Now Available for Streaming: Audio-Technica “Ask Me Anything” Sessions at 135th AES Convention

— Featuring industry insiders and friends of A-T, these AMA sessions proved to be informative and revelatory for an audience of in-person AES convention attendees as well as a worldwide online audience —

STOW, OH, December 4, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, has made available online the “Ask Me Anything” (AMA) sessions the company recently hosted at the 135th AES Convention in New York, NY. Sessions took place on Friday, October 18, and Saturday, October 19, at A-T’s exhibition booth on the convention floor.

The archived sessions, available on www.audio-technica.com/aes2013, include discussions with Joel Singer, GRAMMY® Award-winning engineer/mixer, co-founder and chief engineer of Music Mix Mobile; Jackie Green, VP R&D/Engineering at Audio-Technica; Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer; Richie Castellano, musician and YouTube sensation; Richard Chycki, mixer, engineer and producer; Carl Tatz, TEC Award-nominated recording studio designer; Frank Wells, then-current President of AES; and Jimmy Douglass, GRAMMY® Award-winning recording engineer/record producer.

“Ask Me Anything” questions were submitted by individuals present at AES booth 2723, online at www.livestream.com, and by Twitter #ATliveAES – and then fed to the presenters through a moderator during the 30-minute Q&A sessions.

“We were extremely happy with the AMA sessions in the A-T booth at the AES show this year,” stated Gary Boss, Audio-Technica Marketing Director. “Not only was this a unique opportunity for both attendees at the show and those at home to ask insightful questions, but the content will be archived for a whole new audience to benefit from all of our presenters’ wisdom and insights. There were laughs, thought provoking answers and a few uncomfortable moments. Exactly the kind of scenario where we get to see the true genius behind our guests and understand why they are at the tops of their respective fields.”

Watch Audio-Technica “Ask Me Anything” sessions at www.audio-technica.com/aes2013.

Photo caption: Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.

Photo caption: Jackie Green, VP R&D/Engineering at Audio-Technica, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.

Photo caption: Jimmy Douglass, GRAMMY® Award-winning recording engineer and record producer, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.

Masque Sound Ushers Sennheiser’s New Digital 9000 Wireless System onto the Great White Way

Leading Theatrical Sound Integrator Represents the Pinnacle of Audio Innovation, Offering its Clients ‘No Compromise’ Quality and Reliability from Sennheiser

Old Lyme, CT, December 3, 2013: Audio specialist Sennheiser announced that Masque Sound, a leading sound reinforcement, installation and design company, recently took delivery of a new Sennheiser Digital 9000 wireless system. The new acquisition enables Masque Sound to offer its clients the newest and most advanced wireless audio system ever manufactured by Sennheiser.

Masque Sound is a third generation company that has been providing Broadway and many large-scale touring productions with the most innovative audio solutions for over 75 years. The highly respected company counts timeless productions such as The Lion King, MAMMA MIA! and The Phantom of the Opera among its clients.

“There has been overwhelming demand among key designers and theatrical sound professionals to demo and use the Digital 9000 wireless system from Sennheiser,” commented Scott Kalata of Masque Sound. “We felt the Digital 9000 was an outstanding investment considering its quality and flexibility, especially as it relates to the upcoming frequency challenges our industry will be facing. We are very pleased to have such an innovative RF system in our possession and so far our clients are really looking forward to getting their hands on it.”

Every Sonic Picture Tells a Story

Kalata recognizes that Broadway productions require the best possible audio quality to help convey a story, and that today’s audiences expect nothing less than a moving and realistic audio experience: “Today’s sound designers want audio content to sound as neutral and as realistic as possible,” Kalata states. “They clearly want to move away from the companding artifacts that are always present to some degree and can compromise analog RF systems. The sonic difference between legacy and fully digital Sennheiser radios is night and day to even the casual listener.”

The Sennheiser Digital 9000 features completely uncompressed audio, artifact free wireless performance and superb dynamics while making frequency coordination nearly effortless. These features make it a top consideration for theatrical, broadcast and demanding live performance applications.

On Broadway, there are inherent challenges to achieving a clean wireless signal given the close proximity of television stations, radio broadcasts and other interference generating venues. The Digital 9000 enables seamless frequency coordination within extremely congested environments: “We need to make sure everything is coordinated to work within the local RF environment,” observes Kalata. “Remember, on 44th or 45th street in Manhattan, there could be over a hundred radios working at once, so this can be a huge challenge. Our testing of the Digital 9000 showed that it is incredibly robust and immune to extraneous frequencies, whether they are analog or digital. Because of this, we will be able to use it in environments where traditional analog radio might not be able to operate reliably.”

Masque Sound has an impressive track record of innovation, and prides itself on being one step ahead of client demand: “We were the first company to send a digital mixing console out on the road for a major musical tour back in the early 2000s — at that point, nobody had done anything on that scale,” says Kalata. “The Sennheiser Digital 9000 represents a similar innovation, so we felt was had to be involved with it very early on. We aim to always be a leader in the marketplace, not a follower.”

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Moog Announces Minimoog Model D Expansion Pack for Animoog

ASHEVILLE, NC, December 2, 2013: Moog Music announced the release of The Minimoog Model D Expansion Pack for their award winning iOS synthesizer, Animoog. The expansion pack includes 69 Timbres extracted from a vintage Minimoog Model D analog synthesizer, and 213 presets designed exclusively for Animoog’s Anisotropic Synthesis Engine. Presets were crafted by a preeminent set of designers including Sound Creation Expert Kevin Lamb, Timbre Extraction and Design Pundit Drew Neumann, Synthesist Adam Holzman, DJ/Producer Dom Kane, and Sonic Mayhem’s Sascha Dikiciyar.

“Animoog’s Anisotropic Synthesis Engine is unique in that it uses timbres as evolving oscillators rather than as samples,” said Cyril Lance, Chief Engineer Moog Music. “Taking timbres from a Minimoog and placing them in Animoog creates very distinctive sounds that are advanced and invigorating. This isn’t an emulation of a Minimoog. It is actually a new way to experience it.”

The Minimoog Model D Expansion Pack is available now as an In-App-Purchase in the Animoog store for $6.99. The Animoog app, which received the 28th annual TEC award for Audio Apps Technology For Smartphones and Tablets, is available for download on Apple’s iPad, iPhone, and iPod as well as for the Blackberry Z10. Audio samples for Animoog expansion packs are available on the Animoog product page at http://www.moogmusic.com.

Links:

• Animoog on the iTunes App Store: https://itunes.apple.com/us/app/animoog/id471638724?mt=8
• Animoog product page: http://www.moogmusic.com/animoog
• Moog Music website: http://www.moogmusic.com/
• Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
• Animoog on Facebook: http://www.Facebook.com/animoog

About Moog Music:

Moog synthesizers and other electronic musical instruments are designed and lovingly handcrafted at the Moog Factory in downtown Asheville, North Carolina. The company and its customer’s carry on the legacy of Dr. Bob Moog, inventor of the Moog synthesizer and founder of Moog Music Inc. Moog Music celebrates the innovative spirit of Dr. Moog in every instrument they produce and also at Moogfest, their five-day festival dedicated to the synthesis of technology, art and music.

RTW Welcomes Jessica Kell as Head of Marketing

Kell Will Oversee Marketing Communications for the Company

COLOGNE, GERMANY, 2 DECEMBER, 2013 ? RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce that it has named Jessica Kell as Head of Marketing. Kell will draw upon her technical training as a lighting and sound technician and her media design experience to lead RTW’s marketing efforts as the company continues to enjoy rapid growth.

In her new position, Kell will be responsible for overseeing RTW’s global marketing communications, including product campaigns and trade show planning. She will work closely with the company’s sales team to develop messaging for new campaigns that continue to reinforce the company’s commitment to developing solutions that best address the needs of current and potential customers.

“I am very pleased to join RTW,” says Kell. “The company’s industry reputation is stellar, one of quality and innovation. It is an exciting time for RTW, as it continues to penetrate new markets and reach new customers with its innovative audio solutions. I look forward to working closely with the team to help enhance its brand throughout the world.”

A lighting and sound technician, Kell brings her extensive knowledge of event production technology to RTW. She has worked at several opera houses, both as a technician and stage manager, and understands the important role that reliable, up-to-date audio equipment plays in a successful live production. Prior to joining RTW, she worked as a freelancer for several design and event-planning agencies in Germany. She has also studied media communications and cultural sciences. This combined background gives Kell a solid foundation for understanding the needs of RTW customers, enabling her to highlight RTW’s solutions in an intelligent and effective way.

“Jessica brings a unique combination of skills and experience to her new position,” says Andreas Tweitmann, CEO, RTW. “She has a fresh perspective, one based on her hands-on experience as a technician and her expertise in communications and graphic design. As RTW continues to expand its presence within new markets and deliver innovative metering solutions, we are very happy to have Jessica on board to lead our marketing efforts.”

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.

Real Life Christian Church Expands Its Multi-Site Ministry With Sennheiser Wireless Microphones and In Ear Monitor Systems

Sennheiser’s Evolution Wireless G3 Series Prevails in a High-Volume RF Region, While Providing Scalability and Ease of Operation

Orlando, FL, November 26, 2013: Real Life Christian Church is an Orlando-based ministry providing services to over 5,000 people across five locations, each utilizing Sennheiser microphones and wireless systems. At each of its campuses, the church features live and video teaching as well as upbeat music from a modern worship band, with a volunteer production staff handling most of the AVL duties. The church recently expanded its facilities by adding a new portable campus at the University of Central Florida (UCF) — the second largest university in the United States.

Since the newest campus is ‘portable,’ it requires production staff to quickly set up and strike all the equipment needed to produce a high quality service each week. The system is outfitted with several channels of Sennheiser evolution wireless G3 systems and microphones not only because they are extremely easy to set up, but because they routinely deliver high quality audio and reliability in one of the most congested RF environments in the country.

In addition to using Sennheiser evolution wireless at all of its campuses, Real Life also uses Sennheiser equipment to facilitate Real Life TV on Good Life Broadcasting, a regional broadcast network that reaches millions of people in central Florida. Real Life is also able to extend its reach by hosting church online and a podcast that worshipers can tune into from anywhere in the world.

“We need to make sure that the audio is consistent across each of our environments, whether our services are happening in person or via broadcast,” says Phil Ramsey, media pastor for Real Life. “We use Sennheiser, because any lack in clarity or intelligibility can negatively impact the overall worship experience for our congregation.”

Depending on Sennheiser Evolution Wireless G3:

Real Life saw the potential of portable ministry campuses for its growing congregation early on. Before opening its newest UCF location in August, the church already had two other portable facilities that required set up and strike each week. When it came to expand again, Ramsey didn’t hesitate specifying Sennheiser equipment again since it had already proven its worthiness among the churches four other locations in and around Orlando.

“We really needed microphone system that we can come in, plug in and go,” says Ramsey. “The frequency coordination on the G3 wireless system is so simple, and it is the standard at all of our locations so any of our volunteers can have everything set up and running in a matter of minutes. We’ve never had wireless microphone issues at these portable facilities, and this is huge for us. Everything is rock solid.”

At all of its combined campuses, Real Life utilizes approximately 40 channels of G3 wireless systems, as well as accompanying in ear monitor (IEM) systems. Ramsey says Real Life will soon be integrating several Sennheiser SKM 2000 handheld wireless transmitters into its arsenal, coupled with Neumann KK 204, KK 205 and Sennheiser e965 microphone capsules. “As far as wireless mics are concerned, these capsules deliver the ultimate clarity we are looking for in our style of music, and enable the vocals to sit on top of the mix without a lot of work,” says Ramsey.

Sennheiser Wireless Systems Manager:

Sennheiser’s Wireless Systems Manager (WSM) software enables Real Life to access and monitor its wireless equipment via remote control. The production team is able to view mute status, battery life and other important parameters by utilizing WSM’s advanced software features. “We use WSM because most of our equipment is locked up in a rack and we don’t have immediate access to the hardware,” says Ramsey. “With the WSM software, we have so much control in the palm of our hands and without having to access the physical devices. When you are in a 100,000 square foot facility, that makes all the difference.”

With its eyes on the future and on the further development of its new UCF campus, Real Life has never looked back in its quest for outstanding audio: “For our church, the message is so important,” he says. “We want to glorify Christ in everything that we do, and we believe that audio is one of the primary methods for relaying that message. It doesn’t matter whether someone is tuning in on their cell phone, their iPad, or attending in person. We want the audio to hit the mark.”

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.

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.”

-ends-

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.

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

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