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K-array Loudspeakers Deliver High Quality Sound at Presidential Inauguration Events

While the spotlight was on President Obama during the public ceremony of his second inauguration held on Monday, January 21st at the U.S. Capitol, there were many private parties, celebrations and events at other high profile institutions in and around D.C. for several days preceding the official event. To support the many festivities, K-array loudspeakers, distributed by Sennheiser, were enlisted to deliver powerful audio.

For All Stage & Sound, Inc., a Laytonsville, MD-based full-service event production company, the presidential inauguration brings with it a packed schedule of high profile corporate events every four years. This year was no exception, as the firm handled staging and production for activities held at the Smithsonian Air & Space Museum, the United States Institute of Peace, The Italian Embassy, Cafe Milano and others.

“We had equipment out everywhere, and it was all being used around the clock at different venues throughout the city,” says Richard O. Benning of All Stage & Sound. The primary loudspeaker systems the company relied on were from Italian manufacturer K-array, which specializes in speakers featuring the best possible sound quality in an extremely small footprint. K-array is a fantastic solution for the kind of work that we do because these speakers are not only stealth and look great, but they sound fantastic as well.”

All Stage & Sound recently fortified its arsenal of K-array systems, anticipating the increased demand for this year’s inaugural activities, says Benning. “We already owned five sets of KR 200s, a pair of KR 400s and a pair of KR 100s. To supplement this for the inauguration, we bought two pairs of the new KR 202s, another pair of the new KR 402s and another pair of the new KR 102s. Everything was being used non-stop.”

The remarkable events included the Italian Embassy, which occurred on Sunday, January 20th and featured singer Cindy Lauper providing the entertainment through a pair of K-array KR 402s. “Everyone was thrilled that there were Italian speakers in the Italian Embassy, yet there was some initial trepidation about the speakers’ small size,” Benning recalls. “By the end of the performance, there were smiles on the faces of all concerned. They said the sound was perfect, and of course the sightlines were outstanding because there was just nothing in the way!”

For the Cyndi Lauper show, All Stage & Sound had set up KR 402s at the left and right of the stage, reinforced by a pair of KR 102s farther down the room, flanked left and right. In environments like the Italian Embassy, or the Smithsonian National Air and Space Museum, Benning says that it is about aesthetics from the very beginning — and this is precisely where the K-array solution shines. From an acoustic perspective, K-array speakers provide optimal gain before feedback and help disperse the sound accurately in difficult acoustic environments.

“Because the K-array speakers have such a wide dispersion pattern, we can put them in corners of rooms and face them inward,” explains Benning. “With the KR 402s, you have a light that gives you a visual indication of where the dispersion begins and ends. You can stand it right in front of a lectern and when you rotate it just slightly, it rejects feedback beautifully.”

“A big portion of what we do is speech, so feedback rejection is a really important consideration,” he continues. “If a CEO or some other dignitary is speaking at an inaugural party or other high profile event, the sound must be absolutely clear and there can be no exception. K-array delivers for us on this level, time and time again.”

Benning also appreciates the portability and ease of set-up in the K-arrays, which saves not only labor costs, but also space requirements: “You can go in with a single truck and throw in a set of KR 202s with only a couple of guys.” Benning also says the K-arrays have smaller power distribution requirements compared to larger, less efficient systems, helping reduce trucking and manpower requirements. “They go in faster and also look cleaner,” he says.

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Sennheiser Brings Unmatched Sound Quality and Wireless Reliability to Diverse Performances at 55th Annual Grammy Awards

For world-class recording artists including Bruno Mars, Sting, Zac Brown, Miranda Lambert, Alicia Keys and Ed Sheeran, Sennheiser was the microphone and wireless system of choice for the 55th annual Grammy Awards event, held at the Staples Center in downtown Los Angeles on February 10. The evening’s telecast, hosted for a second time by LL Cool J, drew 28.1 million viewers and showcased over 25 spectacular performances by a diverse range of artists.

Sennheiser endorsee The Zac Brown Band and Adele, also a Sennheiser user, captured awards during the evening: Zac Brown for “Best Country Album” (“Uncaged”) and Adele for “Best Pop Solo Performance” (“Set Fire to the Rain”).

As in prior years, the artist dedications were among the most memorable moments of the evening, and this year included moving tributes to Bob Marley, Levon Helm, Dave Brubeck and others. Bruno Mars led the tribute to Bob Marley before ushering Sting, Rihanna, Damian Marley and Ziggy Marley to the stage for performances of “Locked Out of Heaven”, “Walking on the Moon”, and “Could You Be Loved”. Bruno Mars sang through a Sennheiser SKM 2000 transmitter, coupled with an MMD 945-1 super-cardioid capsule. Sting, meanwhile, delivered a powerful, full-range vocal performance through a Sennheiser SKM 5200-II transmitter with a Neumann KK 105 S super-cardioid capsule.

“Putting Bruno on the SKM 2000 transmitter and MMD 945-1 capsule combination was a choice between me and Front of House,” explains James Berry, monitor engineer for Bruno Mars. “We did a shootout with a ton of mics and this was definitely the best choice for Bruno. This combination really made his vocal sound fantastic both for his own IEMs and for Front of House.” Berry says he is running roughly 30 channels of Sennheiser wireless, for microphones as well as IEMs: “The 2000 series IEMs are rock solid and they sound great. I’ve been using them for many years now and it’s my go-to.”

Perhaps the most emotional tribute of the evening was to Levon Helm, who passed away in April of 2012. An all-star cast consisting of Zac Brown, T Bone Burnett, Elton John, Mavis Staples, Mumford & Sons and Brittany Howard of Alabama Shakes performed an emotional rendition of “The Weight” with Zac Brown leading off, singing through a Sennheiser SKM 5200-II transmitter and MD 5235 capsule.

Earlier in the evening, audiences were treated to shimmering duet renditions of “Over You” and “Home” by Miranda Lambert and Dierks Bentley, with Lambert singing through her signature custom pink-fashioned Sennheiser SKM 2000 handheld and MMD 935-1 capsule. “Microphone choice is a team call between Jason [Macalik, FOH for Miranda Lambert] and me,” says Chris Newsom, monitor engineer for Miranda Lambert. “You choose whatever microphone best complements the artist’s voice, and the combination of the SKM 2000 and MMD 935-1 works fantastic for us. Miranda’s voice sounds really smooth, and that’s exactly what we are looking for.” Newsom adds that his team relies 100 percent on Sennheiser for both handheld transmitters and IEMs, with 12 stereo mixes of ew 300 G3 IEMs for in-ear monitoring alongside EM 2050 receivers and six channels of SKM 2000 transmitters – each with MMD 935-1 capsules.

John Harris has been music mixer at the Grammys for 20 years and says that attaining outstanding audio has always been the focus. “This is the only show where all my clients are music professionals, so there is nothing more important than the sound,” he says. “For both Bruno’s and Miranda’s performances, the sound of the mic jumped out at me and made me look up,” he recalls. “In both cases, the mics [Sennheiser SKM 2000 with MMD 945-1 capsules] were really well matched to the performers and were ideal for the circumstances.”

Throughout the entire performance, Dave Bellamy of Burbank, CA-based Soundtronics, who served as RF Coordinator and has no less than 15 Grammy events under his belt, relied on Sennheiser for wireless systems. “We used 18 channels of Sennheiser RF for the show, all top-of-the-line EM 3732-II receivers,” he says. “We have been very happy with it and it has been solid and reliable – especially as we have less and less spectrum and more RF devices to work with than ever before.” Bellamy’s firm was responsible for the antenna system and seamless coordination of all the RF frequencies for the show.

Many Sennheiser microphones were also featured across a variety of backline instruments throughout the show. For example, no less than 20 Sennheiser e 935s were used for background vocals, 30 Sennheiser e 602 microphones for floor toms and kick drums, 20 e 904s for rack toms and ten e 906s on various guitar cabinets. Music mixer John Harris is a fan of the e 602 mic in particular: “The e 602 design is fantastic,” he elaborates. “You can put it on a drum and it already does what I was going to do to it – it is great at impact, especially at the bottom and top end.”

Harris says that he continues to receive impeccable support from Sennheiser, which is invaluable at a time when technology is moving so fast: “Sennheiser looks after their products well and having someone on the ground like their artist rep Tim Moore is spectacular. I get the feeling that Sennheiser has a real pulse on their products and that the company is moving forward all the time.”

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Antelope Audio Brings Good Cheer to the Audio Community with Holiday Sales on High-End Converters and Clocks, Including Zodiac+, Trinity and Eclipse 384

Antelope Audio announced that it is once again offering significant year-end, holiday discounts on its most popular and accessible products designed for audiophiles and audio professionals. Between now and December 31st 2012, select Antelope dealers will be offering the company’s Zodiac+, Trinity and Eclipse 384 at a discount of 15 percent off street price.

“Good clocking and conversion are fundamental building blocks towards achieving the best possible audio quality,” commented Marcel James, Director of Sales for Antelope Audio USA. “By taking advantage of our holiday discounts and acquiring Antelope’s best-in-class technology, audiophiles and music professionals can measurably improve the performance of their systems, whether they are listening to music or creating it.”

Antelope Audio’s clocking and conversion technology is used by the most discriminating engineers and mastering professionals in the music, film and television industries, and is a staple in many famous recording studios around the world. The company’s popular line of Zodiac D/A converters represent an elegant solution for nearly any home A/V system, and can dramatically improve overall audio performance.

Following is product and pricing information for items included in the sale:
Zodiac+ HD Mastering 192kHz DAC: Was $2,696, now $2,299
Trinity Universal HD Master Clock: Was $2,995, now $2,549
Eclipse 384 Mastering AD/DA Converter: Was $6,995, now $5,946

To take advantage of Antelope Audio’s holiday discounts, customers in the U.S. may contact Sweetwater.com, Vintage King, Alto Music and JSS. For complete product information, please visit the Antelope Audio website.

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Antelope Audio Announces Black Friday to Cyber Monday Discounts on its Master Clocks and AD/DA Converters

As the holiday season rapidly approaches, Antelope Audio announced a comprehensive discount for customers on its entire product line, excluding the new Orion 32, which is expected to ship in December. By contacting selected North American dealers, customers can take advantage of a 15 percent discount on Antelope’s Isochrone line of master clocks – including the renowned Trinity and 10M – as well as its line of Zodiac DACs and the Eclipse 384 mastering AD/DA converter, which was released to critical acclaim last winter.

“This is a perfect opportunity for users to increase the performance of their infrastructures, whether they are project or commercial studio owners, live sound engineers or just music aficionados who favor listening to uncompromising audiophile-quality recordings,” commented Marcel James, Director of Sales for Antelope Audio USA. “Our clocks and converters are used in the most famous mastering houses and production facilities around the world and can make all the difference in attaining exceptional sound quality. What a great opportunity this is to step up to an Antelope system.”

Dealers participating in the seasonal discounts include Alto Music, AudioVision San Francisco, Calistro Music, Dale Pro Audio, Guitar Center, JSS, RSPE, SoundScienceCat, Sweetwater, Vintage King and Westlake Pro in the U.S.; Studio Econimik in Canada; and Audio Gate International in Mexico.

To learn more about the special offer, please visit manufacturer’s Black Friday Sale page or the websites of the authorized dealers. For complete product information, please visit Antelope Audio’s website.

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Sennheiser presents new assistive listening solution for ADA compliance

Audio specialist Sennheiser announced its new EKI 830 bodypack infrared receiver. The new receiver offers high quality audio with superior clarity for assistive listening, ADA compliance, and language distribution systems. The new compact receiver features a 3.5 mm audio output for connection of standard headphones, as well as induction neckloops for telecoil-equipped hearing aid users. For easy ADA compliance, Sennheiser also introduces a new bundle – the USEKI830/ADA – which includes the EZT 3011 induction neckloop and the EKI 830 receiver.

The receiver is designed to offer a premium audio experience at theaters, houses of worship, government facilities and more. “With the release of new guidelines, ADA compliance of assistive listening systems has become increasingly important. The new EKI 830 receiver ensures that hearing aid listeners enjoy exceptional clarity and professional sound quality with an installed infrared system”, said Vanessa Jensen, senior product specialist, integrated systems at Sennheiser’s U.S. headquarters.

The intuitive design and user-friendly operation benefit both facilities management and end-users. The two channel receiver (2.3 / 2.8 MHz) offers selectable mono or stereo transmission mode with automatic channel saving. “The receiver’s ability to retain channel settings is extremely efficient for facilities management staff. Once the preferred audio channel has been selected, the receiver will hold the set channel even if the unit is turned off,” Jensen explained.

The receiver offers volume and balance control adjustments to meet the individual hearing needs of the listener. The 3.5 mm audio output allows connection of standard headphones or induction neckloops (both available separately). The included lithium-polymer battery ensures an operating time of up to 12 hours. The receiver is compatible with Sennheiser’s L300-10 charger, as well as the SI1015 and SI30 infrared systems.

The new EKI 830 infrared receiver is available now.

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Moog Music Thanks Fans, Announces 24-Karat Gold Minimoog

Today, Moog Music announced the release of the limited edition 10th Anniversary Minimoog Voyager. Moog created this 24 Karat gold Voyager with the finest materials, as a testament to American craftsmanship. The company is handcrafting 31 of these analog works of art, but only 30 are available for purchase worldwide. As a thank you to its customers for making the Minimoog Voyager the best selling analog synthesizer of the last decade, Moog has set aside one of these rare and valuable instruments for one very lucky person to win- details for entry to be announced November 16th. As a specific thank you to Voyager owners, Moog will send ALL registered owners a small gift of gratitude for their amazing support.

The 10th Anniversary Minimoog Voyager made it’s unofficial debut at Moogfest, Moog’s 2 day festival in Asheville, NC where the international electro-pop group, Miike Snow, played it during their headlining set.

“We are so thankful to the thousands of Minimoog Voyager customers for making the Minimoog the best selling analog synth of the last decade. Without them, we may not have been able to continue hand building instruments in downtown Asheville, North Carolina,” said Mike Adams, CEO Moog Music. “Sending each and every one of them a small gift is a small gesture of our immense gratitude,” continued Adams.

The 10th Anniversary Minimoog Voyager has been carefully dipped in a 24-karat gold finish. The classic wood housing has been neatly dressed in a custom, high gloss, black piano lacquer chosen specifically to accentuate the Japanese Awabi pearl adornment on the sidepieces. Moog has created a short video documenting the build process of this precious synthesizer, which can be seen on their website. Additional features of the 10th Anniversary Minimoog Voyager include custom translucent knobs, a glowing Moog logo with indigo illumination, gold headphone jack, all black switches, a personalized engraved gold plate, a letter pressed certificate of authenticity, and a hand bound user’s manual. Only 5 units are available for sale in the United States, with the remaining 25 units spread out across countries around the world. See the list of our participating retailers here: www.moogmusic.com/10thanniversary

Moog is asking all Minimoog Voyager owners to update their registration information at www.moogmusic.com/register so that they may successfully receive a small gift in the mail. On November 16th, Moog will announce details on how to enter the 10th Anniversary Minimoog Voyager Giveaway.

As part of the celebration of the 10th Anniversary of the Minimoog Voyager, Moog has also created an interactive timeline where fans can learn about the 10-year history of this instrument and the artists who used it to define the sound of the last decade.

Links:
Making the 10th Anniversary Minimoog Voyager Video: http://www.youtube.com/watch?v=oR75HPWEIok
Minimoog Voyager Interactive Timeline: www.moogmusic.com/content/voyager-timeline
Moog Music Website: http://www.moogmusic.com

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Madonna Gives Sennheiser All Her Luvin’

Stadiums, arenas and open air venues across Asia, Europe, North and South America are hosting Madonna’s 2012 MDNA Tour, with all featuring a large Sennheiser wireless microphone and monitoring system that helps deliver a flawless performance, night after night. Madonna has six Sennheiser SKM 5200 mics for each show, which, as monitor engineer Matt Napier explains, get tested to the limit.

“The 5200s get a real battering. The whole first section of the show is highly stylised with an almost comic book aggression. There is a lot of staged violence and the microphones get hurled around and are frequently being thrown to and from dancers and onto the floor,” commented Napier. “We’re going through a new microphone every ten shows or so. But given that the 5200 is not a microphone designed for such abuse, I think they are standing up remarkably well. Of course we have a whole drawer of spares from Sennheiser!” he concluded.

Audio rental company Eighth Day Sound provided the Sennheiser equipment after purchasing from Sennheiser Electronic Corporation, USA. The tour features six further SKM 5200s with MD 5005 capsules for backing and guest vocal microphones. Together with Madonna’s vocal mics, these use seven EM 3732-II wireless receivers. Fourteen 2000 series wireless systems are used for in-ear monitors, with 14 more for guitar systems. In addition, a percussion trio uses SKP 2000 plug-on transmitters, taking the overall wireless channel count to around 50.

“The plug-on transmitters are a very useful solution, because the trio comes on stage, does its section and goes off again. There’s no time to cable the musicians up. It’s a very neat way of using RF,” says Napier. “On top of everything else, there is also a wireless comms system, so we are probably up to 70 channels of RF at each show and we have had no problems at all.

“Everything is using the built-in networking, all programmed on the Wireless Systems Manager, which saves a huge amount of time. Every show so far has been trouble free.”

Caption:
Madonna.jpg: Madonna’s 2012 MDNA Tour uses Sennheiser microphones and monitors
(Photo credit: Kevin Mazur)

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Antelope Audio Announces World’s First 32 Channel AD/DA Converter and Audio Master Clock in a 1U Rack Box

Antelope Audio today announced Orion 32, the world’s first 32-channel AD/DA converter and audio master clock in a 1U rack. The new device supports both MADI and USB interfaces, clocked by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) technology.

Orion 32 allows 192 kHz I/O streaming of 32-channel digital audio through its custom-built USB chip, which provides simple connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its Fiber Optic MADI I/O connections, which can be used to connect with any suitably equipped MADI device.

Orion 32 also supports ADAT protocol by offering 16 I/O channels, for even greater compatibility with a large number of audio devices. The multi-channel converter inputs and outputs pass the analog signal through 8 D-SUB 25 I/O connectors.

Antelope Clocking for Increased Sonic Accuracy
In addition to being an extremely high quality audio converter, Orion 32 is also an audio master clock. The Orion 32 employs Antelope’s proprietary 4th generation of AFC and oven controlled oscillator, both technologies that made Antelope Audio clocks an industry leader for accuracy and reliability in recording, mastering and post-production facilities around the world. The four word clock outs, together with the 10 MHz input, make Orion 32 ideally suited to be in the center of any project or high-end studio.

“The multi-channel Orion 32 is the logical step, following our highly acclaimed stereo AD/DA converter Eclipse 384 we launched last year,” Igor Levin, Antelope Audio CEO says. “We have developed this device in response to customers who have demanded Antelope’s signature-quality sound, but in a multi-channel device. Orion 32 is ideally suited to a sound engineer’s needs for high quality, clean and transparent conversion, combining the efficiency of MADI and USB interfaces with the perfection of Antelope clocking.”

With its seamless digital routing options, the Orion 32 offers exceptional flexibility. The routing feature allows sound engineers to, for example, use the AD conversion and output the signal simultaneously both through the MADI and USB interfaces. The device is managed through a user friendly desktop application available for both Windows and OS X. Moreover it is equipped with five preset buttons for fast and easy recall of favorite settings.
Orion 32 is packaged in a 1U enclosure with an eco-friendly power consumption of only 15 Watts. In addition to saving rack space and having very low heating levels, Orion 32 comes with an extremely reasonable pricing even for small home studio, launching with a street price of only $2,995.

Key Features

  • Antelope Audio precise AD/DA conversion technology
  • Up to 192 kHz on 32 channels I/O via custom-built USB chip
  • 32 channels I/O via Fiber Optic MADI I/O connections
  • Eight D-SUB 25 connectors for AD and DA
  • 16 channels on 4 ADAT input and output connectors
  • Antelope’s renowned 64-bit Acoustically Focused Clocking with Atomic input
  • Antelope’s proprietary Oven Controlled Oscillator for supreme clocking stability
  • Four word clock outputs and one word clock input
  • Five presets for fast and easy recall of favorite setups
  • 1U rack size with power consumption of 15 Watts and very low heating levels
  • A user friendly desktop application available for both Windows and OS X

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Moog Announces Release of “Analog Delay,” First Delay Designed Exclusively for the 500 Series Pro Audio Format

Today Moog Music announced the release of the “Analog Delay,” the first delay designed and created exclusively for the 500 series pro audio format. The Analog Delay is a 100% analog signal path module that features 800ms of delay time, front panel MIDI control, and an assignable Tap Tempo/CV jack on its front panel. Included with each unit is a free VST/AU/RTAS editor for easy implementation into any recording, live, and performance situation.

The Analog Delay has been designed with tone, connectivity, and flexibility at the forefront. Moog’s engineering team worked tirelessly to deliver a delay with an incredibly clean front end that could easily be pushed into a warm, natural overdrive for saturated delay trails or distorted delay effects.

Though not on the front panel, the Analog Delay features a 6 Waveshape LFO that allows users to create other time based effects such as tape delay, chorus and extremely modulated sounds. The LFO is easily accessed via MIDI and the free VST/AU/RTAS Analog Delay plug-in editor.

Also accessible via the included editor are advanced features like Tap/CV input routing, Keyboard Control settings, Clock Divisions and a Delay Multiplier for access to illegal delay times (up to 4x the front panel position). In addition to Tap Tempo and CV control, the Tap/CV input can also convert click track audio into a tap tempo signal.

The new Moog 500 Series Analog Delay module will be debuting at the 2012 AES conference in San Francisco booth 1222 and is expected to begin shipping in Dec. 2012

Web Page: moogmusic.com/analogdelay

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Sennheiser to Host “Al Schmitt & Friends” Roundtable at AES to Include Elliot Scheiner, Ed Cherney, George Massenburg, Chuck Ainlay and Frank Filipetti

Audio specialist Sennheiser announced that it will sponsor “Al Schmitt & Friends: AES Roundtable of Award-Winning Engineers” at the 133rd Audio Engineering Society (AES) convention, to be held at the Moscone Convention Center in San Francisco later this month. The roundtable, which is free to registered AES attendees on a first-come, first-serve basis, will cover a range of recording-related topics and includes some of the biggest names in audio production: Elliot Scheiner (Foo Fighters, Eric Clapton), Ed Cherney (Bob Dylan, The Rolling Stones), George Massenburg (Earth Wind & Fire, James Taylor), Chuck Ainlay (Mark Knopfler, Dire Straits) and Frank Filipetti (Foreigner, KISS).

The roundtable will be hosted by 21-time Grammy-winning engineer and producer Al Schmitt and is being presented as part of Sennheiser’s Recording Sound Academy (RSA) program. Admission to the event at the convention is free for all AES attendees. For those not able to attend, the event will be recorded and posted online at the Recording Sound Academy (RSA) and AES websites. The archived video can be viewed free for all RSA and AES members, and just $9.95 for non-members. To learn more or to sign up for RSA, please visit http://www.sennheiserrsa.com.

Details on time and location
When: Friday, October 26, 2012 between 3:30 p.m. and 5:30 p.m. PDT
Where: 133rd AES Convention, San Francisco
Moscone Convention Center Special Events Room #134

Topics covered at the roundtable will include:
Understanding the differences of recording at home, in a project studio and in a larger traditional studio
How to effectively record drums
How and when to use effects
Techniques for vocal thickening
Obstacles that were encountered and resolved during the recording of classic albums
Diplomacy in the studio with artists, executives and other stakeholders

During the presentation, the panel will answer questions both in person and those posted by RSA members from the RSA forum page.

Register for the Online Recording Sound Academy
By registering for Sennheiser’s Online Recording Sound Academy, participants have the opportunity to have two of their own mixes critiqued by award-winning engineers, in addition to having access to live and archived webinars and other special events featuring well-known artists and producers. Members can also access exclusive tutorial videos and receive a free copy of CuBase LE5 mixing software as well as the chance to win a Neumann U 87 studio microphone.

Photo caption:
Al Schmitt, 21-time Grammy-winning engineer and producer (image courtesy Capitol Studios).

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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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