Jünger Audio Incorporates Audinate’s Dante IP Technology

Jünger Audio has announced a partnership with Audinate (www.audinate.com) that will allow the company to incorporate Audinate’s Dante digital media networking solution into its Award-winning range of audio processing solutions.

Built on existing networking protocols and standards, Audinate’s Dante technology is a plug-and-play networking solution which delivers ultra-low latency, tightly synchronized media, while simplifying installation and configuration of digital media networks. Dante is the leading digital media networking solution and has been adopted by more than 120 OEMs to date, with hundreds of partner’s products to choose from. Applications using Dante can be found across broadcast, pro AV, commercial installation and live sound entertainment markets.

Jünger Audio’s first device to feature Audinate’s Dante technology will be the V*AP two channel voice processor. With its high-end algorithms and simple to use interface, it is specifically designed to make life easier for engineers working in radio stations and TV production voice-over studios. Adding audio network capabilities to the V*AP complements its consequent network approach on control, measurement and administration. In combination with a Dante computer interface or the DVS Dante Virtual Soundcard software, the V*AP can act as a sophisticated frontend for any digital audio workstation (DAW) or video editing system. The Dante interface solution will be released for the V*AP in the first quarter of 2014 and subsequently become available for all other Jünger Audio boxed products.

Peter Poers, CEO of Jünger Audio says: “We looked at all the audio over IP network solutions and found that the efficiency, ease of use, seamless integration and growing range of manufacturers supporting Dante made it the ideal choice for Jünger Audio. As customers continue to demand and expect interoperability between devices, we believe that the adoption of Dante will allow us to provide all the functionality and flexibility that the Pro Audio community needs now, and positions us well for developing and introducing next generation audio products.”

“Jünger Audio is known for their unique range of digital processors which are designed to meet the precise needs of the professional audio broadcast market,” Lee Ellison, CEO of Audinate adds. “Dante is already the leading interoperable network solution for the professional audio and broadcast markets. Jünger Audio’s V*AP voice processor with Dante networking simplifies how audio can be distributed for TV broadcasters, IPTV providers, music recording studios and audio post production facilities.”

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

Sennheiser Petitions FCC to Compensate Owners of Wireless Microphone Equipment as Spectrum Faces Repacking for Second Time

Pending Spectrum Auction Jeopardizes Future Use of Wireless Microphones Operating in the 600 MHz Range, Unfairly Forcing Content Creators to Reinvest Again in Wireless Equipment

Old Lyme, Conn., – November 26, 2013 – Audio specialist Sennheiser announced that it has recently filed comments with the Federal Communications Commission (FCC) in light of the pending spectrum auction scheduled to take place in 2014. The government auction, which jeopardizes the future use of wireless microphones and monitors operating in the 600 MHz range, will force many U.S. based content creators — including broadcast, film and live production professionals — to attempt to stage their shows using little more than half of the currently available UHF spectrum.

In the document filed on November 4th, Sennheiser argues that the winners of the spectrum auction should compensate owners of wireless microphone equipment that will be rendered obsolete as a direct result of the planned spectrum repacking. Currently, the FCC has not announced any plans to compensate wireless microphone owners, who play a critical role in U.S. content creation and who will have to make significant investments in new equipment for the second time within a few years.

“Wireless microphones are an essential ingredient of content creation in the United States,” commented Joe Ciaudelli, spectrum affairs, Sennheiser Electronic Corp. “Currently, the United States is the number one content creator in the world when it comes to broadcasting, film production and live events. The A/V professionals that produce this content, which is enjoyed by both domestic and international consumers, depend on the 600 MHz frequency spectrum each day. Now they are being told that they must vacate this UHF space, and with no contingency or recourse to recover their equipment investments. This is grossly unfair, especially considering that this will be the second time this has occurred within a few years. This time mics and monitors won’t be able to simply be relocated into lower portions of the UHF because it is already packed with replacement mics for ones rendered obsolete by the 700 MHz reallocation. TV stations currently operating in 600 MHz will also be relocated to lower channels, exacerbating the congestion.”

“Not only does the pending spectrum repacking threaten to diminish U.S. leadership in content creation, it creates an unecessary hardship to many thousands of audio professionals by forcing them to reinvest in compliant equipment,” he continued. “While adverse effects of the spectrum repacking will inevitably occur, simple fairness says that the auction winners who will derive revenue from the auctioned spectrum should provide compensation.”

Currently, the vast majority of U.S.-based major film productions, television broadcasts and major concert events in the United States rely heavily on the 600 MHz frequency range. Eliminating access to this not only significantly increases congestion in the 500 MHz frequency range, but also places unprecedented technical demands on both the equipment and operators working in this space. The FCC has also received letters of support for Senn-heiser’s position from industry leading companies including Shure, Audio Technica, Lectrosonics, and CP Communications. “We encourage others to write to the FCC as well,” states Ciaudelli.

Following is an excerpt from Sennheiser’s recent filing that illustrates the role wireless equipment plays in the U.S. commercial, political and economic arenas:

“Wireless microphones are ubiquitous in all aspects of the entertainment business, in news reporting, in sports, and in U.S. commercial, civic, and religious life. They are essential to the production of virtually all non-studio broadcast events, and to nearly all studio-produced programs as well. These include team sports from local college broadcasts to the Super Bowl, the World Series, the Final Four, and the Stanley Cup; the Democratic and Republican political conventions; post-election national and local coverage; the Oscar, Emmy, and Grammy Awards shows; events such as the Olympics, NASCAR races, the Kentucky Derby, and major golf and tennis tournaments; and on-the-scene news reporting of all kinds, both local and national. These broadcasts routinely attract millions of viewers.

Motion-picture production, from Hollywood blockbusters with nine-digit budgets down to student work at the local community college, relies heavily on wireless mi-crophones for clear, accurate audio. Live events, from Broadway productions to stadium-sized outdoor concerts, need wireless microphones to reach the back row. Presenters in auditoriums, lecture halls, and houses of worship find them indispensable.”

Sources:
(*) Stephen E. Siwek, Copyright Industries in the U.S. Economy: The 2011 Report at 15 and Appendix A (Economists Incorporated 2011). Available at http://www.ei.com/downloadables/2011CopyrightSiwek.pdf

(**) U.S. Census Bureau, U.S. Bureau of Economic Analysis, News: U.S. International Trade in Goods and Services, November 2012 at 3-4 (U.S. Dept. of Commerce released Jan. 11, 2013). Available at http://www.census.gov/foreign-trade/Press-Release/current_press_release/ft900.pdf

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.

iZotope Masters Q&A: Charles Deenen Discusses Audio Processing for Video Games

iZotope Masters Q&A Series, Part 1:
Charles Deenen, Master of Audio: Video Games

Deenen Discusses The Evolution of Game Design and How Audio Processing is Better than Ever

Cambridge, MA, November 25, 2013 – Charles Deenen is one of the gaming industry’s preeminent sound designers and mixers, with credits like the Need for Speed series, Fallout, Startrek and his support on Activision’s Call of Duty®: Ghosts. Since writing a sound driver for Commodore PET at the age of 13, he has left his creative fingerprints among top selling games from Electronic Arts, Interplay and Shiny, and other companies. Over the course of his career, Deenen has remained aligned with innovations in audio software, particularly iZotope’s RX, which he has been using for many years. iZotope recently caught up with Deenen, who discussed the role that iZotope’s RX 3 and Insight played in how his design work assisted the studio teams on Call of Duty: Ghosts.

iZotope: What role does audio play in video games?
Charles: Audio connects the real from the unreal. In film, you always start with the real — you see a real image, a real portrayal, a real human. Audio enhances the storytelling and everything else. But in games, audio often serves as the connecting bit that makes the visuals that aren’t photo-realistic (yet) real to the viewer, adding an emotional feel. For example, if you add beautiful audio to Pac-Man, it it becomes a much more emotional experience — all through the use of audio. Try doing the same thing with a movie and it’s a little trickier because you are dealing with a more realistic picture.

iZotope: Why is efficiency important in your work nowadays?

Charles: Efficiency these days is a massive thing. In the old days, people were more reasonable about time frames — you might have three months to mix audio for a game, or six months to mix audio for a movie. But now they know you have this computer in front of you so there is a much greater expectation. When we get our trailers or game cinematics, the amount of time we can actually spend on it has to be the “computer equivalent” of those original three months or six months. So you need tools to speed up your workflow and that’s where tools like RX 3 really help. Also, back in the day, we would have a large staff of editors that would go through the dialogue and remove every little tick by hand. For that, there would be months and months of work involved. If we had RX 3 back in 1991, it would have been like, “here’s a batch file, run it, and come back a day after that.”

iZotope: Which iZotope tools are you currently using?
Charles: I use RX 3 and Insight, mostly. Because we have to deliver mixes in multiple formats at the same time, all my mixes have to adhere to various standards and levels. I have an auxiliary computer running multiple instances of Insight so I can see exactly what my outputs look like for television broadcast, Xbox, YouTube and other mediums. Insight lets me monitor and set the proper levels for each medium quickly and provides a really good overview each time of how far we can push the levels. Since I’ve been using it, it has performed really well.

iZotope: How did your use of RX 3 play a role in supporting development of Call of Duty: Ghosts?
Charles: It was used in the sound design for the movies in game. For example, wanted to present scenes depicting good vs evil. So, when we came in, we were looking to deliver very natural, yet oddball, ways to portray the characters’ good and evil tendencies. I went through all these recordings of thunder, water and other things that felt natural, and then heavily processed them with RX 3 and other tools. Using the Dereverb module in RX 3 Advanced, we would remove extreme broadband noise from these sounds and what was left was the grittiness, the unnatural bit.

iZotope: Did you use RX 3 in the mixing stage?
Charles:
Yes. During mixes, one of the biggest problems typically is noise. Basically, every single sound effect that has a hiss or some other noise gets processed in real time through RX 3: this reduces the noise by anywhere between 3 dB and 8 dB. Take a chopper. What you really want to get is the really heavy blades — the “chug chug chug.” You have to pull out all the stops in order to get those types of sounds to be as clean as possible—to get the essence of the sound, separating everything else. For us, this is how we make our mixes clean and punchy. Without something like RX 3, this would be impossible to do.

iZotope: How do you deal with audio that comes in from multiple sources on a project?
Charles:
I use iZotope Ozone 5 Matching EQ quite a lot. For example, we supported some of the dialogue in Call of Duty: Ghosts, which was recorded over multiple days, in multiple sessions with many different people when it came to the foreign languages. We had finished the original English mix and then had to match all these different languages to capture the vibe of the original English one. In order to do that, the starting point was matching the EQ with Ozone 5’s Matching EQ feature. Then we applied these EQ levels to the takes in foreign languages. When we do trailers and different dialog comes in at the last minute, it can be from any source — including phones. That happens quite a bit, and my main starting point is the Matching EQ to quickly match one to the other.

iZotope: When have you had to fix audio that was recorded less than perfectly?
Charles:
On a different project, a crew had gone overseas to shoot interviews. They came back and realized that the audio had all this massive background noise and hissing. Had it not been for RX 3 to remove the noise and reverb, they would have had to go back and re-shoot everything. It would have been over the top and cost-prohibitive, if not impossible, because all of the audio had been captured at a “once a year” event. Afterwards, somebody asked me how I got the dialog to sound so crisp and intelligible, and a lot of credit went to RX3.

About the iZotope Masters Q&A Series
The iZotope Masters Q&A Series will profile masters of various audio professions including audio for video games, broadcast, film composition, and more. Stay tuned for more interviews with Audio Masters through 2013.

About iZotope RX 3
RX 3 is an industry-leading audio repair solution for audio engineers, post production professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more. Work up to six times faster than before thanks to processing enhancements and a redesigned user interface. Remove or reduce reverb, clean up dialogue on the fly, recall session details with the new RX Document format, and much more with the new RX 3.
For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3

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

ACTIVISION, CALL OF DUTY, and CALL OF DUTY GHOSTS are trademarks of Activision Publishing, Inc.

Antelope Audio Announces its Largest Black Friday Sale to Date on Clocking Devices and AD/DA Converters

Musicians and Audio Professionals Can Take Advantage of up to 29 Percent Discounts on Antelope Audio Products from Friday, November 29th to Friday, December 6th

Santa Monica, Calif., November 25, 2013 – Just in time for the holiday rush, Antelope Audio announced its largest sale ever with an entire week of discounts — including deals on single and bundled professional merchandise. By contacting certain dealers, customers can take advantage of discounts up to 29 percent on Antelope’s selected products such as the renowned Trinity and 10M, Eclipse 384 mastering AD/DA converter and Zodiac+ D/A converter. The top selling, TEC Award nominated 32-channel audio interface Orion32 will come in an attractive bundle price with the extremely stable 10M atomic clock.

“We are pleased to provide such an amazing opportunity for audio professionals and enthusiasts to upgrade their studio equipment, and this year we are expanding our offering to include even more industry-leading converters and clocking systems,” said Marcel James, Director of Sales for Antelope Audio USA. “Our digital audio equipment has seen unprecedented success through world tours and studio recordings this year, and this resounding success makes it possible for us to significantly expand our Black Friday offerings.”

In the United States, customers interested in purchasing discounted items may visit Alto Music, B&H or Sweetwater and Studio Economik (Canada). For more information on seasonal discounts, please visit Antelope Audio’s product page.

About Antelope Audio
Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

RTW Provides Audio Loudness Management to Astro Productions

Top Asian Broadcaster Utilizes TM7 During Transition to Unified Metering

KUALA LUMPUR, MALAYSIA, NOVEMBER 25 2013 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce the sale of eight RTW TM7 TouchMonitors to Astro Production Sdn. Bhd., a leading Asian broadcaster. The TM7s were equipped with several software modules, including: the SW20001, SW20002, SW20004, SW20005 and SW20006 units. Stagetec Asia (www.stagetecasia.com), a long-time distributor of RTW, coordinated the sale.

Audio loudness standards have been a key concern for many broadcasters worldwide. That being said, the company sought a new tool that would help it to monitor its audio levels consistently. Astro purchased the TM7 TouchMonitors, provided by Stagetec Asia, after demoing a few of the units during its live broadcasts. The company will use them to ensure that all of its production facilities, including its fleet of OB vans, are using the metering and analyzers to have uniform loudness levels across its facility.

“The TM7 TouchMonitor suits our applications very well,” says Dennis Dovale, Vice President, Astro Production Services. “In order to ensure that all personnel and operators have the same frequency, when talking about the audio loudness metering and reading, they need a good monitoring tool such as RTW’s TM7.”

RTW, meanwhile, is thrilled to make further inroads into the Asian market with this sale. “We are happy to support such a prominent broadcaster as Astro,” says Andreas Tweitmann, CEO, RTW. “The entire line of TouchMonitor audio meters was created to help engineers monitor their loudness levels easily and consistently. The fact that Astro has found our TM7 to be efficient and easy to use is further proof of RTW’s commitment to offering modern, innovative solutions for today’s loudness management issues.”

About Astro Malaysia Holdings Bhd
Astro Malaysia Holdings Berhad is a leading integrated consumer media entertainment group in Malaysia and Southeast Asia with operations in 4 key areas of business, namely Pay-TV, Radio, Publications and Digital.

With a customer base of over 3.58 million residential customers or approximately 53% penetration of Malaysian TV households, Astro offers over 170 TV channels, including 38 HD channels, delivered via Direct-To-Home satellite TV, IPTV and OTT platforms. Astro provides HD, 3D, PVR, VOD and IPTV services through Astro B.yond and Astro On-The-Go. Fulfilling its promise to bridge the digital divide for all of Malaysia, Astro introduced NJOI as an entry-level DTH satellite TV service and is the country’s first non-subscription based satellite TV, offering 22 TV and 20 radio channels.

The People’s Choice, Astro was awarded the Putra Brand Awards Gold for the Media & Entertainment Category for 4 consecutive years. The award is in recognition of Astro’s efforts to exemplify innovation, quality and strong corporate social responsibilities. Visit www.astro.com.my for more information.

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.

Symetrix Maintaining Its Edge in DSP at ISE 2014

Mary Marshall, CEO of Symetrix

Leading digital signal processing developer will exhibit products including SymNet Radius AEC and Jupiter, and announce details of a new industry partnership.

SEATTLE, US: Symetrix, the leading developer of innovative DSP solutions, has announced that it will return to Integrated Systems Europe (4-6 February 2014, Amsterdam RAI) for the seventh consecutive year, co-exhibiting on the stand of Dutch distributor Iemke Roos with a selection of its most popular solutions for installed applications.

Visitors to stand 3-C90 will have the opportunity to find out more about a host of open architecture Symetrix products that utilise Audinate’s industry-leading Dante™ media networking technology, including Symetrix SymNet Edge, Radius 12×8 and the conferencing-oriented SymNet Radius AEC. Symetrix will also showcase open architecture standalone DSP SymNet Solus 16, as well as two fixed architecture solutions, Jupiter and Zone Mix 761.

Underlining its commitment to its extensive integrator customer base, Symetrix will host a pre-show sales and technical training meeting at Holiday Inn Amsterdam on 3 February for distribution partners. The same hotel will also be the venue for the Audinate-hosted AV Networking Congress on 4 February, in which Symetrix will be an active participant.

“We’re delighted to be exhibiting at ISE alongside our local partners, Iemke Roos,” commented Mary Marshall, CEO of Symetrix. “Along with the chance to see our latest solutions, there will be numerous opportunities for interested parties to sit down with a team member and discuss how Symetrix products can form the backbone of their next installation. We also look forward to participating in the AV Networking Congress and sharing our insights into the next phase of the fast-emerging networked AV world.”

ISE 2014 will also see Symetrix highlight the latest SymNet Composer software release and a major new industry partnership. More details of both developments will be revealed in the coming weeks.

www.symetrix.co

GUITAR CENTER OPENS NEW STORE AND LESSONS STUDIO IN ATHENS, GEORGIA

Athens location features on-site lessons, new repair services, and vast inventory selection

ANNOUNCEMENT HIGHLIGHTS:

Guitar Center has opened its 255th store location in the U.S.
GC Garage service will provide a much-needed range of musical instrument repair services
GC Studios, first-ever GC lessons facility in Athens to support local music scene, is at the store, located at 1791 Oconee Connector, Suite 450 Athens, GA 30606

(Los Angeles, CA) – Guitar Center, the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ and lighting equipment, opened its 255th location, in Athens, Georgia, on November 7, 2013. The store, located at 1791 Oconee Connector, Suite 450 Athens, GA 30606, is also part of a new wave of Guitar Center retail stores that feature lesson spaces, which allows GC to offer additional music lessons, special programs and expanded opportunities for local musicians.

A virtual tour of the store is available online here and on the Athens store page at http://stores.guitarcenter.com/Athens.

ATHENS STORE LOCATION BACKGROUNDER:

Vast Product Selection and Low Prices – Guitar Center Athens brings an unprecedented selection of products to Athens, all backed by Guitar Center’s guarantee and available at attractive prices. The store features the latest in guitars, amplifiers, percussion instruments and keyboards, as well as live sound, DJ, lighting and recording equipment.
Guitar Center Studios – Deeply vested in expanding and enhancing the local music scene, Guitar Center Athens also brings Guitar Center Studios to the new location. The fully-equipped, in-house lesson space is giving area residents of all ages and skill levels access to affordable music lessons. Sourcing locally trained store employees as certified instructors, courses will be offered on guitar, bass, keys and drums, as well as vocals and recording techniques using Pro Tools, Logic Pro and GarageBand.
Guitar Center Garage – Guitar Center Athens includes GC Garage, the store’s on-site guitar repair service, offering a host of services, including electronics repair, hardware customization, fretwork, structural repairs, cosmetic enhancements, setup and maintenances.

Guitar Center Athens: Additional In-Store Programs and Opportunities Include:

Guitar Center’s “Endless Aisle” – Athens customers can now shop from Guitar Center’s new multi-channel “endless aisle,” which extends the in-store inventory to over $400 million in new and used products from across the nation. Shoppers will be able to purchase in-store, online and via phone, with the option to have products shipped to their home or to the store for convenient pick up.
At: Guitar Center Programs – Throughout the calendar year, Guitar Center Athens will host an array of free events, such as artist workshops, lessons, product launches and performances, as a part of the company’s ongoing commitment to educating and assisting unsigned artists. These programs aim to provide musicians with the opportunities and exposure essential to achieving their music goals.
Recording Made Easy – Available at all Guitar Center locations, the Recording Made Easy program is a four-week, user-friendly series of weekly classes occurring Saturdays from 10:00 to 11:00 a.m.

In addition to special programs at the new Athens store, Guitar Center offers year-round programs designed to spearhead creativity and highlight promising undiscovered talent. Athens residents will now be able to participate in these ongoing events from their hometown. Programs have included Your Next Record, Guitar Center On-Stage, Guitar Center Singer-Songwriter, Guitar Center’s Battle of the Blues and Guitar Center’s Drum-Off.

Guitar Center Athens Store and Studio Hours
Mon-Fri: 11:00 AM – 7:00 PM
Sat: 10:00 AM – 7:00 PM
Sun: 12:00 PM – 5:00 PM

Sennheiser raises the bar for wireless transmission at CMA Awards

Nashville, November 21, 2013: At the 47th Annual Country Music Association (CMA) Awards, held at Nashville’s Bridgestone Arena on November 6, Sennheiser’s Digital 9000 wireless system helped usher in a new era of digital wireless in live sound production as superstars The Zac Brown Band and Lady Antebellum delivered ‘magical’ performances to an audience of millions of viewers around the world.

In addition to the performances by The Zac Brown Band and Lady Antebellum, this year’s CMA Awards featured Taylor Swift and Jennifer Nettles, who used Sennheiser SKM 5200-II handheld transmitters coupled with MD 5235 microphone capsules; Miranda Lambert (winner of “Female Vocalist of the Year”) and Blake Shelton (winner of “Album of the Year” and “Male Vocalist of the Year”), both of whom sang through Sennheiser SKM 2000 transmitters with MD 935-1 capsules; and Kenny Rogers, who used a Sennheiser SKM 5200-II transmitter in combination with a Neumann KK 105-S capsule. Hosts spoke through SKM 5200-II handhelds with KK 105-S capsules for the duration of the program.

From an RF perspective, the show presented a daunting challenge: “We had 200 frequencies we were dealing with – this is a formidable number of radio frequencies in any environment, especially when everything is in UHF,” says James Stoffo, RF coordinator of the CMA Awards. “We ended up using several channels of the Sennheiser Digital 9000 in performances by both Lady Antebellum and The Zac Brown Band and it performed flawlessly.” Sennheiser Global Relations played a key role in facilitating equipment and support for the performance, which not only included wireless systems but also dozens of wired and wireless microphones used throughout the CMA Awards. “Our flagship Digital 9000 system is designed to deliver uncompromising audio with maximum RF flexibility for today’s challenging RF enviroments,” said Kristy Jo Winkler, Global Relations Manager, Americas. “When James Stoffo, one of the industry’s foremost RF consultants, said he would use it on the show, we were especially delighted. Refining technology and partnering with audio professionals to help make the event a seamless experience for engineers and artists is our priority.”

Sennheiser Digital 9000: the future of wireless is here:

Stoffo, who has been navigating challenging wireless terrain in top awards shows, sporting events and large corporate events for more than 30 years, is extremely concerned about the increasing congestion of the RF landscape and sees digital systems such as Digital 9000 as a fundamental solution moving forward: “It is getting almost impossible to organize and coordinate a large production, especially in awards shows that are approaching 200 frequencies. I’ve done a lot of testing with digital wireless systems and have found that they are much more tolerant to interference than analog systems. Also, the fact is that with Digital 9000 we don’t have to worry about intermodulation – or the mixing and blending of signals. We can therefore pack more signals into the same amount of spectrum.”

In addition to the reliability and spectrum efficiencies gained, Stoffo says there is a dramatic increase in audio quality with the Digital 9000 system: “You can absolutely hear the difference. For one thing, there is no noise floor like you have on FM-based systems.” John Harris, music mixer of the CMA Awards, said Sennheiser’s SKM 9000 handheld digital transmitter, which was coupled with an MD 9235 capsule, sounded spectacular on The Zac Brown Band’s vocals: “Zac is a very strong vocal act and with the Digital 9000 system, I had great separation and tone from all the singers. The new SKM 9000 digital transmitter was really great for rock vocals.”

During Lady Antebellum’s performance, lead singer Hillary Scott ventured beyond the stage out into the audience – where RF coverage can be tricky since the primary antenna coverage is on the stage, Stoffo says. “We never had a hitch. The RF levels on the Digital 9000 system remained pegged the entire time and I didn’t have to sweat it.”

Simple integration and operation:

Stoffo, who originally requested a Digital 9000 for testing but instead found himself putting it in the CMA Awards production days later because of its stellar performance, says he encountered zero difficulty integrating it within the rest of the audio system. “I had no issues whatsoever, and in fact was more confident using Digital 9000 than older analog systems,” he says.

After experiencing the increased performance and reliability of the system, other benefits soon became apparent: “With Digital 9000, you don’t just have battery bar indicators, you are actually shown the remaining time you have left. When you are juggling 40 microphones, changing batteries and handling other responsibilities, this is huge. Once you get into show mode, one of the biggest maintenance issues for the RF tech is simply changing batteries throughout the show. Being able to see exactly how much time you have is priceless for me.”

Neumann: voiceover microphone of choice at the CMA Awards:

As a high-energy award show featuring over 20 musical acts and a constant flow of introductions, nominations and award announcements that serve to anchor the progression of the show, voiceover announcements are critically important. “Our microphone has to cut through loud music, heavy applause and crowd cheering without having to be ridiculously loud,” explains Tom Davis, audio producer at the CMA Awards.

Davis and his team used three Neumann TLM 49 large-diaphragm condenser microphones to facilitate the voiceovers: two are used on site at the Awards, and one is used for work done in advance at Davis’ SeisMic Sound in Nashville. Since space is often at a premium in the makeshift voiceover booths constructed on site, there is often very little room for processors and other gear. This is not a concern though, says Davis: “You can plug the TLM 49 into just about anything and it sounds fantastic. It has so much presence for the spoken word and cuts through everything. This has been my mic of choice on this show for several years now, and it is really sexy to look at!”

Sennheiser: “part of the crew”:

At an internationally televised show with 22 acts in just three hours, expectations are high for all personnel involved in the production. “There are a lot of quick changes, and this is a very demanding audio project,” observes John Harris. Sennheiser was on hand to provide support for the show, including rehearsals and tear down. “I couldn’t have done it without Sennheiser,” says James Stoffo, “Tim Moore [Sennheiser Artist Relations] came in and was ‘on-call’ almost as if he was part of our crew. Overall, the support I got from Sennheiser was top shelf, as I would expect.” Tom Davis concurs: “Our relationship with Sennheiser has always been very comfortable and professional and they are always willing to step up and help. This time we got to get a close-up view of one of their great new products, the Digital 9000. What a great experience that was.”

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

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

Photo captions:
1: The Zac Brown Band performs at the 47th CMA Awards using a Sennheiser Digital 9000 wireless system

2: Sennheiser’s Digital 9000 system provided artifact-free RF performance during performances by The Zac Brown Band and Lady Antebellum at the 47th Annual CMA Awards

3: J. Mark King (l.) and Tom Davis in the voiceover booth, pictured with the Neumann TLM 49 during the CMA Awards

4: Each year, the audio crew at the CMA Awards relies on Sennheiser’s unwavering support

Sennheiser HMDC 26-II Headsets Provide Immaculate Communications for The Lion King, the Fifth Longest Running Musical in Broadway History

Epic Broadway Musical Counts on Sennheiser Headsets Night after Night to Ensure Seamless Interaction Among Stage Operational Personnel

New York City – November 21, 2013 – Audio specialist Sennheiser announced that The Lion King, Broadway’s fifth longest running musical, is now using its HMDC 26-II broadcast headsets to ensure intelligible communications among key stage personnel, including the stage manager and spot operator. The headsets, which provide a critical function prior to, during and after performances, are used to call operational cues to spotlight operators and many others involved in the production.

The success of The Lion King is celebrated well beyond Broadway, where it has captured many awards including a Tony for Best Musical directly following its opening in 1997. The production, which is now considered an indelible part of Broadway’s musical fabric, originally debuted at the New Amsterdam Theatre in 1997 and moved to the Minskoff Theater in 2006 where it has been ever since.

“We purchased the Sennheiser HMDC 26-II headsets for two primary reasons,” says Alain Van Achte, head of sound department at Lion King. “First, by using these headsets, our entire team can hear the calling and direction better. The second reason was to protect the hearing of the staff, particularly the spot operators who are perched up near the speaker clusters. They are in such close proximity to the sound system that the safety factor became very important.”

The HMDC 26-II headsets are primarily designed for use in live sound and broadcast applications in extremely noisy environments. The headset is extremely lightweight, features outstanding passive noise attenuation and Sennheiser’s patented NoiseGard active noise reduction technology.

Head Follow Spot Operator Doug Graf, who receives calls from the stage manager and then gives instructions to other spot operators, says that the new headsets dramatically increased both hearing and speech intelligibility. “The HMDC 26-II comes in especially handy when I am in directly on my spotlight perch front of the [speaker] clusters,” he says. “I noticed that I could turn the volume down and leave it at a comfortable level. When the volume is quieter, I can still hear all the dialog on stage from the show feed and it allows me to focus even more on the task at hand.”

Graf particularly appreciates the NoiseGard noise cancellation feature: “This really blocks out all the low end and boominess of the sound,” he observes. “There is a scene called ‘The Stampede’ where there is a ton of low end being pumped through the house subwoofers — the Sennheisers cancel all of this out so I can keep hearing the dialog clearly.”

With eight full performances per week, form factor and comfort become critical, says Follow Spot Operator Brendan Nolan: “When you are doing 2-1/2 hour shows almost every day, and on some days doing two shows, you will take your headphones off and really feel it on your ears. But not with these headsets — they are very lightweight. Also, the fact that you can flip up one of the ear cups is great in case you need to hear something going on right around you.”

Van Achte recalls a recent special event at the Minskoff Theater when he donned the HMDC 26-IIs: “The crowd was incredibly loud and boisterous and it was a full house. It reminded me of a celebration during Mardi Gras in New Orleans,” he says. “There was no way that I could sustain that decibel level for two hours, so I called back for the sound crew to bring me one of the new Sennheiser headsets. I put them on, and they really saved the day for me because I was able to hear everything. I actually mixed the entire show on them, and it proved to me how well the product works.”

Van Achte considers the purchase of the new Sennheiser HMDC 26-II as an investment in quality: “There was no second guessing about purchasing them,” he added. “They were a little more expensive than other headsets, but Sennheiser backs them with a two year warranty and we know they are willing to stand behind them.” ?

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) Alain Van Achte, head of sound department at Lion King, donning a pair of Sennheiser HMDC 26-IIs

2) Follow Spot Operator Brendan Nolan in his perch, wearing the Sennheiser HMDC 26-II headsets and operating the main spotlight.

3) The Sennheiser HMDC 26-II is designed to excel in extremely noisy broadcast and live sound environments.

New StreamGuys Interactive HTML5 Multimedia Player Breaks Compatibility Barriers

Unique player design solves metadata challenges, simplifies multiscreen advertising for broadcasters, audio publishers across multiple devices

BAYSIDE, CALIFORNIA, November 21, 2013StreamGuys announces the launch of its HTML5 player to help broadcasters and streaming services retain and increase audiences with a multiplatform approach, ensuring one player can accommodate revenue-supported live streams on iOS, Android and other mobile and desktop devices.

StreamGuys’ new interactive player supports all popular mobile devices in alignment with the HTML5 markup language, which is quickly becoming the streaming platform of choice among broadcasters, publishers and advertisers who favor its multi-device support.

StreamGuys differentiates its HTML5 player by providing integrated metadata support, which seamlessly synchronizes live audio streams with relevant data of interest to consumers. This gives broadcasters and audio publishers a unique opportunity to offer audiences a full featured, interactive HTML5 player that works on every device. Radio stations, musical artists and other service providers can now easily, and dynamically, display artist and song title information, Amazon live links, social network connections and more alongside audio streams.

“There is no HTML5 standard for extracting the song title and artist name from a media stream and displaying it within a web page, which creates integration headaches for service providers and a less satisfying consumer experience,” said Dean Mitchell, lead developer, StreamGuys. “StreamGuys solves this problem by integrating a robust, server-side metadata parser with a flexible HTML5 media player. Broadcasters can now offer their audience a feature-rich, revenue-supported media player that has a consistent user experience across all devices.”

The launch also comes at a time when broadcasters and streaming services are exploring ad insertion technologies for multiscreen advertising. StreamGuys supports live ad insertion within its new player, using dynamic advertising technologies to trigger pre-rolls, mid-rolls and post-rolls. Similar to its metadata application, the HTML5 player automatically coordinates player content with the ad server to trigger the right advertisements for the right audiences at the right times.

Mitchell adds that StreamGuys will extend its HTML5 player functionality to other multimedia streaming services in future versions.

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

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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