EASWEST Offers Limited Time Spring Savings

Save on Complete Composers Collection 2 and more for one week only

Hollywood – April 24, 2014 – EASTWEST, the industry leader in virtual instruments for over 25 years, is offering additional spring savings on their popular Complete Composers Collection 2 virtual instrument bundle as well as other select EASTWEST/QUANTUM LEAP virtual instruments for one week only.

EW_spring_specials

Perfect for music, film, TV, and videogame scoring, the Complete Composers Collection 2 can be customized by choosing from 20 award-winning virtual instruments that cover virtually every musical genre. Customers can save an additional $175 (200 Euros for European customers) on the downloadable version of the CCC2 and pay no tax, no shipping, and have immediate access t the product. Alternatively, customers can opt for the CCC2 PRO to be shipped to them pre-installed on a 2TB plug ad play hard drive and save an additional 10% for up to 70% off the total price. Final prices can vary depending on selections.

EASWEST is also offering 50% off of select EASTWEST/QUANTUM LEAP virtual instruments for one week only. Most of these collections are available for immediate download.

For more product information, promotion rules and requirements, and to order, please visithttp://www.soundsonline.com/Spring-Offers or http://www.soundsonline-europe.com/EU-Spring-Offers for European customers.

136th Audio Engineering Society Convention to Feature Keynote from Leading Audio Researcher Wieslaw Woszczyk

— Opening ceremony to feature remarks from Woszczyk and AES personnel —

New York, NY, April 23, 2014 — The 136th Audio Engineering Society Convention (Saturday, April 26, through Tuesday, April 29, 2014, at the Estrel Hotel and Convention Center in Berlin, Germany) is set to feature a keynote address from Wieslaw Woszczyk, an internationally recognized audio researcher and educator with leading expertise in emerging technology trends in audio. The address will be part of the convention’s opening ceremonies, taking place Saturday, April 26, 13:15-14:15 (Estrel Hall A). The ceremonies will also feature remarks from AES President Sean Olive; AES Executive Director Bob Moses; Convention Co-chairs Sascha Spors and Umberto Zanghieri; and Awards Chair Jan Abildgaard Pedersen.

Woszczyk holds the James McGill Professor Research Chair position and a full professorship at McGill University, and is the founding director of the Graduate Program in Sound Recording (1978), and founding director of the CIRMMT Centre for Interdisciplinary Research in Music Media and Technology, an inter-university, inter-faculty, interdisciplinary research center established at McGill University in 2001. An AES member since 1976, Woszczyk is a Fellow of the Audio Engineering Society (1996) and the former Chair of its Technical Council (1996-2005), Governor (twice, in 1991-1993 and 2008-2010) and President (2006-2007). He also served on the Review Board of the AES Journal. Woszczyk received the Board of Governors Award in 1991 and a group Citation Award in 2001 for “pioneering the technology enabling collaborative multichannel performance over the broadband Internet.”

Woszczyk notes, “The world of audio is entering a period of renaissance. We are experiencing an unprecedented range of technologies serving artists, producers, and listeners of music and sound. Little remains the same for long in the face of our relentless drive for new discoveries. I would like to present my perspective on the value of human interaction, collaboration and continuing education as a way forward in the quickly transforming world. We should be wary of trying to predict the future but make our best effort to live fully in the present, observing, exploring, and building relationships. Together, we can refine the course and purpose of our industry, we can venerate the gems of the past yet remain imaginative, open and ready for a fascinating future.”

For more information on AES136 technical program, presenters and registration, visit the AES136 Convention web page at http://www.aes.org/events/136/.

Technical Program for 136th Audio Engineering Society Convention Showcases the Latest in Audio

— DPA Microphones added as sponsor for Project Studio Expo —

New York, NY, April 22, 2014 — The 136th Audio Engineering Society Convention (Saturday, April 26, through Tuesday, April 29, 2014, at the Estrel Hotel and Convention center in Berlin, Germany) will feature a rich Technical Program bringing together the world’s leading experts on a diverse array of audio topics for four days of presentations, discussion, and learning.

The Papers and Engineering Briefs sessions will showcase the work of over 100 researchers on topics ranging from 3D Audio Rendering in 5.1 Surround Systems to Graphene Microphones. Workshops will bring panels of experts together to discuss a range of provocative and practical topics, such as eyes-free auditory interfaces for mobile devices, music production for film, and the latest advances in loudspeaker design. Tutorials are providing a backgrounder on important audio fundamentals, for seasoned professionals and young people alike. And of course, Special Events are fun, thought provoking, once in a lifetime opportunities to see and hear industry legends.

The show also features the European premiere of Project Studio Expo (PSE), which will take place on Saturday, April 26, and Sunday, April 27. Leading manufacturer DPA Microphones has been announced as the event sponsor. PSE, which has been a well-attended, acclaimed event at the last two AES Conventions in the United States, offers a venue for focusing on some of the most timely and relevant areas of interest facing today’s personal studio users. These comprehensive presentations cover topics of importance for all engineers and producers, and offer a level of detail as to be useful for anyone from beginner to pro. Topics include Basic Microphone Technology; Professional Mixes from Your Project Studio – Common Mistakes, Immediate Solutions; Electronic Dance Music: Live Performance Mixing Techniques; The Business of Being in the Music Business; How Did They Get that Sound?; Advanced Vocal Editing; Mastering Engineering – The Link to Your Audience and more. Hosted by notable industry engineers, educators, journalists and sponsors, the Project Studio Expo offers a unique chance to experience music production with top talent, tools and techniques. Learn best practices and insider tricks from the pros while interfacing with manufacturers and connecting with your peers. Admission is included with both “Exhibits-Plus” and premium “All Access” registration options.

For more information on AES136 technical program, presenters and registration, visit the AES136 Convention web page at http://www.aes.org/events/136/.

Enhance Your AES 136th International Convention Experience with Free “AES Mobile Convention – AES Berlin 2014” Mobile App

— App for handheld devices provides helpful tools for navigating this weeks 136th AES Convention —

New York, NY, April 21, 2014 — The schedule of events and exhibitors at 136th Audio Engineering Society International Convention, being held in Berlin, Germany, on April 26 – 29, 2014, at the Estrel Hotel and Convention Center, is just around the corner, and the free “AES Mobile Convention – AES Berlin 2014” app is here to help attendees make the most of their convention experience.

Available for iOS devices (iPhone, iPad and iPod Touch) as well as Android devices, the app provides the following tools to enhance your event experience:

The Dashboard keeps you organized with up-to-the-minute Exhibitor, Speaker and Event information
My Schedule organizes your schedule with one click
Alerts allow you to receive important real-time communications from the AES
Keep up with industry news on LinkedIn and Facebook groups
Built-in Twitter feed to follow and join in on the show chatter
Rate the sessions you attend and comment on them, too
Connect with your colleagues using the Friends feature

To download the app for free, please visit http://www.aes.org/mobile/. For further information on the 136th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/136/.

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.

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.

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)

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.

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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