand Neumann announced the launch of its first digital studio monitor: the KH 120 D. Based on the KH 120 A small format studio monitor launched in 2010, the KH 120 D sets a new standard of sonic quality and price-performance ratio in the compact nearfield monitor segment. The KH 120 D will be on display at the Neumann booth at the 2014 NAB Show [booth C3217] and will be shipping this summer.

The KH 120 D is designed for tracking, mixing and mastering applications in music, broadcast, project and post-production studios. Utilizing the latest in acoustic and electronic simulation technologies, the KH 120 D ensures the most accurate sound reproduction possible. Equipped with an additional BNC input for AES/EBU or S/P-DIF formats (24-bit/192 kHz), the KH 120 D enables seamless digital workflow right up through playback on the studio monitor.

The KH 120 D also features digital delay for both analog and digital inputs, enabling the monitor to be used for demanding tasks requiring time alignment. With a maximum delay of over 400 ms, the KH 120 D is able to seamlessly address audio/video synchronization issues, or simply manage time delay compensation in situations where space constraints preclude equidistant positioning of loudspeakers.

Wolfgang Fraissinet, President of Neumann.Berlin, commented: “Neumann’s studio monitors are built to extremely high tolerances and deliver an ‘honest’ sound. With the KH 120 D, a fully digital workflow can now also benefit from these characteristics. The addition of a built-in delay feature makes the KH 120 D suitable for new applications and represents exceptional value at this price point. It provides an answer to the very latest trends in the field of professional audio.”

The KH 120 D studio monitor is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. It features a Mathematically Modeled Dispersion waveguide (MMD), flexible acoustical controls, analog class-AB amplifiers, various input formats (analog and digital) and an extensive range of mounting hardware. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment, and physical locations.

For further information please visit www.neumann.com.

About Neumann:

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

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

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

Photo captions:
1) Front and rear of the Neumann KH 120 D studio monitor.
2) Rear of the KH 120 D studio monitor.

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Sennheiser Updates Customers on Pending Spectrum Reallocation While Encourages Microphone Owners to Support of its Petition to FCC

Company Predicts Wireless Microphone Operation in the 600 MHz Range Will Remain Status Quo Through 2016

Old Lyme, Conn., April 8, 2014 – Audio specialist Sennheiser, which continues to file comments with the Federal Communications Commission (FCC) in light of the pending spectrum auction scheduled to take place in 2015, has launched a website to keep its customers informed on recent developments concerning the future of wireless microphones and the UHF spectrum. The website [http://sennheiser.com/spectrum] also contains a sample support letter that microphone owners can download and use to express their own views to the FCC concerning equipment replacement costs they will incur as a result of spectrum reallocation.

In the middle of 2015, the FCC plans to hold an ‘incentive auction” with the intent of transferring spectrum currently allocated for over-the-air (OTA) TV service to mobile broadband. The auction offers TV broadcasters the opportunity to relinquish or share their spectrum license in exchange for a portion of the proceeds generated by the auction. The broadcasters that operate on channels in the 600 MHz range that choose to stay on the air will be moved to a different TV channel during the subsequent repacking process, which is expected to take at least two years to complete. Therefore Sennheiser expects wireless microphone operation in the 600 MHz range to remain status quo through 2016.

While it is uncertain whether the incentive auction will be successful, Sennheiser is preparing for the possibility of a 600 MHz reallocation and is recommending that microphone operators start preparing for this transition as well. If the auction is successful, the degree of impact after UHF packing remains unclear for the following reasons:

• Wireless mics may still be able to operate in some pockets of the 600 MHz, following FCC approval, in the planned guard band and the mid-band gap. The majority of the re-purposed spectrum will be segmented into two separate blocks for up-link and down-link. Between them will be a mid-band gap. Below the downlink block will be a guard band. In repacking scenarios that affect the radio astronomy channel (TV channel 37), one or two small additional guard bands may be created. The mid-band gap and the guard band(s) are intended to be buffers, but their functionality for mics is yet to be defined.

• Reallocation may vary by market. The FCC plans to pursue the “down from 51″ plan where a range will be reallocated, starting from TV channel 51 (698 MHz) on downwards. It is unclear how far down from 698 MHz will be reallocated, in large part to the voluntary nature of the auction, but it could be as far as 578 MHz. The FCC wants the allocation between TV and mobile broadband to vary by market, but faces strong opposition from those who want the divisions to be uniform nationwide.

• Currently, there are two TV channels in each market that are reserved for wireless mic/monitor use, available to any mic/monitor operator. It is unclear whether this will still be the case after the repacking process.

Sennheiser expects to have better visibility on these details later this year.

Regardless of the outcome of the spectrum auction, Sennheiser continues to design and manufacture innovative products. Its newest wireless systems, such as the Digital 9000, are more spectrally efficient and easier to operate than ever before, despite an increasingly challenging RF environment. However, without adequate spectrum, even the most advanced equipment will not be able to operate. Therefore Sennheiser will continue to advocate and pursue political activities in the interest of its customers.

“While it is still unclear as to how the spectrum repacking will impact many thousands of audio professionals by forcing them to reinvest in compliant equipment, Sennheiser will continue to inform and support its customers wherever possible,” commented Joe Ciaudelli, Spectrum Affairs, Sennheiser. “With Sennheiser, you are not only purchasing premium products but service and support from people who care.”

Sennheiser encourages its customers to support its petition for compensation for microphone owners in light of the pending spectrum auction, and to communicate any potential equipment loss directly to the FCC. To learn more, and download a sample support letter, visit the Sennheiser website.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

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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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