Prof. Dr. Jörg Sennheiser hands over chairmanship — Dr. Frank Heinricht to chair the Sennheiser supervisory board from 2015

Dr.Frank HeinrichtWedemark, Germany, December 9, 2014 – Having recently turned 70 years old, Prof. Dr. Jörg Sennheiser is handing over the chair of the supervisory board of Sennheiser electronic GmbH & Co. KG to Dr. Frank Heinricht, as of January 1st, 2015. Since joining the family-owned company in 1976, Dr Sennheiser’s contribution has been instrumental to the company’s success and has paved the way for a future-proof set-up of the audio company.

Frank Heinricht has been Chairman of the Board of Management of Schott AG since 2013 and became a member of the supervisory board of Sennheiser electronic GmbH & Co. KG five years ago.

“Dr. Heinricht has a profound technical expertise and brings experience in managing large family-owned companies to his new role. We are very happy that he is taking over as chairman of the supervisory board of the Sennheiser Group,” said Daniel and Andreas Sennheiser, CEOs and shareholders of Sennheiser electronic GmbH & Co. KG.

Commitment to independence
In withdrawing as chairman of the supervisory board, Jörg Sennheiser is placing the management of the company fully into the hands of the third Sennheiser generation. His sons Daniel and Andreas Sennheiser have been running Sennheiser electronic GmbH und Co. KG as CEOs since July 2013.

Prof. Dr. Jörg SennheiserCommenting on the changeover in the supervisory board, Jörg Sennheiser added, “My goal has always been to pass a healthy, thriving company on to the next generation.” The Sennheiser family has laid down the principles of this long-term sustainable policy in a Family Charter. This not only defines core company values such as fairness and trust, the charter also includes the commitment to maintain Sennheiser as a family business. “The company’s independence is our most precious asset,” said Jörg Sennheiser. “The family is committed to pursuing its strategy without any influence from third parties, a strategy that focuses on absolute customer orientation, technical innovation and first-class quality. This is an aim I have always pursued, and it is the basis of the decades of success that we have enjoyed and will enjoy in the future.”

The road to becoming a world brand
Jörg Sennheiser became Sennheiser’s director of technology in 1976 before taking over management of the family business as executive shareholder in 1982. During his time at the helm, Sennheiser developed to an internationally successful brand. This involved setting up new manufacturing facilities in Ireland and the USA, while at the same time expanding production in Germany. In addition, Sennheiser internationalised its sales organisation during this time. As a result of this sustained growth strategy, Sennheiser today has over 2,500 employees across the globe and is active in more than 60 countries.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the internet at www.sennheiser.com.

Immersive Beethoven: The Berliner Philharmoniker in 3D Sound with Sennheiser and Neumann

1Berlin, December 8, 2014 – On November 9th, the Berliner Philharmoniker gave a memorial concert to mark the fall of the Berlin Wall precisely 25 years ago. In remembrance of the victims of the Wall, the orchestra, conducted by Sir Simon Rattle, performed Karol Szymanowski’s Stabat Mater followed by Beethoven’s Ninth Symphony at the Berliner Philharmonie. Digital microphones from Sennheiser and Neumann were used to record this special event in the highest audio quality for subsequent processing in 3D sound.

Digital Right From the Start
In addition to the microphones already available in the hall, numerous microphones from Sennheiser and Neumann were used for recording the concert at the Berliner Philharmonie on November 9th 2014. Tonmeister Gregor Zielinsky, Sennheiser International Recording Applications Manager, had created the concept in close consultation with the sound engineers at the Philharmonie. Zielinsky focused on a completely digital workflow, converting the microphone signals to digital at the earliest possible point in the signal chain: directly behind the capsules.

2“In the recent past, I’ve already made several major recordings exclusively with digital microphones,” Zielinsky said. “My impression is that completely digital productions have a particular sound character, regardless of which pieces I am actually recording. The sound is always clean, detailed and differentiated. It’s a bit like looking through a freshly cleaned window rather than a dirty one. Particularly when I’m recording classical music, the production gains additional audio quality when digital microphones are used.”

3D Sound
The memorial concert was recorded using a special miking technique that enables the recorded material to be subsequently processed in 3D sound. If one looked closely, one could see a rectangular microphone array suspended from the ceiling of the hall. At the corners of the rectangle were four Sennheiser MKH 800 TWIN on MZD 8000 digital modules. The four microphones were mounted at two different heights but on the same depth plane.

3Each MKH 800 TWIN has two capsules with signals that can be accessed separately. In the concert hall arrangement, one capsule of each microphone pointed forwards while the other pointed backwards. In the subsequent 3D mix, the signals will be assigned to the front and rear loudspeakers. The MKH 800 TWINs were accompanied by four Neumann KM 133 D without SBK 133 sound diffraction spheres to allow for more brilliance. The Neumann microphones were pointed forward for the lower and upper front channels of the subsequent 3D mix. During mixdown, Gregor Zielinsky will be able to choose freely between the capsules, which permits any mixing ratio between the microphones.

Miking
“Microphones are the best filters!” is a common aphorism, and Gregor Zielinsky made his selection in accordance with this motto. The first and second violins were each miked with three Sennheiser MKH 8040. The brass section was miked with a total of four Sennheiser MKH 8090, and a further microphone of this type was used for the cymbals and triangle. The four solo vocalists (soprano, tenor, alto, bass) sang into four MKH 8090, while the chorus was miked with four MKH 8040 and two MKH 8090. Eighteen KM 184 D from Neumann were divided among the violas, cellos, double basses, bass drum and woodwind instruments. Two Neumann TLM 103 D were used for the harp.

4At Neumann, digital microphone solutions are offered in the Solution-D product family, which is made up of various digital microphones, the DMI interface (two- or eight-channel) and the RCS remote control software. The latter enables the microphones to be conveniently remote controlled. Signal and data transmission as well as signal feed, remote control and synchronisation are all performed in accordance with the AES42 standard. The DMI interface establishes the connection to the following audio devices in the signal flow.

The Sennheiser microphones were used with MZD 8000 digital modules, which were either screwed to the microphone heads in place of the XLR modules or operated at a distance on special signal-carrying extension arms or MZL 8003/8010 active cables. An advantage of this arrangement is the direct proximity of the A/D conversion to the capsule itself and the elimination of a conventional external preamplifier and the noise level this may introduce.

Redundant MADI Cabling
5Eight Neumann DMI-8 interfaces (8 x 8 channels) made the digital AES42 audio signals from the microphones available optically and in parallel in the formats AES/EBU and ADAT. A ninth Neumann interface was on stand-by as a spare. The digital outputs were connected with format converters from RME, which Synthax GmbH had supplied for the project as the German RME sales partner. The RME ADI-6432R format converter equipped with two power supply units converts up to 64 AES/EBU signals to MADI; its counterpart ADI-648 does the same with the ADAT format. In Berlin, the MADI signals output from the ADI-6432R and ADI-648 were each sent to a separate, directly controlled router (RME MADI Router), which was used as a splitter.

In order to ensure a redundant connection, both the control room of the Digital Concert Hall and the control room of the chamber music hall, which was assigned to Gregor Zielinsky, were supplied with MADI streams generated from AES/EBU and ADAT signals. “For an event of this kind, it’s better to be on the safe side,” said Dr. Stephan Leschka, Manager Development Electronics and Software at Georg Neumann GmbH, commenting on the sophisticated set-up. Leschka had the possibility to listen in to any signals of the four-channel MADI stream directly at the 19” rack using an RME ADI-642 and headphones.

6For clocking the digital system, the Philharmonie’s own house clock was used, which was distributed via a Rosendahl nano clock processor. All individual signals were recorded in Pyramix workstations (Merging Technologies), from which WAVE files were subsequently exported for the Pro Tools system used by Gregor Zielinsky.

In Real Time Without Parallax Errors
The video images of this musical event were recorded by a special camera developed at the Fraunhofer Heinrich Hertz Institute (www.hhi.fraunhofer.de). The OmniCam-360 camera records images in a 360-degree format. The unusual looking construction is fitted with ten compact HD cameras from the Austrian company Indiecam GmbH, which each cover an image angle of 36 degrees and are mounted in a portrait format. The OmniCam-360 system generates a resolution of 1,920 x 10,800 pixels. A total of ten HD-SDI streams are sent from the OmniCam-360 to a server fitted with HD-SDI input boards and high-performance graphic cards. The server combines the individual signals in real time to form a seamless panorama without parallax errors by using a sophisticated stitching algorithm – very different from the solutions in the consumer sector that are available for similar purposes.

7“In our collaboration with the Digital Concert Hall, it is our aim not only to ensure that subscribers have access to the images directly from the television control room but also to provide them with additional viewing angles of the events taking place, which they can then select as they wish,” explained Christian Weißig. Gregor Zielinsky was thrilled by the potential opportunities offered by the 360-degree camera, which in a way can be seen as the visual counterpart to 3D sound: “In combination with a 360-degree image, it’s no longer a question of immersive audio but of immersive media! My wish would be to have an even more authentic experience in the reproduction of music events.”

Digital Concert Hall
Even without visiting the German capital, it has been possible since 2008 to experience concerts by the Berliner Philharmoniker all around the globe. Each season, around 40 concerts from the “Digital Concert Hall” (DCH) are broadcast as a live stream on the internet, and a few days after the performance they are added to what has in the meantime become an extremely extensive archive. “Of course, a filmed concert can never completely replace a real live experience,” admitted tonmeister Christoph Franke, who, together with video director Katharina Bruner, is a key member of the DCH team. “But the additional visual component results in a different perception than one would have when simply listening to music without an accompanying video.”

8In the past, several productions have already been done in cooperation with the Heinrich Hertz Institute, and Katharina Bruner is extremely impressed with the results. “The 360-degree recording is a fantastic thing! The DCH is already equipped with incredible video possibilities but, as in other areas, we are always trying to go even further. Perhaps the new technology will take us one step closer to the real live experience.”

All men will become brothers!
Those interested can find the recording of the sold-out memorial concert online at www.digitalconcerthall.com, the website of the DCH – the images of the 360-degree camera and the audio files for 3D sound reproduction are not available online.

9The Berliner Philharmoniker also gave performances of the memorial concert marking the fall of the Berlin Wall in Halle/Saale, Warsaw, Budapest and Prague. The orchestra expressed its thanks in its own very special way to those countries that had played a major role in the peaceful German revolution of 1989: by choosing a work by a composer of each country and, of course, with Beethoven’s Ninth Symphony – with its message of re-uniting those who have been parted.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the internet at www.sennheiser.com.

Image captions
C 1: Dress rehearsal of the Berliner Philharmoniker
C 2: Tonmeister Gregor Zielinsky, Sennheiser International Recording Applications Manager
C 3: The microphone array was made up of Sennheiser MKH 800 TWIN and Neumann KM 133 D
C 4: Two Neumann TLM 103 D were placed at the harp
C 5: In Berlin, the Sennheiser microphones were used with MZD 8000 digital modules, some of which were mounted on special signal-carrying extension bars – here an MKH 8090 on an “active tube”
C 6: Perfect combination: Neumann DMI-8 and MADI converter from RME
C 7: The OmniCam-360 records images in a 360-degree format
C 8: Dipl.-Ing. Christian Weißig, Project Manager Image Processing at the Heinrich Hertz Institute
C 9: Tonmeister Christoph Franke and video director Katharina Bruner

Sound Devices Announces Promotion of Ed Capp to Vice President of Sales

Company Veteran Brings High Level of Technical Expertise and Leadership to New Position

REEDSBURG, WI, DECEMBER 9, 2014 — Sound Devices, specialists in audio and video products, announced today that Ed Capp has been named Vice President of Sales. In his new role, Capp will oversee and manage the Sound Devices global sales team, further promoting the company’s entire range of products while continuing to strengthen the Sound Devices reseller and distributor network. Sound Devices-Ed_Capp more…

Genelec 8010 Active Monitor Nominated for Technical Excellence and Creativity (TEC) Award

8010

— Award winners will be announced Saturday, January 24, 2015, at The NAMM Show in Anaheim, California —

NATICK, MA – Genelec, the world’s pioneer in active monitoring, is proud to announce that its 8010 Bi-Amplified Monitor System, the smallest member of the acclaimed 8000 product range, has been nominated for a Technical Excellence & Creativity (TEC) Award for Outstanding Technical Achievement in the Studio Monitor category. The 27th annual TEC Awards will be presented Saturday, January 24, 2015, at The NAMM Show in Anaheim, California.

“It is a tremendous honor that our 8010 has been nominated by industry professionals for outstanding technical achievement,” stated Will Eggleston, Genelec Inc. Marketing Director. “It is great to be recognized by our peers for our hard work, dedication and innovation, and all at Genelec Oy in Finland and here in the U.S. are very excited to see the results in Anaheim.”

Founded in 1985, the Technical Excellence & Creativity Awards is the foremost program recognizing the achievements of audio professionals. Presented annually by the TEC Foundation for Excellence in Audio, the TEC Awards recognizes the individuals, companies and technical innovations behind the sound of recordings, live performances, films, television, video games, and other media. TEC Awards nominations are made by a panel of industry professionals and voted upon by members of various professional organizations and audio industry websites.

The 8010 Active Monitor is the smallest member of the acclaimed 8000 product range. The 8000 Series is widely used in the high-end professional audio, mastering, post-production and broadcast market sectors around the world. Its professional heritage is reflected in the compact-sized 8010. Suitable for professional work in small studios, it offers accurate monitoring capability with ease of installation. The outstanding sound quality makes the 8010 ideal for small editorial studios and OB vans, and a perfect companion for portable recording devices and other mobile production work. Featuring a balanced XLR input, 3-inch bass driver, 3/4-inch tweeter and efficient Class D power amplifiers – one for each driver – the 8010 produces more sound pressure level than might be expected from a monitor of this size. Thanks to its exceptional sound quality, small size and universal power supply, 8010 is the perfect monitor companion for music production professionals on the move.

For more information, please visit www.genelecusa.com.

Morocco’s Atlantic FM Upgrades to NETIA’s Radio-Assist 8.2

CLARET, France — Dec. 3, 2014 — NETIA today announced that Moroccan radio group Atlantic FM, part of the Eco-Medias Group, has upgraded to version 8.2 of NETIA’s Radio-Assist(TM) digital audio software suite. Bringing Atlantic FM to the forefront of audio technology, the installation provides the foundation for a complete shift to digital broadcasting while enabling operators to take advantage of the familiar functionality and interfaces they know from the initial Radio-Assist system deployed in 2006.

“Radio-Assist offers an extensive range of features critical to the operation of a modern broadcast station,” said Rachid Mounaouar, technical director at Atlantic FM. “Given this robust functionality and the familiarity of our operators with the NETIA software, the upgrade to version 8.2 was an easy and logical decision. Also, as we move forward with our migration to digital operations, the NETIA software will support a fluid transition.”

Founded in 2006, Atlantic FM today is the Moroccan economic news leader. To keep its number-one position, the radio station needs a robust and reliable system such as NETIA’s radio automation solution. The software is a complete solution that covers the entire distribution channel from ingest to distribution, and Atlantic FM relies on the software in areas including news, commercials, and music scheduling.

The new Radio-Assist 8.2 installation at Atlantic FM’s Casablanca facilities comprises more than 32 workstations for editing, planning, and recording. Operators use NETIA’s broadcast module for production and distribution. New features introduced in Radio-Assist 8.2 include cloud-based management, giving users the ability to access the system database from any network-connected workstation.

“The new installation at Atlantic FM demonstrates not only the continued strength of our Radio-Assist software suite in the MEA area, but also the value that broadcasters see in the significantly extended feature set of version 8.2,” Jean-Michel Bombois, operations project manager at NETIA. “Ever since the original Radio-Assist in 2006, we have worked closely with Atlantic FM to support its evolution — particularly its transition to digital — and its leadership as a foremost news source in Morocco.”

More information about NETIA and its product portfolio is available at www.netia.com.

# # #

About NETIA
NETIA, a Globecast company and part of Orange, is a leading provider of software solutions that enable efficient management and delivery of audiovisual content to today’s full array of media platforms. Relied on by more than 15,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices.

NETIA provides radio automation, media asset, and workflow management solutions to major radio and television brands and to multimedia groups around the world. Clients include The Associated Press, ABC News Radio Network, WestwoodOne, Radio Globo in Brazil, RTM in Malaysia, SBS and ABC in Australia, MediaCorp Singapore, RAI Italy, RTL France, Radio France, RTBF in Belgium, and France Televisions. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, Moscow, and Singapore, in addition to a global network of professional distribution partners.

Photo Link: www.wallstcom.com/NETIA/NETIA-RA8_2-MusicScheduling.jpg
Photo Caption: NETIA Radio-Assist(TM) 8.2 Music Scheduling

The Audio Engineering Society Standards Committee Holds Successful AES67-2013 Standard “PlugFest” Event

New York, NY — The Audio Engineering Society – the world’s preeminent source of education, standards and technology in the field of audio – recently held a successful interoperability testing event, in cooperation of the European Broadcasting Union (EBU), of its AES67-2013 standard at the Institut für Rundfunktechnik (IRT) in Munich, Germany. Held October 27 – 30, this PlugFest demonstrated the functional compatibility of a number of different implementations of the AES67 standard for high-performance streaming audio over IP networks across a varied range of platforms and products. This standard specifically provides comprehensive interoperability recommendations in the areas of synchronization, media clock identification, network transport, encoding and streaming, session description and connection management.

The AES67 PlugFest event, put on by the AES Standards Committee (AESSC), offered an exclusive chance for manufacturers to test and experiment with the AES67 networking standard protocols in a controlled environment, overseen by AESSC members. Over the three- day event, 16 different networked-audio products with AES67-specific extensions were tested, with participating brands including ALC NetworX GmbH, Archwave AG, Axia Audio, Digigram SA, DirectOut GmbH, Georg Neumann GmbH, Lawo AG, Merging Technologies S.A., SOUND4 and Telos Systems Inc. The PlugFest provided a commercially-neutral context for engineers from these manufacturers to connect their equipment to that of other developers and to confirm, through testing, that signals are transmitted and received correctly according to the standard, in the practical interests of all participants.

“We are very pleased with the recent success of our ‘PlugFest’ event in Munich last month, as we continue to gather further research in interoperability for the implementation of AES67,” stated Bruce Olson, AES Standards Committee Chair. “With the participation of leading manufacturers, this hands-on event was able to clearly and reliably demonstrate the AES67 audio networking standard in a controlled environment across a number of different platforms. The AES Standards Committee continues to provide the most rigorous testing and development within the professional audio community, and these events help to strengthen our mission to standardize and educate our latest developments for audio professionals worldwide.”

For further information on the AES67-2013 standard, click here, or visit the AES Standards page at http://www.aes.org/standards/. The full report on the event, titled “AES-R12-2014, Report on AES67 interoperability PlugFest, Munich 2014” is also available on the AES website here.

About AES67-2013
The AES67-2013 standard defines an interoperability mode for transport of high-performance audio over networks based on the Internet Protocol. For the purposes of the standard, high-performance audio refers to audio with full bandwidth and low noise. These requirements imply linear PCM coding with a sampling frequency of 44.1 kHz and higher and resolution of 16 bits and higher. High performance also implies a low-latency capability compatible with live sound applications. The standard considers latency performance of 10 milliseconds or less. This standard provides comprehensive interoperability recommendations in the areas of synchronization, media clock identification, network transport, encoding and streaming, session description and connection management.

Sennheiser still on top for Kylie Kiss Me Once Tour

Old Lyme, CT, December 4, 2014: Pop Princess Kylie Minogue has been touring Europe this autumn before heading back to her native Australia. Sennheiser microphones and wireless monitor systems have played a vital role in Eighth Day Sound’s audio production. The tour’s microphone package features Sennheiser SKM 5200 mics with MD 5235 capsules and EM 3732-II receivers, with monitoring via Sennheiser SR 2050 IEM transmitters and EK 2000 IEM belt packs.

kylie“The SKM 5200/MD 5235 combination really suits this show, as Kylie spends a lot of time out in front of the PA system on the B stage,” says Kevin Pruce, Kylie’s Front-of-House engineer. “Other combinations gave me less headroom, while the size and weight of the microphone are also very important. We have a great relationship with Sennheiser, in particular Mark Saunders. He is always available for advice and the backup is superb.”

This is confirmed by production manager Kevin Hopgood, who says, “Sennheiser – what can I say? We have a working relationship with Mark and the team going back over 12 years and the support on the 2014 tour has been, as ever, exemplary. Kylie hasn’t picked up another brand of microphone by choice since the first time we tried them – the weight, feel and audio quality are all perfect for her.

“Sennheiser has always delivered assistance with customization to tie in with the show aesthetics, this year with microphone bodies in scarlet, hot pink and chrome. Kylie is all about quality and attention to detail, so Sennheiser equipment is the ideal complement.”

Rod concurs, adding, “Sennheiser is extremely serious about giving the best support possible and DiGiCo are completely insane! I wouldn’t have it any other way – the quality and service are at a point whereby I would find it difficult to use any other gear. The only important addition to the hardware I can think of would be a high-quality side-chain espresso machine…”

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the Internet at www.sennheiser.com.

Picture caption:
Kylie Minogue sings into a Sennheiser SKM 5200/MD 5235 during her Kiss Me Once Tour (© Ken Makay)

** Please note: This picture is for editorial purposes and for use in conjunction with this release only. The picture must NOT be used for social media **

STAGETEC’S NEXUS STAR ROUTING SYSTEM CENTRAL TO OPERATIONS AT 3G PRODUCTIONS, INC.

3G_Crew_43Lo
Las Vegas, NV – December 2014… When it comes to entertainment and sports industry events, Las Vegas is, without question, one of the major hubs for televised special event production. The behind-the-scenes technical know-how that goes into producing a major network broadcast event is mind boggling. At many such extravaganzas, engineering expertise from Las Vegas-based 3G Productions, Inc. is central to the event’s success. And to ensure rock solid audio signal management, the company relies upon routing technology from Germany’s Salzbrenner Stage Tec Mediagroup.

With offices in both Las Vegas and Los Angeles, 3G Productions, Inc. is a multifaceted production company that is involved in live production, sound equipment rentals, equipment sales, and installed sound. Keith Conrad serves as the Director of Marketing / Controller for the company. In this capacity, he oversees multiple areas of operations, marketing, and finances for the company. Recognizing the critical nature of a router’s functions, he discussed his fondness for Stage Tec’s Nexus system.

“Our Nexus router resides in two TV studios,” Conrad explained. “We have one in the USA and the other in Europe. The Nexus system also travels around the world for shows done in all types of remote locations, such as stadiums or trade shows. The router that we’re using for our live show applications has a Nexus Star at the center of the system, which includes a dual matrix for routing inputs to outputs. Our system is equipped with three of Stage Tec’s RFOC optical interface cards. These connect to multiple base devices that are located at FOH, Stage, and remote areas where the talent is located. We use all types of audio transport to get signals in and out of the Nexus. These include analog, AES digital, Dante, and MADI.”

“Our router is currently being used primarily as the front end for broadcast events,” Conrad continued. “We use the Nexus router so that we can collect all of the analog and digital inputs from all over the broadcast and be able to route those signals quickly and efficiently to all of the various locations of the production—from the ACR (Audio Control Room) to FOH and Monitors. We’re also tying the router into our communications systems to seamlessly route communications to different areas of the production. By taking this approach, we don’t have to run separate cables and make hard patches.”

When queried about those Nexus attributes he finds most beneficial, Conrad offered the following thoughts, “The most appealing aspect of the Nexus router is the ability for us to keep the same front end—analog and digital I/O—and easily switch out the consoles that we are using for any given project. Sometimes, a Yamaha CL1 or CL5 digital mixing console is the best option for what we’re doing, based on the nature of the application and the real estate available. With the use of the Dante card, we can easily change out the console and keep all of the routing in place for both our inputs and outputs to our drive rack and amplifiers. Equally important, with the MADI cards, swapping out large frame digital consoles such as those from Soundcraft, Studer, and Midas is a piece of cake.”

In addition to its signal management flexibility, Conrad was equally enthusiastic about the Nexus router’s audio performance, “One of my favorite parts of the Stage Tec Nexus router is its Mic Pre Amps. Sonically, these Mic Pre’s blow away the stage boxes offered by live sound consoles. By interfacing our equipment via Dante or MADI cards, we end up having the best sounding sound reinforcement consoles you will ever hear. The next best part of the Nexus router’s Mic Pre’s are the splits. Being able to have four discrete head amps for each mic input alleviates the need for a copper splitter, which saves us time and space on productions.”

When you’re operating at the level of 3G Productions, knowing your equipment manufacturer has your back is critically important. Here too, Conrad offered high praise for Stage Tec. “The Stage Tec team has been a pleasure to work with,” he said. “When we purchased our equipment, we had to immediately put it to use for a show in a short timeframe. The Stage Tec team provided on-site support at our warehouse and even had a presence at our first few events to ensure everything ran smoothly. Since then, when any issue on show site or potential application comes up, the team has always been there to provide responsive customer support.”

Before redirecting his focus back to an upcoming project, Conrad offered these parting comments, “Overall, I’d have to say that Stage Tec provides great technical and sales support for what has been a very durable and reliable product. The Nexus router’s modular system, with its ability to expand enables us to make the system as small or as large as the project requires. The router’s design provides for a customizable and flexible product that can be used in a multitude of applications.”

To learn more about 3G Productions, Inc., visit the company’s website at http://3glp.com/.

About Salzbrenner Stage Tec Mediagroup
The Salzbrenner Stage Tec Mediagroup is a dynamic organization with a focus on audio, video, and intercom technology. The company offers a broad range of dovetailed products and services that perfectly complement one another—from a cost-effective announcement system for a school or a sound-reinforcement installation in a church, all the way to the design, construction, and project management of extensive multi-disciplinary solutions for broadcasters, theatres, stadiums, and multi-purpose venues. To learn more, go to www.stagetec.com.

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Photo ID: (from left to right): Terry Murphy, Clark Stewart, Will Taylor, Joe Ramos (in back), Keith Conrad (in white), and Jon Daly.

Pro Sound Effects Releases Expansion 2 Library

62 GB of Ambiences, Impulse Responses and Production Elements

New York, NY – Pro Sound Effects®, the next level sound library company, has released the Expansion 2 library – 2,721 royalty-free sound effects (62 GB) of indoor & outdoor ambiences, impulse responses, new production elements, and sports recordings. Developed with user feedback as an enhancement to Pro Sound Effects Hybrid Library the Expansion 2 provides critical utility backgrounds and design elements for cutting edge film, game, television, radio and audio post production.

expansion_2

“Expansion 2 marks the second enhancement we’ve made to our Hybrid Library line,” commented Douglas Price Founder & President of Pro Sound Effects. “Our team’s collaboration with current Hybrid Library owners was critical in determining what sounds and metadata structures would yield maximum utility and value. After three years of the Hybrid Library program, we’re more committed than ever to supporting freelancers and independent media creators with accessible pricing for big library features.”

Expansion 2 Key Features:

- 62 GB delivered on 64 GB USB 3.0 custom flash drive
- 2,721 sound effects including 1,332 hand-picked ambiences, impulse responses, new production elements and sports sound effects
- Masterful Metadata for fast, pinpoint searching
- 100% Royalty-Free
- Developed with feedback from Hybrid Library owners
- 50 download credits to Online Library
- Available by Application Only
- $2500 in value for only $500 through December 31st 2014 (reg. price $750)

View Expansion 2 Audio Demos, Metadata and Full Features

In addition, Soundminer search software is available as an optional Add-On to provide seamless DAW integration right out-of-the-box.

About Pro Sound Effects:
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New Black 7′s ‘Fine Wine’, Chandler Limited infused…

The New Black 7 - Fine Wine

Brentt James Arcement, Jason K. Herman, Tory Stoffregen (L,C,R)

Chandler Limited’s own Tory Stoffregen and his band The New Black 7, have matured into a worthy addition to any music-loving soul’s library with the release of the recent single ‘Fine Wine’ and video from their upcoming album, ‘God Willin’ And The Creek Don’t Rise’.

While the journey of every record has its own tale, this production is exceptionally noteworthy in its setting, cast, and a childhood friendship spanning decades.

The New Black 7 have made the in-house recording studio of the Shell Rock, Iowa based pro-audio manufacturer Chandler Limited their home, while enlisting Chandler’s founder Wade Goeke for co-production.

The ability for The New Black 7 to lay down tracks at Chandler Limited’s recording studio has benefits. The obvious one is having access to some of the greatest recording equipment on the planet, while another is offering themselves up as worthy guinea pigs to challenge the designs of Wade’s latest creations. A large chunk of Chandler Limited’s product line gets into the act, including super secret prototype hardware, and the highly anticipated soon to be shipping REDD.47 tube microphone pre-amplifier from Chandler Limited’s Abbey Road Studios line. (for details, see session notes at end of article)

The band’s job is clear, perform, and they do. For Wade’s part, he’s placing microphones, dialing in sounds, ever-tweaking his creations until satisfied. With this much recording gear at your fingertips, and the guy who designed it in the room ready to tune the device on the spot, you know the options are endless.

By now Tory and the band have Wade’s voice calling out ‘Do it again’ etched into their DNA. However, The New Black 7’s talent and musicality coupled with Wade’s electronic design prowess yield a wonderful result.

The whole track is well crafted and the energy is certainly captured to great effect. Tory’s rollicking baritone lead vocal pouring into a Chandler prototype microphone keeps your ears pinned back for the next turn in this infectious track. Guitarist Jason K. Herman’s meticulous performance effortlessly sparks crunchy harmonic embers from the tubes of a Chandler Limited GAV19T guitar amp, all plucked at just the right times. Then, there are those drums! The consummate professional Brentt James Arcement’s drumming perfectly drives ‘Fine Wine’ comfortably along, while New Black 7’s go-to studio bassist and newest member, Dan Dryden holds down the fort. This is what you want to hear in a track, distinct elements, each with its own character, however bonded by some unidentifiable force.

With pots turned sideways, switches worked, and meters long-since dimed, the many takes, and tracks in the bag, ‘Fine Wine’ was ready to be mixed and mastered.

Being so close to home in a variety of ways, this artistic endeavor left Tory, the band, and Wade with many emotions, and considerable contemplation of who would handle mixing duties. Enter Grammy and Emmy award-winning engineer Jamie Tate.

Nashville based Jamie Tate (Alan Jackson, Marty Stuart, Justin Moore, Sheryl Crow, Brooks & Dunn, Taylor Swift) was chosen to unify the catalog of bits melody, harmony, and groove that would become ‘Fine Wine’.

The New Black 7’s Tory Stoffregen had this to say about the selection of Jamie Tate for mixing duties, “We were big fans of his mixes, big and punchy but not typical “Nashville” gloss. A little bit country and a little bit rock and roll!”

With everything patched-in and so Chandler, it is only fitting to find Jamie Tate’s studio ‘The Rukkus Room’ has a stash of vintage Chandler Limited gear. Jamie a long-time Chandler Limited user commented, “I use my TG1 Limiter on every session, from the first Taylor Swift record to this new Billy Currington single; I have serial #12! I also have the Chandler Limited EMI TG Channel; again, it’s such an early version. The TG Channel along with my U-47, it’s my default vocal chain. If I record or mix it, these Chandler Limited EMI/Abbey Road Studios boxes will be on it.”

When you listen to ‘Fine Wine’ it instantly surrounds you, full of fidelity, dimension and the vocal perfectly placed. Of course the sonic characteristic of Chandler Limited gear is there; however, how Jamie has presented the energy of The New Black 7 to the listener takes it to a special place.

With Jamie’s brilliant mix completed, the track was set for finalizing. For mastering, the boys leaned on Chandler Limited’s longtime relationship with Abbey Road Studios; that was a no brainer.

Click here to listen to the New Black 7’s single ‘Fine wine’. To learn more about The New Black 7 visit the band’s website.

Session notes (Chandler Limited Gear): REDD.47 Pre-amp (Vocals, Bass guitar), Prototype CL microphone and prototype channel (Vocals), TG2-500 Pre-amp with TG Channel MKII EQ (Kick drum, and Snare), Little Devil Pre-amp and Little Devil EQ (Toms, Rooms, Overheads), Zener Limiter (Room mics), TG2 Pre-amp/DI, prototype CL microphone, prototype channel, and GAV19T guitar amplifier (Electric Guitars), Prototype channel (Acoustic guitar, and Mandolin)

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