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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/

###

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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Sennheiser Delivers Unplugged Studio Performances During The Newport Folk Festival®, Bringing an Additional, Intimate Stage to Newport

Newport, RI – August 19, 2013 – Audio specialist Sennheiser once again created a truly unique performance environment at the Sennheiser Sound Lounge at the Paste Ruins during this year’s Newport Folk Festival®. In cooperation with Paste Magazine, Sennheiser hosted performances by Amanda Palmer, The Milk Carton Kids, Justin Townes Earle, Langhorne Slim and many others over the course of the nationally renowned three-day festival.

Sennheiser recorded and broadcast the performances to thousands of attending fans between Friday, June 26th and Sunday, June 28th using state of the art quality microphones, wireless systems and headphones from Sennheiser and an array of studio microphones from its German subsidiary, Neumann. Videos of the performances will be posted and shared on Sennheiser’s social outlets, including Facebook [www.facebook.com/SennheiserUSA] and YouTube [www.youtube.com/sennheiserusa] over the coming days and weeks. Watch for updates and more information on Sennheiser’s Twitter page [www.twitter.com/SennheiserUSA].

“We don’t just participate in events in the traditional and often static way,” said Stefanie Rei-chert, strategic marketing, Sennheiser. “We always look to create added value and deliver a deep and meaningful sound experience that only Sennheiser can deliver. We managed to do exactly that in Newport, and in the process we made several new friends who will not forget these special performances for a long while.”

Premium Technology Delivers Unique Experience, Adding Value to Newport

This is the second year in a row that Sennheiser and Paste Magazine have collaborated on these performances at Newport. The company’s proprietary wireless technology, paired with the historic and alluring atmosphere of the Fort Adams Ruins, evoke an atypical musical experience that fans cannot experience anywhere else. Many of the artists performed in an unplugged fashion, so audiences could experience the music in its most natural and pure form; for many attendees, this was a highlight of the festival.

“It was a privilege to once again welcome Sennheiser to the Newport Folk Festival®,” com-mented Jay Sweet, producer of the Newport Folk Festival®. “For the second year in a row, the inclusion of the Sennheiser Sound Lounge at the Paste Ruins truly enhanced the festival expe-rience for all guests and musicians alike. And, thanks to the quality footage, even those who could not attend can experience the unique sounds, sights and vibe that make the Newport Folk Festival® unlike any other festival, or place, on earth.”

Nick Purdy, publisher of Paste, added: “At Paste we love to show more than we love to tell – matching Newport Folk’s stellar lineup to Sennheiser’s headphones give us a chance to give music fans an experience they’ll never forget.”

As music fans such as those attending Newport become more sophisticated in their own musi-cal tastes, they are also becoming more demanding in how they listen to music. Sennheiser is able to deliver an authentic, high quality listening experience through the use of Sennheiser and Neumann microphones, as well as through its unmatched wireless and headphone expertise. The result is a listening experience worthy of both the most discriminating fan’s passion for mu-sic, and the artist’s unrelenting craftsmanship.

Fans who were not able to attend the festival in person will soon be able to experience the music through high-definition video and the very same microphone feeds that were used during the actual performances.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless trans-mission 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, Con-necticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engi-neering 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.

Photo captions:
1. Amanda Palmer performs at the Sennheiser Lounge at the Paste Ruins at the The Newport Folk Festival®, 2013.
2. Fans wearing Sennheiser headphones enjoyed intimate performances by their favorite artists at the Sennheiser Lounge at the Paste Ruins at the The Newport Folk Festival®.
3. The Lone Bellow performs at the Sennheiser Lounge at the Paste Ruins at The Newport Folk Festival®, 2013.

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For The Walking Dead Voice Actors Dave Fennoy and Cissy Jones, Neumann TLM 103 and U 87 Microphones Help Keep it Real

Old Lyme, Conn., – August 13, 2013- Dave Fennoy and Cissy Jones are both experienced voice actors with several successful gaming titles under their belts. A typical voice session for any other gaming title might involve recording a few greeting lines, some attack lines, taunting lines as well as various grunts and groans. But The Walking Dead — an episodic adventure series based on the successful comic book series of the same name — is based more on character relationships and dialog. This allowed Fennoy and Jones, both of whom use Neumann microphones for their voice work, much more latitude to develop their characters.

Fennoy did the voice work for lead character Lee Everett. Jones, meanwhile, did the voice work for no less than five characters including Katjaa (who appeared in episodes one through three), Jolene (episode two), and Brie (episode 4). Both Fennoy and Jones were thrilled at the amount of dialog in the game, as well as the deep interaction among the characters.

Fennoy, who relies on his Neumann TLM 103 large diaphragm condenser microphone in the studio, says he was immediately taken by the script of The Walking Dead: “On my first day in the studio looking at the script, I realized this was like no other game that I voiced before,” he recalls. “I have played two headed dragons, creatures that drop bombs from the sky, warriors, wizards and every other kind of creature. But Lee Everett was just an average, normal guy and very close to me. I didn’t have to come up with any crazy voices.”

Fennoy uses the Neumann TLM 103 mic inside his Whisper Room isolation booth at home, recording to his iMac running Pro Tools in conjunction with a Digidesign Digi 002 interface. “For accuracy and sound, you can’t beat Neumann,” he says. “This is the microphone that everything else is compared to.”

Cissy Jones: Raising the Level of Performance with Neumann

Cissy Jones also appreciated the deep characters within the script of The Walking Dead: “I am so happy to have had an opportunity to be part of this amazing game because it involved real people,” she says. “It is unlike anything I’ve ever done before and there was so much character development involved.”

During the production of The Walking Dead, Jones also gravitated towards Neumann — in this case, to the classic U87 large diaphragm condenser. “I have a deeper voice and all of that richness gets picked up accurately with the U87,” she says. “For animiation and video games, this is the best microphone to use if you want to capture all the detail and nuances in the recording.” Jones uses her U87 with a MacBook Pro running Adobe Audition, in conjunction with a Cakewalk two channel USB interface.

Jones agrees with Fennoy that the script afforded much more emotional breadth in the studio: “It’s conversation,” she observes. “You actually get a chance to know the characters and it’s not just battle cries. I’ve been in sessions where it is four hours of screaming, different ways of dying, or being the buxom blonde. That just wasn’t the case here and there was so much more depth.”

For Jones, audio occupies a foundational role in any gaming production, providing an irreplaceable emotional connection: “People play games to escape or experience another character in a different world,” she says. “If the audio is poor, you are taken out of that world, and it’s like watching a movie that is badly dubbed. Having audio that is spot on, on the other hand, provides the realism that people crave. Neumann helps me deliver this.”

With Season Two already in production, and with this summer’s recent release of ’400 Days,’ an episode that featured all new characters and helped bridged the gap between Season One and Season Two, The Walking Dead has already won more than 80 ‘Game of the Year’ awards around the world, and has been recognized in top industry and entertainment publications.

About Neumann

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

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.

Captions:
1) Dave Fennoy with a Neumann U87.
2) The Walking Dead character page.
3) Cissy Jones, pictured alongside engineer Jory Prum.

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Sennheiser and House of Blues Renew Agreement

Old Lyme, CT, August 12, 2013 – Audio specialist Sennheiser and the House of Blues, the iconic chain of high-quality performance venues, announced that they have renewed their alliance. Sennheiser will continue to support the House of Blues with premium microphones and wireless solutions at each of its 13 locations across the United States.

Since the two companies began collaborating over five years ago, the House of Blues has experienced increased level of audio quality, flexibility and durability within its audio equipment arsenal at each of its locations. Currently, the House of Blues is using a full line of wired evolution microphones, evolution wireless G3 microphone systems and evolution wireless G3 monitoring systems at each of its venues.

Kristy Jo Winkler, relations manager, Americas, Global Sales of Sennheiser, commented: “We are pleased to continue our longstanding relationship with the House of Blues. By supporting each of its venues in so many different ways, Sennheiser is helping contribute to the unique brand the House of Blues has established. Each of their locations has a reputation as a great performance environment to hear the hottest acts in live music with the best engineering talent and the best microphones and wireless equipment available.”

“The relationship between House of Blues and Sennheiser is truly harmonious,” says Dan Schartoff, VP production, House of Blues. “There is shared passion for providing the best quality of sound and overall audio experience. Indeed, Sennheiser’s microphones have been part of many amazing and historic shows at our venues.”

An evolution of premium sound

Pierre Rochman, production manager of House of Blues – Anaheim, says that the Sennheiser evolution microphone series continues to deliver – especially when it comes to reliability. “We are doing 200 shows and events in a year at each location easily,” he says. “Yesterday we ran seven bands on the bill, today we’re going to run five and tomorrow we’re going to run six – it’s relentless and punishing. The evolution hard-wired microphones really stand up to the abuse. And in the rare case where we need a repair, Sennheiser has been very fast and responsive.”

The House of Blues, which has served as a host to A-list touring acts as well emerging artists, also appreciates the sonic flexibility and predictability of the evolution microphones. “Even though we host artists at a national level who already own Sennheiser equipment, we also host a ton of emerging artists who do not have a mic package of any kind,” states Rochman. “With our Sennheiser microphone package, we are able to introduce these artists and their engineers to high-quality audio. Whereas they might go on a stage and see a competitor’s product elsewhere, they come in here, get in front of an e 835 or e 935 wired microphone and experience great sound and great rejection. They remember these experiences and carry them throughout their career.”

Sonic flexibility and predictability

Each of the 13 House of Blues locations has an equipment package consisting of Sennheiser’s evolution series wired microphones, its renowned evolution wireless systems as well as an array of professional headphones and classic legacy mics such as the MD 421-II. This equipment provides its performance spaces large and small with the ultimate in sonic flexibility. “With so many artists coming in and out on each of our different stages, we need to be able to quickly recognize what each artist is trying to accomplish and reproduce that sonically,” Rochman notes. “I usually have about 15 minutes to get up at front of house and make that happen, and the Sennheiser evolution microphones give us plenty of latitude to do that — no matter what the genre the performance is in.”

Rochman is particularly fond of the e 906, which he says is now the ‘go-to’ microphone for amplifiers. “The e 906 gives us a much broader frequency response, and the filter switching makes it more flexible than other mics if I have to cut or boost, depending on the signal I’m getting out of the amplifier.”

As a premiere national live performance venue, the House of Blues takes a great deal of pride in the sound quality it offers at each of its locations, something they work hard at maintaining each day. “Many of our engineers would never work here unless we were able to offer quality equipment, like Sennheiser,” Rochman concludes. “We’ve got engineers that are touring with A-list acts, but this is their ‘home’ because we have great microphones, a great sounding PA and of course because we book great artists into the rooms. We appreciate the Sennheiser relationship so we can continue to service the artists to create the best possible show.”

About House of Blues

Founded in 1992, each of the thirteen House of Blues locations features state-of-the-art sound and lighting technology in one-of-a-kind custom designed environments aimed to bring fans as close as possible to the artists. Every location’s restaurant and bar is adorned with signature, original folk-art – part of the world’s largest collection – combined with the House of Blues legendary hospitality and tantalizing cuisine.

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.sennheiser.com.

Photo captions:
1: Exterior photo of the House of Blues – Dallas, Texas

2: Pierre Rochman, production manager of House of Blues – Anaheim, with his Sennheiser wireless microphones

Photos courtesy of House of Blues Entertainment

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Sennheiser’s RF Wireless Sound Academy Seminar Comes to New York City August 13th

New York City — August 5, 2013 — Audio specialist Sennheiser announced that it will be offering its highly regarded RF Wireless Sound Academy Seminar in New York City on Monday, August 13th in mid-town Manhattan. The seminar costs $199 and includes continental breakfast, full lunch, workshop materials, and a $50 rebate coupon good towards Sennheiser and Neumann products. Participants who complete the seminar will earn 6 RU CTS credits.

This single-day workshop is designed to teach attendees how to plan for trouble-free operation of multi-channel wireless microphones and wireless personal monitoring systems in even the toughest environments. Topics will include:

• Tips and tricks to maximize reliability
• Reserving TV channels for events on the new FCC spectrum database system
• Best practices for system planning and frequency coordination
• Working with wireless monitoring systems
• New developments in digital RF systems

The event will feature experts in the field including host and presenter Joe Ciaudelli, Uwe Sattler of Sennheiser, Broadway RF and audio engineer, Andrew Funk and Henry Cohen, senior RF engineer at CP Communications specializing in FCC compliance. Following are details on the event and how to register:

• Where: Musicians Union Local 802, 322 W 48th St., New York City
• When: Tuesday, August 13th 2013 between 9:30 a.m. and 5:00 p.m.
• Cost/registration: $199 per participant. Complete registration details, bios of guest speakers and more information at http://www.sennheiserusa.com/RFseminar.

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

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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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