DPA Microphones Takes its Final Leap into the d:ep End

Company renames remaining mics in collection to reflect the popular ‘d:’ branding

NEW YORK, OCTOBER 18, 2013 – DPA Microphones is delighted to announce at the 135th International AES Convention (Booth 2551) that its 4060, 4080 and 4090 Miniature and 5100, 5006A, 5006-11A and 5015A Surround Microphones will be joining the ‘d:’ family of names. Building off the success of the company’s new “d:” branding, the current 4060, 4080 and 4090 Miniature Mics now fall into the d:screet™ Miniature Microphones group and the Five-channel surround solutions are henceforth known as the d:mension™ Surround Microphones.

DPA has also chosen to add the ever-popular 4066 and 4088 Miniature Headsets under the d:fine™ Headset Microphone category, and the mics will also receive an upgrade to coincide with the existing d:fines. Additionally, it’s new d:dicate™ Recording Microphone line combines the company’s best new and existing capsules and preamplifiers from the previous Reference Standard series.

“A few years ago, we decided to change the names of our new products to make them more recognizable and easy to remember,” says Christian Poulsen, CEO of DPA Microphones. “In the past, our products were branded with numbers, which were difficult to understand and remember unless you were a DPA aficionado. We wanted names that were more meaningful and more interesting. After some brainstorming, we decided on the ‘d:’ (colon) names. Starting with a ‘d’ made it easier to remember as it connects the mics to the DPA name, and leaving out the second letter gave it a graphic element that worked well with our new DPA design.”

Announced at DPA Microphones’ recent Partner Conference at the DPA Microphones Denmark headquarters, the unveiling of the new d:screet Miniature Microphone and d:mension Surround Microphone names is another step in the company’s plans for full “d:” branding. Each product category has been carefully planned out by the DPA Microphones team.

With the company’s 5100, 5006A, 5006-11A and 5015A Surround Microphone now grouped together under the d:mension Surround Microphone line, customers can easily swap between capsules and boom options. Comprised of the 4080 Miniature Cardioid Lavalier, as well as the 4060 and 4090 Omnidirectional Hi-Sens Microphones, the d:screet line also includes the company’s new 4098 Podium Microphones announced earlier this year.

“We found words starting with the letter ‘d’ that fit the significance to the product line,” continues Poulsen. “For instance, people are devoted to their instrument and to their sound, therefore our d:vote Instrument Microphones. The d:fine name was selected as we felt the microphone would define a new generation of headsets. The d:facto because the mic sets a new standard within vocal microphones and d:dicate for people who are dedicated to superior sound. Each name was introduced as there was significant updates within each product group.”

Now known as the DPA d:mension Surround Microphone, the 5100 is a compact microphone that provides users with ease of use and stunning sound quality. It is ideal for bringing truly engaging surround ambience to sport events, documentaries and other applications that especially require HDTV production. The d:mension 5006A, 5006-11A and 5015A are complete Surround Kits with five carefully factory-matched d:dicate microphones. The 5006A kit features d:dicate 4006A omni mics exclusively, while the 5006-11A is made up of a combination of the 4006A omni and 4011A cardioids mics and the 5015A is comprised of the 4015 wide cardioids.

Originally designed for use with wireless systems in theater, television and close-miked instrument applications, the d:screet 4060 capsule is highly unobtrusive, which lends itself to an exceedingly accurate omnidirectional pattern. Also a member of the d:screet family, the d:screet 4080 is well suited for broadcast, conference and other live performances in the studio or in the field. It is acoustically pre-equalized, which makes the voice more distinguishable and improves speech intelligibility.

The DPA d:screet 4090 is a high-quality omnidirectional condenser microphone with a uniquely natural and open sound, that is suitable for instrument miking applications in the studio or on the stage. Due to its remarkably linear frequency response in the 20 Hz to 20 kHz range, sound system engineers can also use the 4090 for sound system alignment, testing and tuning.

Additionally, the 4066 and 4088 Headset Microphones are being absorbed into the d:fine category while the company’s existing Reference Standard Microphones, new modular MMC4018 Supercardioid Capsule and well-known MMC4007 High-SPL Omnidirectional Capsule are now in the d:dicate line.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

iZotope Releases Nectar 2 Production Suite

Flawless vocal production is just a click away

AES, New York City, (October 18, 2013)iZotope Inc., a leading audio technology company, has released Nectar® 2 Production Suite. Designed specifically for voice, Nectar 2 harnesses the power of iZotope’s award-winning vocal technologies to quickly and easily treat your voice to sweet results. Whether you’re tracking or mixing, Nectar 2 is designed to deliver professional vocals fast.

“When developing Nectar 2, we focused on adding cutting edge tools like the new Harmony and FX modules, as well as classic tools that have made vocal recordings sound great for decades, like the new EMT 140-modeled plate reverb,” says Brett Bunting, Product Manager at iZotope. “By providing all the tools necessary to create a unique vocal chain, we’re excited to make working with vocals even more inspiring for our users.”

Exclusive to the new Nectar 2 Production Suite, two additional plug-ins are included for perfecting your vocal sound. Pitch correction is simpler than ever with the new Pitch Editor plug-in, and you can remove distracting breaths without tedious, time-consuming editing with the new Breath Control plug-in.

KEY FEATURES:

Explore eleven powerful tools within Nectar 2: Harmony, Plate Reverb, FX, Pitch, Delay, De-Esser, Saturation, Compressors, Gate, EQ, and Limiter.

- Add impact and space to a vocal track with a new EMT 140-modeled Plate Reverb.
- Transform a vocal take into a dynamic, harmonized ensemble of up to twelve voices with a few mouse clicks or by playing your MIDI with the Harmony module.
- Get smooth, pitch-perfect takes quickly with new dedicated Pitch Editor and Breath Control plug-ins.
- Expand your palette of vocal sound with seven new creative effects in the new FX module.
- Tweak each module’s powerful settings and controls in the Advanced View, or make quick adjustments in the streamlined Overview panel.
- Switch easily between Tracking and Mixing modes to improve vocals at all stages of production.
- Hear instant results with over 150+ new presets inspired by current and classic vocal styles.

For more information about Nectar 2, visit www.izotope.com/nectar.

PRICING AND AVAILABILITY

Nectar 2 Production Suite, featuring the dedicated Pitch Editor and Breath Control plug-ins, will be available for $219 through October 30, 2013 (regular MSRP $299 USD / €185 EURO).

Customers who purchased Nectar after August 1, 2013 will receive an email with a free upgrade to Nectar 2 Production Suite upon release.

Users of Nectar 1 or Nectar Elements can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

COMPATIBILITY

Nectar 2 can be used as plug-ins in your favorite host. Supported plug-in formats include 64-bit AAX (Pro Tools 11), RTAS/AudioSuite (Pro Tools 7.4-10), VST, VST 3, and Audio Unit.

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®

For more information on iZotope products, please visit www.izotope.com.

Sennheiser’s Digital 9000 Wireless System, HDVD 800 and Neumann KH 310 Monitor Nominated for 29th Annual TEC Awards

Sennheiser and Neumann Receive Nominations in Wireless Technology, Amplification Hardware/Studio & Sound Reinforcement, and Studio Monitor Technology Categories

ANAHEIM, CA – October 17, 2013 – Audio specialist Sennheiser announced that its Digital 9000 Wireless System, HDVD 800 Headphone Amp/DAC, and the Neumann KH 310 Monitor have been nominated for Outstanding Technical Achievement for the 29th Annual TEC awards. The presentation ceremony is scheduled to take place during the 2014 NAMM Show, to be held in Anaheim, Calif. in January 2013.

Sennheiser’s Digital 9000 Wireless System, which has been nominated in the ‘Wireless Technology’ category, is the most advanced professional wireless system in the world and supports professionals across broadcast studios, theaters, and live performances. The HDVD 800 Headphone Amp/DAC, which has been nominated in the ‘Amplification Hardware/Studio & Sound Reinforcement’ category, allows for optimal performance when paired with any Sennheiser audiophile headphones. The Neumann KH 310 Monitor, meanwhile, is a three-way active tri-amplified monitor that is nominated in the ‘Studio Monitor Technology’ category.

“We are thrilled to have such a strong presence once again at this year’s TEC Awards for both Sennheiser and Neumann,” commented Greg Beebe, president of Sennheiser Electronic Corp. “We would like to thank all of our employees around the world for their unrelenting commitment in developing and marketing these groundbreaking products, and of course our customers for their loyalty and continued feedback.”

Presented by the Technical Excellence & Creativity Foundation, the TEC Awards are the professional audio industry’s most prestigious awards. Nominations in Outstanding Technical Achievement in Product Design were made by a select panel of sound and music industry professionals in numerous audio specialties, and were were based on product entries by audio manufacturers. Products and projects released and in commercial use during the period of September 1, 2012 to August 31, 2013 were eligible for a nomination.

The Sennheiser Digital 9000 Wireless System:

The Digital 9000 Wireless System offers completely uncompressed and artifact free digital audio, combining sonic purity and outstanding dynamics. It’s the first digital wireless system that works without compression, allowing for full HD audio transmission. The system uses extremely steep filters to allow a very narrow set-up of the respective radio frequencies within the available frequency range. Through this, the risk of intermodulation is eliminated, allowing for the most reliable wireless operation.

Senheiser HDVD 800 Headphone Amp/DAC:

The HDVD 800 Headphone Amp/DAC is a solid-state amplifier that generates the ultimate acoustic performance when paired with any of Sennheiser’s audiophile headphones. It highlights crisp, balanced and distortion-free sound through a high-quality Burr-Brown digital/analog converter (DAC). The amplifier is outfitted with an symmetrical input socket, which allows for incoming signals to be symmetrized before processing takes place. The HDVD 800 also offers an extra USB input, allowing for 24 bit data transmission at 192 kHz.

Neumann KH 310 Monitor:

The Neumann KH 310 monitor can be used in a wide range of acoustical conditions in a variety of locations such as project and recording studios, broadcast centers and OB vans. Its many uses range from a near-field monitor, a front loudspeaker in mid-sized multi-channel systems, or a rear loudspeaker in a larger multi-channel system. The KH 310 is a three-way active tri-amplified monitor utilizing Mathematically Modeled Dispersion™ Waveguide (MMD™). It offers flexible acoustical controls, various input options, and a wide range of mounting hardware.

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 captions:
1. The Sennheiser Digital 9000 Systems
2. The Sennheiser HDVD 800 Amplifier / DAC
3. The Neumann KH 310 monitor

Jimmy Jam to Give Friday’s Opening Keynote at AES Convention, 11:00 a.m. EDT

— Five-time GRAMMY Award winner Jimmy Jam is a renowned songwriter, record producer, musician, entrepreneur and, with Terry Lewis, part of the most influential and successful writing/producing duo in modern music history —

— Keynote address titled “The Current And Future Direction Of The Recording Process from an Artist, Engineer and Producer’s Perspective” will address the intersection of technology and creativity —

New York, NY, October 17, 2013 — On Friday, October 18, 2013, the 135th Audio Engineering Society Convention at the Javits Center in New York City will feature a keynote address by Jimmy Jam, a five-time GRAMMY® Award winner and a renowned songwriter, record producer, musician, entrepreneur and half of the most influential and successful writing/producing duo in modern music history. Taking place at 11:00 a.m. in Room 1E15/16, the presentation will be entitled “The Current And Future Direction Of The Recording Process from an Artist, Engineer and Producer’s Perspective.”

Since forming their company Flyte Tyme Productions in 1982, Jam and partner Terry Lewis have collaborated with such diverse and legendary artists as Janet Jackson, Mary J. Blige, Gwen Stefani, Michael Jackson, Robert Palmer, Mariah Carey, Boyz II Men, Rod Stewart, Yolanda Adams, Sting, Heather Headley, Usher, Celine Dion, Kanye West, Chaka Khan and Trey Songz, among others. Jimmy and Terry have written and/or produced over 100 albums and singles that have reached gold, platinum, multi-platinum, or diamond status, including 26 No. 1 R&B and 16 No. 1 pop hits, giving the pair more Billboard No. 1′s than any other duo in chart history.

Jimmy Jam’s AES Keynote address will focus on the current and future direction of the recording process from various perspectives. As a songwriter, artist, producer and engineer, Jimmy is uniquely qualified to give a bird’s-eye view of how each of these “personalities” interact and contribute to the overall final product, and along the way, how technology has evolved and what it has meant to his craft.

“Of course it all starts with a great song, but then, it’s important to consider how and what technology should be used to capture that creativity,” stated Jam. “It’s that intersection between the technology and creativity that I have always looked at every day throughout my career. Ultimately, it’s my job as a artist/producer to have those two elements meet and not crash – And that’s when you’re using the available technology to capture the artist in their purest form.”

For further information on the 135th AES International Convention, please visit http://www.aes.org/events/135/.

DPA Microphones’ 4066 and 4088 Get “d:branded”

Company upgrades its Miniature Headset Microphones and absorbs them into the d:fine™ line

NEW YORK, OCTOBER 18, 2013 – DPA Microphones announces at the 135th International AES Convention (Booth 2551) that its 4066 and 4088 Miniature Headset Microphones will now join the company’s d:fine™ Headset Microphone family. As part of its rebranding efforts, the mics will also receive a facelift to coincide with the more contemporary look and feel of the existing d:fine line.

When DPA Microphones originally launched its d:fine Headset Microphones, company executives expected that they would replace the sales of the 4066 and 4088s. Instead, the original miniature headsets are still booming with popularity and the d:fines are being treated by loyal customers as separate, equally admired products. As a result, DPA Microphones decided to “go all in” and implement all headsets (4088 and 4066) into the d:fine Headset Microphone group. The upgrades to these mics feature a combination of the modern d:fine mechanics, headset mount and ear hook, with the sound capabilities of the classic microphone capsules from the 4066/4088.

“We launched the d:fine Headset Microphones a few years ago and selected the name based on a feeling that the microphone would define a new generation of headsets,” says Christian Poulsen, CEO of DPA Microphones. “It certainly did meet our expectations, but what we didn’t plan on was our customers’ loyalty to our 4066 and 4088 mics. So we decided to give these mics a facelift and incorporate them into the d:fine family. With the upgrades, all four capsules (two omnis and two cardioids) have a variety of options in terms of sound color, dynamic range, size, cleaning issues and so on. In other words, with this ‘new’ d:fine group, all combinations of style and sound are possible.”

The DPA d:fine 4088 Directional Headset Microphone is a miniature cardioid headset mic built on the finest DPA experiences in microphone design and manufacturing, providing the best sounding directional headworn microphone available today for performing talent of various sorts. The d:fine 4066 Omnidirectional Headset Microphone is a flexible miniature microphone solution that features quick and easy adjustment. Like its original d:fine sister, 4066 offers both left and right mounting, color change and now also single or dual-ear functionality.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com

SSL Features New LMS-16 Multi-Channel Loudness and True Peak Monitoring System at 135th International AES Convention

16×5.1 Channel System Delivers Comprehensive Compliant Metering in a Powerful, Robust Turnkey System

NEW YORK – Solid State Logic, the world’s leading manufacturer of advanced tools for audio professionals, will feature the new ‘LMS-16’ multi-channel Loudness and True Peak metering system for use with the company’s Digital Broadcast Consoles, or as a stand-alone product, at the 135th International AES Convention (Booth 2821). Created through a strategic partnership with NUGEN Audio, a creator of award winning professional audio plugins and metering software for the creative music producer, sound designer or broadcast engineer, the LMS-16 offers NUGEN Audio’s new ‘MultiMonitor’ software as part of a turnkey system that can augment any production situation where loudness compliance for broadcast is essential. The software is pre-installed and configured on a dedicated industrial strength 1RU PC, fitted with SSL’s ‘MadiXtreme 128’ audio interface with metering information displayed on virtually any connected flat screen video monitor. An optional monitor arm will also be available to facilitate convenient side mounting of a screen on C100 HDS or C10 HD consoles.

The next evolutionary step for NUGEN Audio’s highly regarded ‘VisLM’ software, MultiMonitor provides the most powerful multi-channel Loudness and True Peak metering available today. It offers 16 individual meters, each capable of mono, stereo or 5.1 formats (providing metering of up to 96 audio channels simultaneously), with each meter showing a LUFS momentary display alongside a True Peak display. Each meter also has a dedicated numeric Short Term and Integrated LUFS data display, with the option to color-code meters to aid grouping. Each meter also features a minimum and maximum short term alerts function. MultiMonitor is fully compliant with CALM Act legislation, ITU-R BS1770/1, ATSC A/85, EBU R128 and other specific worldwide localisations.

SSL’s LMS-16 offers the advanced metering capability of MultiMonitor software in a fully configured and tested turnkey system based on an extremely powerful and robust 1RU PC with very low noise fans, a 15 second boot time and pre-built restore partition. Professional loudness metering of 96 channels of audio (@ 48 kHz) requires an exceptional amount of processing power and this pre-configured and fully tested PC delivers. Audio I/O to the system is provided by SSL’s MadiXtreme 128 audio interface, offering 2 x 64 channel fibre connections. GPI connectivity for GPI reset provides seamless integration with SSL consoles and other GPI enabled equipment.

SSL’s LMS-16 is ideal for monitoring multiple playback sources or Audio Sub Groups simultaneously with 5.1 and Stereo PGM output, alongside the console in the Audio Control room, or equally suited in the Master Control room, monitoring multiple studios and formats simultaneously.

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.

Sound Devices Introduces Improved Features for 664 Production Mixer at AES 2013

Latest Firmware Update Offers Enhanced Functionality

NEW YORK, OCTOBER 17, 2013 — Sound Devices, experts in portable audio and video products for field production, presents expanded recording capabilities, along with greater flexibility and ease-of-use outdoors for the company’s flagship 664 Production Mixer. Sound Devices showcases the benefits of the 664’s latest firmware update, Version 1.05, at the 135th International AES Convention (Gotham Sound and Communications, Booth 2738).

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs per channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking. The 664’s analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin and TA-3M connectors and on unbalanced TA-3M or 3.5mm connectors. Secondary output buses X1 and X2 are available on balanced TA-3M connectors. Users can route inputs and buses to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

Firmware version 1.05 brings additional features to the already-powerful mixer, including greater flexibility and ease-of-use outdoors. The “LCD Daylight Display” mode incorporates a daylight-specific color scheme and solid bar metering option for improved readability in direct sunlight. Sound Devices has also incorporated additional front panel button shortcuts, including “LCD Daylight Display” mode (HP + SELECT encoders) and Phrase list (HP + RTN B/C) for fast entry of metadata notes. Version 1.05 also incorporates the shortcut for activating different setup tone modes. Users also have new “Track Names in Meters” options (without color gradient/ramp) that are selectable for either right- or left-side display.

With version 1.05, 664 now offers users Monophonic Broadcast WAV file support, with the ability to record up to 10 tracks to two cards, with up to three seconds of record pre-roll. If a card not optimized for multi-channel monophonic file recording is used, or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD when starting a recording. Polyphonic mode or reducing track count is recommended. In addition, when formatted in the 664, SD cards 64 GB and larger are now automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32. Version 1.05 also enables a Headphone Volume or Headphone Preset default option, which sets the HP encoder to operate as headphone level or to select HP presets when rotated. Pressing the headphone encoder momentarily activates the alternative function.

Existing 664 users can download version 1.05 for free by visiting http://www.sounddevices.com/download/664-firmware/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

RTW Delivers 145 TM3 TouchMonitor Units to WDR

Feature-Rich Pro-Grade Loudness Meters Prove to Be Practical Administration Solution

COLOGNE, GERMANY, 17 OCTOBER 2013—RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, has delivered 145 TM3 TouchMonitor units to German broadcaster WDR, Europe’s second-largest broadcaster after the BBC. The units, which WDR has installed in its regional studios and editing suites, enable the broadcaster to comply with EBU R128 loudness metering.

With the development of EBU R128, the audio metering reference has shifted from PPM to loudness, with a peak level (QPPM) of –9 dBFS to a loudness target of –23 LUFS (Loudness Unit Full Scale). Since August 2012, when all German broadcasters agreed to implement EBU R128-compliant loudness metering, WDR has employed a large number of TM7 and TM9 units. Installing the TM3 for EBU R128-compliant loudness metering in smaller editing suites was a natural next step.

WDR opted for the TM3, the smallest member of the TouchMonitor family, because it offers not only PPM and true-peak meters, but also supports all current loudness metering functions compliant with the major international standards (including EBU R128, ITU-R BS.1770-3/1771, ATSC A/85 and ARIB) for up to six channels. The broadcaster also liked that the TM3 could display measurements by single channels, summing bar graphs, loudness range or numerically, with the capability of separating displays as needed for easy viewing by multiple users. The TM3’s flexibility and easy-to-use setup software, which offers customizable administrative support, was also a factor in its purchase.
“The display provides excellent readability and the software offers great views for a large number of applications,” says Friedrich Neher, head of the master unit service group at WDR. “In addition, the similarity to the TM7 and TM9 units already in use at WDR was an attractive point. Also, we liked the idea of using the TM3 as a standalone device. The separation of the display unit and the breakout box were critical, as this considerably increases the flexibility compared to competing products.”
Martin Leuenberg, head of sales at RTW, also noted that while plug-in solutions might seem like a realistic alternative, they have two major drawbacks. “First, any user can change presets or the setup. Second, this would have added another GUI to an already cluttered screen area,” he says. “While you might think that an integrated plug-in would ensure clarity, it comes at the cost of precious display area.”
As freelancers and full-time employees share the same work areas at WDR, the company requires a powerful administration solution to ensure seamless workflows. The Devicer DC1 setup software component for the TM3 allows for preset customization, allowing users to configure administration rights for the application, making sure that only authorized employees can change the setup.
RTW’s TM3 TouchMonitor comprises a horizontally or vertically mounted display unit for easy readability along with a separate interface box. The meter handles analog (balanced or unbalanced) as well as digital stereo signals (AES, S/PDIF). The TM3-6CH version accepts up to six AES3 input signals. The easy-to-use interface ensures fast and intuitive touch operation. The supplied factory presets provide a good set of samples for the supported applications, connection options and standards, and also allow for out-of-the-box operation. Plus, the existing presets can be customized easily using the Devicer DC1 software for Windows and Mac OS.

About WDR
WDR in Cologne, with a broadcast center in Düsseldorf, eleven regional studios, and five regional offices concerns itself with dependable reporting on the current topics of interest in the state of North Rhine-Westphalia. Events of the day from around the world are chronicled on WDR Television in reports from ARD Network studios in 29 foreign nations. The operation of eight of these correspondent’s offices is the direct responsibility of WDR.

Renowned for its top-quality regional, national and international journalistic excellence, the WDR trademark stands for up-to-the-minute, knowledgeable, and reliable reporting. In addition to news and current affairs, entertainment and cultural programs are also important elements of the programming presented on WDR radio, television, and via the internet at www.wdr.de.

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.
As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

Hal Leonard Publishes The Invention of the American Guitar

The Pre-Civil War Innovations of C. F. Martin and His Contemporaries edited by Robert Shaw and Peter Szego

Montclair, NJ (October 17, 2013) - In time for C. F. Martin and Co.’s 180th anniversary this October, Hal Leonard Books is publishing Inventing the American Guitar ($50), the first book to describe the early history of American guitar design in detail. With essays by prominent writers and spectacular color photographs of almost fifty guitars, many of which are newly discovered, this book tells the story of how a European instrument was transformed into one with all of the design and construction features that define the iconic American flat-top guitar – all within a mere twenty years.

The person who dominates this history is C. F. Martin Sr., America’s first major guitar maker and the founder of the Martin Guitar Company, which continues to produce outstanding flat-top guitars today. After emigrating from his native Saxony to New York in 1833, Martin quickly established a guitar-making business, producing instruments modeled after those of his mentor, Johann Stauffer of Vienna. By the time he moved his family and business to rural Pennsylvania in 1839, Martin had absorbed and integrated the influence of Spanish guitars he had seen and heard in New York. In Pennsylvania, he evolved further, inventing a uniquely American guitar that was fully developed before the outbreak of the Civil War.Inventing the American Guitar traces Martin’s evolution as a craftsman and entrepreneur and explores the influences and experiments that led to his creation of the American guitar that is recognized and played around the world today.

The book includes fold-out pages of schematic drawings of two early Martin guitars: the Austro-German Style Martin Guitar and the Spanish Style Martin Guitar. An additional forty-five two-page color profiles of important guitars, including detail photos, measurements, and bracing diagrams, fill this beautiful coffee table hardcover. Contributing essayists include David Gansz, an expert on early American guitar maker James Ashborn; Antiques Roadshow appraiser and Martin expert Richard Johnston; luthier and early Martin and Spanish guitar scholar David LaPlante; Arian Sheets, Curator of Stringed Instruments at the National Music Museum, University of South Dakota; and James Westbrook, a scholar of 19th-century European guitar making.

About the editor
PETER SZEGO is a connoisseur, collector, and player of 19th-century American banjos and guitars who headed the team that created the book. He lives in Princeton, NJ and is available for interview.

About Martin Guitar

C.F. Martin & Co. (www.martinguitar.com) has been creating the finest instruments in the world for 180 years. It continues to innovate, introducing techniques and features that have become industry standards, including X-bracing, the 14-fret guitar and the “Dreadnought” size. One of the world’s leading acoustic instrument makers, Martin guitars are hand-made by skilled craftsmen and women, who use a combination of new design and techniques along with those introduced by the company founder. The company is also known for producing high-quality, popular acoustic guitar strings. These include the Martin SP® LIFESPAN™ line, the fastest-growing treated string in the industry, and the Martin SP line, which uses an industry leading core wire to hold tunings better. Martin guitars and Martin strings are the instruments and strings of choice for musicians around the world, from the icons of rock, country, folk and bluegrass to those just beginning their careers. They can be seen across all segments of pop culture, from television (Glee, Psych, Raising Hope and American Idol) to the movies, on Broadway and in books, online, and gracing the covers of popular magazines on newsstands everywhere. Connect with Martin and Martin Strings on Facebook, Twitter, Tumblr, YouTube and via www.martinguitar.com and www.martinstrings.com.

Inventing the American Guitar
Hardcover
ISBN 9781458405760
308 pages, 10.5″ x 11″, 4-color, heavily illustrated throughout

Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group
www.halleonardbooks.com | onstageandbackstage.wordpress.com

Please contact Music Marcom for interviews with Peter Szego, print excerpts and review copies:
Music Marcom
Martina McConnon
v: 610-577-4982
e: martina@musicmarcom.com

135th Audio Engineering Society Convention Opening Ceremonies Includes Presentation of Annual AES Awards

— AES Awards to honor individuals of distinction in the AES organization and the wider art
and science of audio engineering —

New York, NY, October 16, 2013 — The opening ceremonies of the 135th Audio Engineering Society Convention (Thursday, October 17, 1:00 pm to 2:00 pm, in Room 1E15/16 at the Javits Center in New York City) features the presentation of this year’s AES Awards, along with remarks from AES Executive Director Bob Moses, AES President Frank Wells, and AES 135th Convention Chair Jim Anderson, as well as a keynote address from noted audio researcher Josh McDermott. The award ceremony will be hosted by Jim Kaiser, AES Awards Committee Chair.

The awards include the following:

The GOLD MEDAL AWARD, given in recognition of outstanding achievements, sustained over a period of years, in the field of audio engineering, is being presented to:

FLOYD TOOLE in recognition for outstanding contributions to theory, practice, and international standards in the area of subjective and objective evaluation of loudspeakers in rooms.
RUDOLPH VAN GELDER in recognition for creating the legendary sound of jazz during six outstanding decades of recording.

The SILVER MEDAL AWARD, given in recognition of outstanding development or achievement in the field of audio engineering, is being presented to:

LAURENCE FINCHAM in recognition for a sustained series of significant contributions to electroacoustics and signal processing in the area of domestic sound reproduction.

The BOARD OF GOVERNORS AWARD, given for outstanding contributions to the Audio Engineering Society, is being presented to:

WILLIAM CRABTREE in recognition of co-chairing the 50th International AES Conference “Audio Education” in Murfreesboro, TN, USA, on July 25–27, 2013.
MICHAEL FLEMING in recognition of co-chairing the 50th International AES Conference “Audio Education” in Murfreesboro, TN, USA, on July 25–27, 2013.
JANOS GYORI in recognition of his chairing the 132nd International AES Convention in Budapest, Hungary, on April 26–29, 2012.
MICHAEL KELLY in recognition of his chairing the 49th International AES Conference “Audio for Games” in London, UK, on February 6–8, 2013.
JIM MCTIGUE in recognition of co-chairing the 133rd International AES Convention in San Francisco, CA, USA, on October 26–29, 2012.
JAN ABILDGAARD PEDERSEN in recognition of his chairing the 48th International AES Conference “Automotive Audio” in Munich, Germany, on September 21–23, 2012.
VALERIE TYLER in recognition of co-chairing the 133rd International AES Convention in San Francisco, CA, USA, on October 26–29, 2012.
UMBERTO ZANGHIERI in recognition of his chairing the 134th International AES Convention in Rome, Italy, on May 4–7, 2013.

The FELLOWSHIP AWARD, given to a member who has rendered conspicuous service, or is recognized to have made a valuable contribution to the advancement in or dissemination of knowledge of audio engineering or in the promotion of its application in practice, is being presented to:

THERESA LEONARD for her professional achievements and dedication to the Audio Engineering Society and to its education initiatives.
JOEL A. LEWITZ For contributions to the design of electroacoustics systems in architectural spaces, teaching and mentoring within the industry, and long association with the AES.
TIMOTHY SHUTTLEWORTH for significant contributions to digital audio product design and many years of service to the AES.

The CITATION AWARD, given in recognition of services or accomplishments that do not fit into any of the above categories, is being presented to:

BOZENA KOSTEK in recognition for her outstanding efforts as Editor to improve the quality, responsiveness, and impact of the Journal of the AES.

The HONORARY MEMBER designation, given to persons of outstanding repute and eminence in the science of audio engineering or its allied arts, is being given to:

RONALD E. UHLIG in recognition of his pioneering engineering achievements to enhance the film sound experience for the audience, including the development of international standard setting technology that allowed stereo variable area soundtracks to replace monaural film sound, and later, the development of digital data read/write capability for 35mm digital audio.

About

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