A virtual press conference from Sound & Video Contractor

Archive by Hummingbird Media

Bringing Pristine Audio into a Visual World: Sennheiser MKE 400 and MKE 600 Microphones Create ‘Gold Standard’ for Amateur and Semi-Pro Filmmakers

As Worldwide DSLR Market Continues to Grow and a New Social Video Culture Takes Hold With Innovative Platforms Such as Vine, Sennheiser Brings Audio Integrity into the Mix

Old Lyme, CT – September 18, 2013 — Sound has always been an integral element to modern filmmaking, and for decades Sennheiser has represented the ‘gold standard’ in capturing audio — both in the studio and on-location. Over the last several decades, sound mixers and boom operators have come to rely on both vintage and modern classic shotgun microphones from Sennheiser — including the ME 66, the MKH 416 and MKH 8060 — to make their films ‘come to life’ with dialog, effects and music. As devices such as DSLRs and smartphones continue to proliferate the consumer market — and as the use of innovative content sharing platforms such as Vine and Instagram become commonplace among consumers, Sennheiser is now bringing its microphone technology to an entirely new generation.

According to a press release by Transparency Market Research, digital cameras represent one of the most popular segments of the consumer electronics products market, and the worldwide digital camera market is projected to grow to 138 million units by the year 2015. Meanwhile, applications such as Vine and Instagram bring elements of immediacy and authenticity that were simply not available to the general videomaking consumer in the past. For amateur and semi-professional filmmakers, this means there has never been a better time to create and share video.

Enter the MKE 400, MKE 600 and KA 600i

Just as it has provided premium solutions to professional filmmakers for the last several decades, Sennheiser recently made its MKE 400 and MKE 600 shotgun microphones available to would-be filmmakers and video enthusiasts all around the world. These solutions, designed to be used in combination with camcorders, DSLRs and now smartphones, help content creators realize the dream of ‘no-compromise audio.’ These microphones focus on sounds in front of the camera, while attenuating unwanted sounds coming from the sides and rear. Both the MKE 400 and MKE 600 feature a universal shoe mount and have low cut filters, which help minimize wind noise in demanding situations.

With the KA 600i, Sennheiser makes it possible to capture high qualtiy audio with simply a smartphone, when used in conjunction with the self-powered MKE 600 microphone. As smartphones become more and more powerful, and applications become more creative and flexible, the KA 600i places an unprecedented amount of power into the hands of both amateur videographers as well as professional journalists and others capturing video while ‘on the go.’

What does sound mean to YOU?

Starting this week, Sennheiser is launching a contest directed to both amateur and semi-pro filmmakers. Entrants must answer the question “What does sound mean to you?” and will submit responses through the Vine app for iPhone and Android. One grand-prize winner will win a premium Sennheiser MKH 416 shotgun microphone, and second and third place winners will take home a new Sennheiser MKE 600 shotgun microphone. Interested participants should visit the Sennheiser website [http://en-us.sennheiser.com/avcontest] between now and October 7th; entries will be judged on creativity, originality, and use of audio.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headsets and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

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

Captions:
1) The Sennheiser MKE 600, outfitted with the MZW 600 windshield, available as an accessory.
2) The Sennheiser MKE 600, pictured here with the MZW 600 windshield, features a low cut filter to help minimize wind noise.
3) The MKE 400 shotgun microphone, designed for use with DSLR cameras.

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25×25: World-famous DJs wish Happy 25th Birthday to the Sennheiser HD 25

Old Lyme, CT, September 16, 2013 – Iconic, cult, legendary: only a product that inspires passion and remains in demand after 25 years earns this level of acclaim. Launched in 1988, Sennheiser’s HD 25 has come to define the ultimate DJ headphone. Alongside the launch of a new edition – the HD 25 ALUMINIUM, the anniversary is being marked by 25 of the world’s greatest DJs, who wish the iconic headphone a “Happy Birthday” and explain its essential role in their music and performance.

Top DJs and their HD 25s – The stories and memories

Over the past 25 years many of the world’s greatest DJs have selected Sennheiser’s HD 25 as their first choice of headphone, with some using theirs over years and even decades. That enduring appeal is expressed by 25 of the world’s leading DJs (and HD 25 fans), who send their birthday wishes in a special film by Sennheiser. Star DJs including QBert, Bob Sinclar, and Luciano describe how their HD 25s become an integral part of performance and the experience of music itself. They also share stories of their first DJ performances, describe the feeling of playing to an audience and the role their headphones play in delivering a great performance. To watch the Happy Birthday HD 25 video and exclusive DJ interviews, visit www.sennheiser.com/dj.

That special something: What makes the HD 25 the perfect DJ headphone?

Built for a life behind the decks, the HD 25’s highly insulated rotatable capsules deliver high levels of background noise attenuation, make one-ear monitoring easy, and stay comfortable when worn for long periods. And the daily punishment of professional use is more than matched by its robust build quality and serviceability.

But keeping the world’s greatest DJs happy is about more than the features and specifications. For DJ legend and four-time DMC champion QBert, the magic of the HD 25 is its precise signature sound, a characteristic that’s prized by many DJs: “My ears are accustomed to the Sennheiser sound. I love that the HD 25s have a flat sound, so you hear how the music really is – not coloured, but pure – the way the artist wanted to put their music out. I’ll be using these for 50 years – 100 years!”

“I’ve been using the HD 25 for a long time and Sennheiser headphones even longer – they made the first headphones I ever used!” said Swiss-Chilean DJ, Luciano. Likewise, Canadian superstar DJ Mike Shannon has found over the course of his career that the HD 25s are built to last: “I’ve been using the HD 25s since they came out,” he explains. Commenting on the sound performance, which offers tightly controlled bass and detailed treble while handling high sound pressure levels, Shannon said: “The clarity of the sound, it’s a clean reference – it’s very real. In the studio, listening to a mix, the sound is tight – it’s one to one with how it’s intended.”

Like Shannon, Parisian electro house DJ, producer and label boss Martin Solveig has had a lifelong affair with the HD 25: “I’ve never ever DJed without it. If you look online at the pictures of all my performances and every party you’ll never see me using another headphone. It’s the only piece of equipment I’ve never changed. The reason is the same reason everyone will tell you – it’s the best headphone. The response is linear enough to be trusted even in a studio or recording situation. Of course, I know the sound, and it matches the references in my head – I’m formatted to this headphone!”

In daily use, performance has to be matched with comfort and durability. Ibiza legend and Pacha resident Andy Baxter explains that the headphones’ longevity also reflects its perfect blend of both sound and a robust design that offers a great fit over long periods of use: “I’ve been using the HD 25 for many years now – there’s no more comfortable headphone out there that can deliver such good sound quality, for myself and for many of my favourite DJs that use the HD 25, too. Happy 25 years of listening pleasure to the one and only Sennheiser!”

The HD 25 ALUMINIUM – The cult classic reborn

Marking the 25-year milestone, Sennheiser has launched the HD 25 ALUMINIUM, a new version featuring a unique, premium aluminium construction. Taking the legend into the future, the HD 25 ALUMINIUM naturally delivers peerless sound quality in a headphone that is now even more desirable. With earcups lathed individually from single blocks of strong, lightweight aluminium, the HD 25 ALUMNIUM is ready for a lifetime in the DJ booth. Find out more at: www.sennheiser.com/hd-25-aluminium.

About Sennheiser

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, Canada, Mexico, the USA and now Australia and New Zealand, 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.

Captions:
1: Sennheisers legendary HD 25 celebrates its 25th birthday with a new aluminium version.
2: DJ superstar Luciano behind the decks with the new HD 25 ALUMINIUM.

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Osheaga Music and Arts Festival Leaps Onto the World Stage as Sennheiser Provides Exquisite Sound for Fourth Year in a Row

Montreal, September 12, 2013 – Montreal’s Osheaga Music and Arts Festival, held every summer at the city’s breathtaking Parc Jean-Drapeau on Île Sainte-Hélène, is not only well established as Canada’s top music festival, but is also ranked as one of the top music festivals in the world. With many thousands of passionate indie music fans in attendance, audio manufacturer Sennheiser was on hand to support the Green Stage (La scène verte) for the fourth year in a row, along with loudspeaker manufacturer K-array.

Since launching in 2006, when headliners including Sonic Youth, Ben Harper, and the Flaming Lips drew a crowd of 25,000, Osheaga has grown to attract no less than 135,000 music fans – and along the way has become an essential stop among many touring artists’ itinerary. In 2012, Pollstar ranked Osheaga Music and Arts Festival as the 11th largest in the world. This year, amidst mostly sunny skies, international touring artists gracing the Green Stage included The Breeders, The Gaslight Anthem, Tricky, Explosions in the Sky, Beach House and many others. Sennheiser’s Global Relations Team supported Osheaga’s Green Stage by supplying an impeccably pre-configured rack of its wireless solutions including IEMs (in-ear monitors), while Sennheiser Canada supplied a comprehensive selection of instrument and vocal microphones as well as the latest energy-efficient loudspeakers from K-array.

“The Osheaga Music and Arts Festival continues to enjoy an increasing international profile as a ‘destination music festival’, attracting music fans from all around the world with the beautiful backdrop of Montreal,” said Sennheiser’s Kristy Jo Winkler, relations manager, Americas. “Four years ago, Sennheiser helped the Green Stage establish an impressive standard in sound quality, staging and power efficiency. We hope to continue doing this for many years to come.”

Sennheiser makes Osheaga’s La Scène Verte sing

Dozens of veteran and emerging artists delivered electrifying sets through to a rapt audience of as many as 25,000 at the Green Stage. Living up to its “green” moniker, the stage featured the latest, highly efficient line of K-array speakers, as well as Sennheiser’s 2000 series wireless transmitters and receivers, its evolution series wired microphones, and its ew 300 IEM G3 wireless monitoring systems.

Sennheiser e 935 wired microphones were used as well as MMD 935-1 microphone capsules in conjunction with SKM 2000 XP handheld wireless transmitters. “I have been using Sennheiser 935 capsules for many years now and I love them,” states Greg “Monk” McClement, front-of-house engineer for the Sennheiser Green Stage. “We used them throughout the festival, in both wired and wireless applications. That’s the main vocal capsule I use on anything I do.”

Sennheiser’s evolution series microphones were also used throughout the backline. Monk had Sennheiser mics covering the entire drum kit on the stage, starting with the e 602-II cardioid microphone on the kick drum: “When the e 602-II mic came out, suddenly I had the attack, as well as the softness that is necessary for the type of music that I am doing,” he says. “All kick drum mics are different, but the e 602-II gives me more options to find the sound I am looking for.”

For the rest of the drum kit, Monk used a Sennheiser e 905 on the snare, an e 604 on the toms and a Neumann KM 184 on the hi-hat. “The e 604 clip-on is great because it not only sounds great but also helps facilitate the quick changeover we need in between acts for the patch guys on stage,” observes Monk.

The guitars amplifiers were covered by Sennheiser e 906s and e 609s, which were used in combination with a Sennheiser MK 4 large-diaphragm microphone on some of the amps. “The large-diaphragm on the MK 4 helps me pick up the mid-range frequencies properly. On the guitar amps, we had the mic pretty close up to the speaker and the capsule really held up,” Monk says.

Monk was particularly pleased with the state the Sennheiser rack containing the wireless receivers and handheld transmitters arrived in. “Everything seemed to be tuned, and it was super-easy for us to access all the packs and handhelds we needed,” he says. In a live scenario where every production minute counts, this made set up more efficient: “We don’t have time to mess around,” he says. “We are doing live music and everything has to work on the first shot.” The Sennheiser IEMs, as well as the wireless transmitters, proved to be a magical combination for both the production staff and the artists: “When the in-ears sound this good, the bands are all just so happy,” Monk observes. “The clarity between the wireless mics sending and the in-ears receiving is just insane – I have never heard that kind of quality from any other company.”

K-array Powers The Green Stage for Four Years Running

The self-powered PA system on the Green Stage consisted of ten KH4 two-way speaker systems, ten KS4 dipole subwoofers, and ten KO70 dual-21-inch sub-bass cabinets, with additional KH4/KS4 arrays as well as KH15 compact two-way speakers providing fill and delay. “It felt like we were indoors,” says Monk. “It’s very difficult when you are outdoors to have that feeling, but the K-array system managed to deliver that. All the bands’ sound guys were very impressed and really felt like they were mixing inside.”

Vaino Gennaro, Business Director-Live sound Sennheiser Canada, articulated how the K-array speaker system continues to deliver significant energy and cost savings: “The power consumption on the K-array KH4/KS4 speaker system is reduced to a minimum thanks to the use of digital amplifier modules with high-energy output from minimal power input, hence saving energy and becoming the first ‘green’ PA in the market.”

“The compact size, shape and light weight of the K-array system will fit most PA system demands while requiring only a minimal footprint,” Gennaro continued. “This results in savings on trucking – smaller trucks mean lower rental costs, savings on fuel, and requires only a regular driver’s license.” He also observes that the labor for set-up and teardown is minimized, because less crew and man-hours are required. “A lighter system requires fewer rigging points, smaller motors, and can be easily ground-stacked,” he says.

Aside from the cost and set-up efficiencies, the K-array over-delivered when it came to the sound. With its built-in DSP settings, the entire rig was easy to tune and optimize for the venue. “It delivered an awesome clean and true sound that could be heard even from a distance!” says Gennaro. One of the main considerations in setting up the PA was ensuring that the PA would deliver sufficient headroom, in case a sound engineer were to push the system by a few dBs. Gennaro recalls such an instance: “During a set by C2C, the engineer pushed the system and the K-arrays really rose to the occasion and sounded amazing,” he says. “On the live console faders for a system this large, the difference of zero plus one or zero plus two can mean a huge amount of sound. We knew the speakers would handle this and there was absolutely no distortion.”

Looking back on another successful Osheaga festival, Monk is grateful to have Sennheiser at his back: “Sennheiser takes professionals very seriously, and the company stands behind their products when they are engaged at a festival like this,” he concludes. “Each time, they put a really good team together with a lot of experience. This goes a long way during a festival that has many of us working long hours over the course of many days. It is also great for the bands coming in to play, because they know they’re going to get great sound.”

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.sennheiser.com.

Photo captions:
1: Sennheiser Canada artist Misteur Valaire performs on the Green Stage using Sennheiser equipment
2: Richie Follin from Guards, singing through a Sennheiser e 935 wired microphone
3: Front-of-house engineer Greg ‘Monk’ McClement, manning the Green Stage at Osheaga
4: Racks containing Sennheiser ew 300 IEM G3s wireless monitors and 2000 series wireless microphones
5: France’s C2C turntable quartet pushed the highly efficient K-array PA system to its limits
6: The K-array KH4 and KS4 loudspeakers, at left of main stage

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iZotope Releases RXTM 3: A Complete Audio Repair Suite

IBC, Amsterdam, Netherlands, (September 12, 2013)iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in real time, and new features for post production, music production, mastering, and more.

“RX 3 and RX 3 Advanced are the culmination of three years of invaluable user feedback. We’re happy to bring these customer-driven improvements to our industry-leading repair software,” says Alex Westner, Director of Product Management at iZotope, Inc. “Crafting broadcast-quality audio is now even easier with RX 3’s workflow improvements designed to enhance speed, power and flexibility for time-strapped professionals working in post production.”

KEY FEATURES:

What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using InsightTM, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRCTM sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+TM dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now. Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.

RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3.

Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

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.

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

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Audio Expert Mike Thornton to Explore iZotope’s Innovative RX 3 Toolkit for Post Production Professionals During SuperMeet at IBC

Amsterdam, September 10, 2013 – With IBC approaching next week, one of the most pressing issues facing post production professionals is how to create and deliver high quality audio tracks in an increasingly ‘noisy’ modern world. Next week on September 15th, sound designer, audio producer and post production expert Mike Thornton will address these challenges, and explain how iZotope’s new RX 3 audio restoration software can help overcome audio issues in post production with unprecedented efficiency.

During his showcase appearance at CPUG Amsterdam SuperMeet during IBC, Thornton will give his 20-minute stage presentation Rescue Bad Audio from the Cutting Room Floor in Amsterdam’s Grand Hotel Krasnapolsky on Sunday night between 7:00 p.m. and 11:00 p.m. — product demonstrations will begin at 4:00 p.m. Following is a brief preview of what attendees can expect, according to Mike:

What are some of the modern challenges post production professionals face in maintaining integrity in their audio?

One of the biggest challenges we are all facing is that there are less and less sound recordists being booked to record audio, so very often these tasks are left to production assistants, cameramen or directors rather than audio engineers. The reality is that these people can’t be expected to do everything at once and achieve an optimal result. What we see time and time again is that the sound suffers accordingly. As a result, very often, lower grade sound arrives in the edit room and now we can address this with intelligent tools such as iZotope RX 3.

What about audio coming from ‘controlled environments’?

In my opinion, the world is getting noisier and noisier. So even if you have good sound recordists on location to capture the audio, trying to get a truly quiet soundstage is quite a challenge and becoming next to impossible. Television studio floors on ‘light entertainment shows’ are incredibly noisy, for example. There are very often lights with motors in them, projectors, fans and other gear that introduces more acoustic noise. That means that the audio coming into the microphones is already substandard, even though there are good quality microphones on the set positioned by professionals. All of these things together mean that more and more of the audio we see in post-production is noisy, and we’ve got to deal with this. These are the kinds of challenges we see post professionals dealing with on a daily basis.

What are some standout features of the RX 3 audio restoration software?

First, it’s the Dialogue Denoiser, which operates in real-time. Until now, denoising was something that the software had to learn based on a specific noise after you assigned it a “noise profile.” Now, RX 3 reduces the background noise in real time, without adding any significant latency. The low latency aspect is key, because if you are working in television, you need to keep everything in sync. The Dialogue Denoiser is also incredibly easy to use.

What about the Dereverb module?

This is another key product feature, because very often you have situations where non-professionals are recording and maybe the microphone is further away or positioned differently than a professional would have had it. Or perhaps the recording was good, but just captured in an overly reverberant facility, such as a church. With RX 3, iZotope has made it incredibly easy to reduce or remove reverb altogether. You get the RX 3 to learn a bit of the audio with the reverb, and then RX 3 provides recommended settings that would be needed to remove it. This gives the user a tremendous starting point, making it all the more easier to achieve a great result. The Dereverb and the Dialogue Denoiser are the biggies for me, but there have been other improvements right across the board. iZotope has worked very hard at improving the GUI as well, and this helps tremendously with the overall user experience.

Why is ‘ease of use’ so important?

It comes down to the old adage ‘time is money’ — if it takes me three hours to clean up the audio, chances are the client won’t want to pay for it. If I can do this in ten minutes though, the client is delighted and everybody is happy. One of the problems we have in the industry is diminishing budgets and how much time people are willing to devote to a project. We are very often constrained in post production and have limited time to finish a program. So we have to make good decisions about what we can do in the time we have available. If there is a tool such as RX 3 that enable us to do a really good job very quickly, then our client is happy because they get a great finished product. And we get more work!

About Mike Thornton

Mike has worked in the broadcast audio industry for his entire working life, some 35 years. He has worked with Pro Tools since the mid 90s, growing up with it when it could record 4 tracks on a good day with a following wind! He has been recording, editing and mixing documentaries, comedy and drama for both radio and TV, as well as working the occasional music project. Adding to all that, Mike has provided 24/7 Pro Tools support for 15 years, as well as being a broadcast audio consultant & trainer and is deputy editor of Pro Tools Expert.

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.

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Essential Style: The new Sennheiser MOMENTUM On-Ear in black, brown and red brings performance and sleek, understated beauty

Old Lyme, Conn., September 9, 2013Sennheiser goes minimal with new MOMENTUM On-Ear colors. At IFA in Berlin, the audio specialist introduced three new versions of its MOMENTUM On-Ear. Now available in high-gloss black, classic brown and intense red, the new headphones revisit the stylish, minimalist urban look of Sennheiser’s acclaimed MOMENTUM, delivering a combination of pure, clean aesthetics and high performance in a compact on-ear design.

The MOMENTUM On-Ear headphones are the perfect fusion of style and substance; delivering great performance, crafted from the finest materials and featuring a sleek, understated look. The first four MOMENTUM On-Ear versions launched this summer in a burst of color – a celebration in fresh, energizing tones. “With the three new color versions, Sennheiser has re-imagined this essential, cool design in richer, more subtle tones,” said Charles Cha, Product Manager at Sennheiser. “Where the MOMENTUM On-Ear headphones first showed their playful and extroverted character, the new versions are a more discrete revelation of luxury that hints at their superb performance.”

High quality materials, high-end design, high performance
The MOMENTUM On-Ear headphones’ great looks reflect both its clean, minimalist design and the tangibly high quality materials and workmanship. The ear pads and headband have been finished in Alcantara®, a high-tech material produced in Italy. Alcantara’s® unique combination of suppleness, durability and breathable finish makes it highly valued in fashion, interior design, and automotive applications. Here, it provides the listener with the ultimate in comfort, even for long periods of listening enjoyment. The headband of the MOMENTUM On-Ear is made of premium brushed stainless steel. They are the perfect choice for those who demand top quality and don’t want to compromise in any aspect.

Similarly, no compromises have been made on sound quality. Powered by Sennheiser’s proprietary 18-ohm transducers, the MOMENTUM On-Ear serves up a full stereo sound in a frequency range from 16 to 22,000 Hz, delivering incredible clarity and detail with a slight bass emphasis. The closed, on-ear design ensures reliable isolation from external noise for a great listening experience on the move – even in noisy urban environments.

In control, on the go
The MOMENTUM On-Ear headphones feature a single-sided detachable cable with convenient in-line remote and microphone for Apple iDevices, for easy control of music playback and to make and receive calls on the go. The three new variants of the MOMENTUM On-Ear in high-gloss black, classic brown and intense red are available at selected retailers from autumn 2013.

About Sennheiser

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, 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.

Captions:
1: The MOMENTUM On-Ear in classic Brown captures the essence of modernist urban style.

2: The new Sennheiser MOMENTUM On-Ear in high-gloss Black

3: The MOMENTUM On-Ear in intense Red

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Moog Announces Discontinuation of Little Phatty Analog Synthesizer

ASHEVILLE, NC – September 9, 2013Moog Music today announced the discontinuation of the Little Phatty Stage II analog synthesizer. Moog plans to continue building a limited quantity of units at their factory in downtown Asheville while parts and materials last, which is not expected to be more than two months. The Little Phatty was released in 2006 as a tribute to the life and legacy of Moog Music founder and synthesizer pioneer, Bob Moog. Following the passing of Dr. Moog, The Little Phatty was the first Moog synthesizer designed by Moog Music’s Chief Engineer, Cyril Lance.

“After Bob’s passing, we faced the immense challenge of creating a new synthesizer that would embody the values that we all treasured in Bob,” Lance recalls. “We worked around the clock to develop an instrument that was founded on his continually forward-looking view of synthesis.”

Over the course of its seven-year production run, the Little Phatty has gone through three incantations including The Tribute, Stage I, and Stage II editions. During that time, the Little Phatty has become one of the best selling professional analog synthesizers in history. Its sonic impact on modern music can be heard on thousands of records, and its signature swooped-back silhouette can be seen in top recording facilities around the world as well as on the stages of internationally touring musical acts such as Rush, Jack White, Queens of The Stone Age, No Doubt, Bernie Worrell and the hit shows American Idol, Nashville and Portlandia.

“The Little Phatty represented a key foundational element in what would become the future of Moog Music,” said Michael Adams, Moog Music President & CEO. “It was the synthesizer that proved to the world that Moog Music would continue to create market leading, forward-thinking synthesizers. The fact that the Little Phatty remains an industry standard instrument for artists and producers to this day, is a testament to its design.”

The Little Phatty Stage II is still available in limited quantities at stocking dealers in standard and custom colors while supplies last. For pricing and availability, please visit www.moogmusic.com/dealers.

Mini Documentary and Promotional Incentives

Moog Music released a mini-doc entitled Moog Lives. Play On.: The Making of the Little Phatty today which can be viewed on the Moog website. In the video, Moog Music President Mike Adams, Chief Engineer Cyril Lance, and Product Development Specialist Steve Dunnington recall how the Little Phatty came to life, the challenges that were faced when Dr. Moog fell ill, and how they were eventually overcome to create this one of a kind instrument.

As a thank you to existing Little Phatty owners, Moog Music is offering a free Little Phatty Gig Bag (an $80 value) with the purchase of the Little Phatty CV Output Modification. The modification adds one gate and four CV outputs to the Little Phatty for those desiring greater expressive flexibility. Moog Music is also offering a free percussion and legacy preset pack for Phatty owners available via down-load on its website.

The Phatty family of synthesizers lives on through the new Sub Phatty analog synthesizer and the Slim Phatty desktop synthesizer. For more information on the Phatty family of analog synthesizers go to: www.moogmusic.com/products/Phattys

Links:
• Video Link: http://www.moogmusic.com/content/moog-lives-play-making-little-phatty
• Free Percussion and Legacy Preset Pack Link: http://www.moogmusic.com/content/percussion-legacy-presets
• CV Out Modification: http://www.moogmusic.com/products/phattys/little-phatty-cv-out-modification
• Moog Music website: http://www.moogmusic.com/
• Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
• Moog Music on Facebook: http://www.Facebook.com/MoogMusicInc/

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About Moog Music:

Moog Music synthesizers and other electronic musical instruments are designed and lovingly handcrafted in the Moog factory in downtown Asheville, N.C. Moog Music and its customers carry on the legacy of Dr. Robert Moog, inventor of the Moog synthesizer and Founder of Moog Music Inc.

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iZotope at IBC: New RX 3, Complete Audio Repair Suite, to Debut at CPUG SuperMeet on September 15

September 4, 2013 · Amsterdam, NetherlandsiZotope, Inc., a leading audio technology company, will be showcasing the new RX 3 audio repair suite at the CPUG Amsterdam SuperMeet during IBC on September 15th. In addition to personalized demos at the iZotope demonstration stand, Post Production Specialist Mike Thornton will conduct a 20-minute main stage presentation Rescue Bad Audio from the Cutting Room Floor.

Using real-world examples, Thornton will show how RX 3 can resolve common audio problems in post-production and broadcast applications, highlighting features like the new real-time Dialogue Denoiser, the revolutionary new Dereverb module, and RX 3’s powerful spectral audio editor.

Presentation Details:
• WHAT: iZotope RX 3 product demonstrations and main stage presentation during CPUG SuperMeet
• WHO: Presented by iZotope and Post Production Specialist Mike Thornton
• WHERE: CPUG SuperMeet, Grand Hotel Krasnapolsky, Amsterdam, Netherlands
• WHEN: Sunday, September 15th, from 19:00- 23:00 CEST, with product demonstrations starting at 16:00

iZotope RX 3 is an industry-leading audio repair solution for audio engineers, post produc-tion 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.

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Antelope Audio Goes Atomic on Rihanna’s Internationally Acclaimed “Diamonds World Tour”, Bringing Unmatched Sonic Depth and Clarity

Santa Monica, CA, September 5, 2013 – Rihanna’s “Diamonds World Tour” is making its mark as one of this year’s most successful tours to date. According to a mid-year chart by Pollstar, it already ranks as the 11th largest grossing worldwide tour, having generated more than $50 million in ticket sales to date. Already well into its U.S. leg, “Diamonds World Tour” features several performances in North America, Europe, Asia, Africa and Australia. At the core of the production system is Antelope Audio, whose products facilitate clocking for the entire rig, including playback for synchronization, lighting, MIDI, sound effects and vocals.

“This is the best sounding tour I’ve ever been a part of and we’ve been running really hard,” says Demetrius Henry, playback engineer for the Diamonds World Tour. “We didn’t think we could get our playback rig to sound any better, but the Orion32 interface has taken things to another level —the difference was like night and day.” Currently, the tour is running two Antelope Audio Orion32s and a 10M atomic clock on playback, in addition to a Trinity | 10M combination at front of house (FOH). The Trinity | 10M combination, which is a favored selection among the world’s top mastering engineers, serves as the primary clocking duo for the entire production.

In addition to playback and FOH, there are two Antelope Audio Zodiac+ converters being used in conjunction with the keyboard rig on stage, providing artifact free, high-resolution audio for the duration of each performance. Kenny Scharetts, keyboard technician for the Diamonds World Tour, appreciates the piece of mind that comes with using the Zodiacs: “We have the Zodiacs racked up directly beneath the keyboards and they are so compact and rock solid. When I turn them on, I know they are going to be there for me — it is a dream to have this kind of stability and reliability.”

Since the beginning of the tour, which is now about half way through the North American dates, the Orion32, Trinity | 10M and Zodiac units have been performing flawlessly. Before hitting the road, the production crew put all of the equipment through its paces with several rehearsals, including two full dress rehearsals in Buffalo with a full P.A. before hitting the road. “Every department was able to get a full testing of their gear to make sure it was show ready,” says Kyle Hamilton, FOH engineer, Diamonds World Tour. “From the beginning, the Antelope gear has been running smoothly.” Sonically, it has taken the sound quality to the next level, according to Hamilton: “For me, the Trinity | 10M combo has given me an audio image full of depth and clarity, unlike anything I’ve ever experienced. The mix has always been clear, but now it has an extra sheen, sort of like what you might find on a nicely waxed car.”

The tour is massive in both musical content and technical scope. With a runtime of 97 minutes and a total of 36 songs, including interludes, the production team is running about 115 inputs in total. With such an extensive rig, the production team decided to take a holistic approach and clock the entire rig using Antelope, in addition to using its premium quality converters across nearly every part of the audio system. “Sonic changes don’t just occur at the console,” observes Hamilton. “It also has to do with the converters that are used throughout the system, in addition to the clocking. Also, it would not make any sense to have just one aspect of the system clocked — clocking the entire rig with Antelope gives us a consistently high quality result.”

On the Diamonds World Tour, the production team is focused on not just quality, but efficiency too. “Rack space is a precious commodity out here on the road — it’s like real estate: you only have so much land.” says Henry. “The fact that we are able to fit 32 channels of I/O on the Orion32 is a dream come true.” At playback, two Antelope Orion32s and a 10M are run through a pair of Apple MacBook Pros, which Henry says are lightning fast.

With a rock solid production team and reliable, great sounding equipment in place, FOH engineer Kyle Hamilton couldn’t be happier with the results they are achieving night after night. “It is immensely satisfying for us to be setting new standards in the quality of our live sound productions,” he says. “Every time we plug in another Antelope device, everything goes up a notch.”

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.

# # #

All brands and trade names are the property of their respective owners.

Photo captions:
1. Rihanna onstage at The Staples Center in Brooklyn, NY during the Diamonds World Tour.
2. The playback rig for the Diamonds World Tour includes two Antelope Audio Orion32 interfaces and a 10M atomic clock.
3. At front of house on Rihanna’s Diamonds World Tour, an Antelope Audio Trinity | 10M handles clocking for the overall production.
4. An Antelope Audio Zodiac converter sits beneath the keyboard rig onstage during Rihanna’s Diamonds World Tour.

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Sennheiser Digital 9000 Wireless System Takes Center Court at Elite U.S. Tennis Tournament, Delivering Flawless Wireless Performance

New York, NY – August 28, 2013 – The U.S. Open is the final major Grand Slam tennis tournament of 2013, with a purse of $34 million and over 700,000 fans expected to attend between now and Monday, September 9th. In addition to drawing international tennis stars such as #5 ranked Roger Federer, #1 ranked Serena Williams and Grand Slam defending champion Andy Murray, this year’s tournament began with a special appearance by First Lady of the United States, Michelle Obama, who spoke during the 18th annual Arthur Ashe Kids’ Day.

Audio Inc., provided the audio infrastructure, which includes eight channels of Sennheiser Digital 9000 wireless, (12) channels of evolution 300 series wireless and six channels of evolution 300 series in-ear monitors (IEMs). “The Sennheiser Digital 9000 was selected for its robust construction, audio quality, and the ability to provide us with frequencies that are not available in the analog world,” commented Mike Sinclair, VP at Audio, Inc.

The new Sennheiser Digital 9000 system, which features uncompressed audio, artifact free wireless performance and superb dynamics in a package that is easy to set up and operate, was used during Arthur Ashe Kids’ Day, which occurred on Saturday afternoon and was broadcast to millions of Americans by CBS Sports.

Ms. Obama, who was introduced by tennis champion Serena Williams, spoke through a Sennheiser ME 34 and an ME 35 wired back-electret condenser microphones, situated on an MZH goosneck at the podium. Her message, which was delivered in crisp and detailed audio, helped mobilize her “Let’s Move” campaign directed at youths.

In addition to the First Lady, Arthur Ashe Kids’ Day also featured performances by The Wanted, and Coco Jones — who donned a Sennheiser HSP 4 headworn wireless microphone.

The Sennheiser Digital 9000 system was at the core of the audio infrastructure on Monday night’s opening ceremonies, supplying flawless wireless audio as dignitaries including New York City Mayor Michael Bloomberg and 39-time Grand Slam winner Billie Jean King delivered opening remarks. The evening also featured a moving rendition of The Star-Spangled Banner, as performed by 11-year old Frenie Acoba — star of Broadway’s hit musical Matilda.

“Considering the importance of this live broadcast event and the difficult RF conditions in New York City, the Sennheiser Digital 9000 series really shined and was the professional system that put everybody at ease,” Sinclair observed. “The quality and reliability of the wireless audio, as well as the overall flexibility of the system, was absolutely spectacular.”

“The built-in spectrum analyzer on the Digital 9000 helped our techs consistently monitor RF signals as they came on line, keeping the audio clean and interference free for the duration of the event,” he added.

“We are grateful to Audio, Inc. for selecting Sennheiser to be part of this extremely high profile sporting event, which is of international significance,” commented Brian Walker, market development, Sennheiser. “With over 700 microphone channels being used at the venue, Audio, Inc. needed a flexible and robust wireless microphone system that could meet not only the demands of the environment, but deliver flawless, unsurpassed audio quality.”

During soundchecks, which occurred throughout the day and evening on Friday, the Digital 9000 system proved to be extremely easy to manage sonically: “The EQ on the consoles were set absolutely flat, and the voices sounded perfect through the P.A. speakers,” he says. “With analog wireless, there is usually a fair amount of EQ adjusting required to get a good sound.”

In addition to the Opening Ceremonies, Arthur Ashe Kids’ Day and for general announcements, the Sennheiser Digital 9000 wireless system will also be used during the closing ceremonies of the U.S. Open, scheduled to occur in two weeks.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headsets and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

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

Photo captions:
1) Main Stage in Arthur Ashe Stadium for the Arthur Ashe Kids’ Day on August 24th.
2) Audio Inc. provided the audio infrastructure, which included eight channels of Sennheiser Digital 9000 wireless, (12) channels of evolution 300 series wireless and six channels of evolution 300 series in-ear monitors (IEMs).
3) Coco Jones sang through a Sennheiser HSP 4 headworn microphone during her concert performance at Arthur Ashe Kids’ Day.
4) Rehearsals for Arthur Ashe Kids Day, during which Sennheiser Digital 9000 performed flawlessly despite a very demanding RF environment.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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