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From World Class Mastering Rooms to Your Own Living Room: Antelope Audio Introduces the Unparalleled Combination of Zodiac Platinum DSD DAC and 10M Atomic Clock

Rocky Mountain Audio Fest Attendees will be Among First to Experience Depth and Clarity Made Possible by Antelope’s Quad DAC Architecture and Ultra Stable Clocking

Denver, October 8, 2014: Leading digital audio manufacturer Antelope Audio [exhibit Marriott Tower, Suite 1125] is once again setting new standards of audio fidelity at this year’s Rocky Mountain Audio Fest (RMAF) by demonstrating its new Zodiac Platinum DSD DAC in combination with its 10M Audiophile Atomic Clock. Attendees of RMAF will be among the first in the U.S. to experience the unrivalled sound quality made possible by the high rate, quad DAC architecture present in the Zodiac Platinum when connected to the ultra stable Audiophile 10M Atomic Clock, an upgraded and enhanced version of Antelope Audio’s renowned Isochrone 10M clock.

Zodiac_platinum_10m_bundle_1080x1080During the demonstration at RMAF, the Antelope suite will consist of two systems built around Zodiac Platinum DACs, with one system connected to the 10M Audiophile Atomic Clock and the other functioning solely as a DAC/preamplifier. The digital signals will originate from a Music Vault M7 music server by Sound Science. The first system (which includes the 10M) will also consist of a Lyngdorf 2170 integrated amplifier with Room Perfect room correction, powering a pair of King Sound Prince 3 electrostatic full range loudspeakers.

The Second system, which will use the Zodiac Platinum as a DAC/preamplifer, will receive its digital signal from Second Music Vault Music Server. The Zodiac Platinum will be used to feed a M20 stereo vacuum tube headphone amplifier, which will drive two Kingsound H3 electrostatic headphones. The Zodiac Platinum will also feed a Kingsound M10 solid state headphone amp that will be driving another pair of Kingsound H3 electrostatic headphones.

Antelope Audio is widely regarded as an authority in digital clocking and audio conversion technologies and is well-known in the professional audio community. The same technology featured in the Audiophile 10M Atomic Clock is also present in the company’s flagship 10M Atomic reference generator and routinely used at the best recording, mastering and postproduction facilities around the Globe.

Zodiac Platinum DSD DAC
The Zodiac Platinum features custom, ultra low jitter USB for streaming up to DSD128 and 384 kHz PCM, plus comprehensive analog and digital I/O. It also features fully reclocked and de-jittered digital outputs along with analog preamp inputs, ensuring sonic purity at the input stage. With its 64-bit precision 8x linear phase PCM and DSD upsampling capabilities and quad DAC architecture, the Zodiac Platinum is able to achieve stunningly transparent imaging and dynamics in the most demanding audiophile environments. With high precision relay attenuators for fast and precise control of main outputs and dual variable impedance headphone outputs, Zodiac Platinum puts power control into the hands of the listener.

10M Audiophile Atomic Clock
The 10M Audiophile Atomic Clock is an upgraded and enhanced version of Antelope’s legendary Isochrone 10M master clock, which has become an industry standard for ensuring audio quality and accurate sound reproduction among leading producers, sound engineers, artists and movie post-production studios worldwide. When coupled with Antelope’s 10M Audiophile Atomic Clock, the Zodiac Platinum Acoustically Focused Clocking (AFC) jitter management technology, reaches an even higher standard of professional-grade performance and a noticeable improvement on audio depth and clarity.

Voltikus PSU: The Ultimate Power Supply
Voltikus PSU is a second generation power supply that is purpose built for the Zodiac Platinum. Hear the difference that a triple regulated power supply with integrated power line filtering can make in combination with an uncompromising DAC and clocking environment.

The Zodiac Platinum DSD DAC & Audiophile 10M Atomic Clock Bundle sells for $12,995. The Zodiac Platinum ships with a dedicated aluminum IR remote and as well as a custom software control panel for PC, Mac or mobile control applications.

Stop by the Antelope Audio suite at RMAF for a complete demonstration by contacting Antelope representative Neal Van Berg at (720) 308-4000, or visit the Antelope website at: www.antelopeaudio.com.

About Antelope Audio:
Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope’s breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

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Introducing the Pure2 by Antelope Audio: A Two Channel Mastering Converter from the Authority in Clocking

Pure2 Features Best in Class Conversion Quality, Dual DAC Architecture and Acoustically Focused Clocking (AFC) Technology from Antelope’s Flagship Trinity Master Clock

Los Angeles, October 7, 2014: As part of a multi-dimensional product unveiling at the 137th International AES Convention, leading professional audio gear manufacturer Antelope Audio introduces Pure2, a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock. Pure2 builds on Antelope Audio’s mastering legacy of the very successful high-end converter Eclipse 384.

Pure2FrontThe Pure2 enables users to realize unsurpassed digital clarity and analog realism, while offering a flexible set of connectivity options and extremely efficient and ergonomic software remote control. Pure2 employs an all-new design that leverages best-in-class Burr-Brown converters and the same Acoustically Focused Clocking (AFC) technology present in Antelope’s ultra high-end Trinity master clock.

More than just a mastering converter, Pure2 comprises five distinct high performance components:

• An A/D converter with optimized overloads handling
• A D/A converter with dual DAC architecture
• A high-end headphone amplifier with a dedicated D/A
• A relay-based analog volume control for supremely accurate monitoring
• A master clock with 4th generation of Antelope’s AFC jitter management

Pure2With Pure2, clear and realistic audio quality is within reach. In addition to its first-rate conversion and AFC technology, the unit also features Antelope Audio’s pristine analog circuitry, which is driven by a proprietary, multi-stage linear power supply. When monitoring through speakers, Pure2′s relay-based stepped attenuator ensures exceptional transparency and perfect L/R balance, even at low listening levels. Additionally, Pure2′s dual-DAC technology — with separate DAC chips for left and right channels —guarantees superior stereo separation and imaging.

“As digital devices and software-based tools become more and more ubiquitous in recording and playback environments, advanced clocking and conversion technology is now a prerequisite towards getting great sound,” commented Igor Levin, founder and CEO of Antelope Audio. “Pure2 puts world class mastering functionality within the reach of just about anyone, at a fraction of what it would have cost just three years ago.”

Pure2: The New Heartbeat of Your Studio
Pure2RearWith Pure2, attaining immaculate audio quality does not have to be complicated. The device includes a highly intuitive software control panel (compatible with both Mac and PC) enabling users to manage all facets of its operation from a computer. Meanwhile, the front panel of the unit also includes user-definable presets for added routing convenience and efficiency.

Among the most exciting features of Pure2 are its unparalleled connectivity options. With several Word Clock outputs, Pure2 can function as the master clock for an entire studio and can also be locked to Antelope’s legendary 10M Atomic Clock for even greater clocking stability. Further, Pure2 can be connected via S/PDIF, TOSLINK, AES and USB, making it suitable for nearly any studio environment.

Pure2, which is a perfect standalone mastering-grade converter for any studio and live application, is scheduled to ship in late Q4 of 2014 and will be priced at $2,195.

About Antelope Audio:
Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope’s breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

Photo captions:
1) The Antelope Audio Pure2 is a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock.
2) Teaser video for the new Antelope Audio Pure2 mastering converter.
3) Rear panel of the Antelope Audio Pure2.

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Moog Announces Worldwide Release of Werkstatt-01 Analog Synth & Online Modification Portal

Werkstatt_01ASHEVILLE, NC, October 7, 2014: Today, Moog Music announced the official worldwide release of the Werkstatt-01 Analog Synthesizer Moogfest 2014 Kit — a patchable analog synthesizer designed to inspire the exploration and modification of classic Moog circuits while delivering a myriad of vintage and new raw, mangled, and monstrous Moog tones. This highly-portable instrument is secured in a solid-steel chas-sis and features a harmonically rich Moog VCO, classic 4-pole Moog Ladder filter, wide-range LFO with audio-rate modulation capabilities, ADS envelope generator, and an analog patchable header for expansive sonic experimentation, manipulation, and decimation.

Today also marks the launch of WerkstattWorkshop.com (beta) — an interactive creative learning portal containing project ideas, mod tutorials, parts lists, educational lesson plans, 3D printer files, Arduino integration and control and many other dynamic resources for Werkstatt owners. This microsite also includes Moog’s new and ongoing research surrounding the use of subtractive synthesizers in STEM and STEAM high school classrooms. Lessons in these studies are focused on project based learning opportunities, and encouraging a creative deployment of practical skills in STEM fields. All lessons and associated materials are open source and available online free to educators across multiple disciplines.

“Analog synthesizers have long had their own maker culture born of curious engineers, physicists and hobbyists alike,” said Moog Music CEO, Mike Adams. “Bob Moog got his start at the age of 15 by studying and modifying Leon Theremin’s designs. We’d like to share our love for learning, music, and electronics to empower a new generation of makers to expand on our work and take it to levels we can’t yet imagine,” Adams said.

Werkstatt _02In April 2014, the Werkstatt-01 Analog Synthesizer Kit was made available to Engineering VIP ticket holders at Moogfest 2014, Moog’s multi-day celebration of technology, art and music. The success of the workshop at the festival prompted Moog to release a limited number of Werkstatt’s to select US dealers. Starting today the Werkstatt-01 Analog Synthesizer Kit is available and in stock at all Moog Music dealers worldwide. MSRP of $329 US

Video Links:
http://youtu.be/32wzAhNy5aY

Audio Links:
https://soundcloud.com/moogmusicinc/sets/werkstatt-o1-moogfest-2014-kit

Product Page:
http://www.moogmusic.com/products/werkstatt/werkstatt-ø1-moogfest-2014-kit

Community:
www.werkstattworkshop.com

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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The Black Keys Turn Blue with Sennheiser

Old Lyme, CT, October 6, 2014: Overnight success was slow in arriving for Ohio garage rock duo, The Black Keys (TBK). The band was active for over a decade in small clubs on the Midwest indie circuit before the big time finally caught up with them in 2010 with the release of their sixth album, Brothers, and its quirky hit single “Tighten Up”. “We accidentally took off,” remarked TBK’s drummer, Patrick Carney. “We weren’t expecting that.” Nevertheless, they’ve had to get used to it as record sales and popularity have climbed steadily ever since, to the point where their eighth album, Turn Blue, released in May 2014, debuted at number one in the U.S., Canada and Australia, the band’s first record to top the album charts anywhere. The band is currently in the midst of their Turn Blue worldwide tour complete with a full range of Sennheiser microphones specified by their long-time FoH engineer, Jason M. Tarulli, and fully endorsed by monitor engineer Rob Elliot.

The Black Keys - Patrick Carney-photo credit Chris IsaacTarulli has been with the band since their early days, starting out in small Ohio clubs and living out of the back of a van. He clearly did a good job as Carney and the other half of the duo, guitarist and vocalist Dan Auerbach, have remained loyal to him throughout. Tarulli experienced the meteoric rise to fame right alongside the band, learning as they learned how to transition from small and medium-sized clubs to sold-out 10,000-seater arenas. Naturally, that has had a certain impact on the kind of gear available to the band: “It’s great to be able to choose what we want after so many years of having to make do with anything and everything!” said Tarulli. “As far as Sennheiser is concerned, this is the first tour where we’ve had Sennheiser gear throughout, and so far it’s been great.”

The Black Keys’ production manager Anthony Pitcher is a long time Sennheiser friend and was instrumental in cementing the relationship with Jason Tarulli and Rob Elliot. “I’ve used the Sennheiser line exclusively for years,” said Pitcher. “It wasn’t a tough sell with my audio team – they’re brilliant engineers who already had a thorough knowledge of the product line. It was just up to me to bring it to the table for this band.”

The Black Keys - Dan Auerbach-photo credit Chris Isaac“Overall, I’m really into the classic sound and feel of Sennheiser mics like the MD 441, 421 and the e 906,” said Tarulli. “I went for a combo of e 906 and MD 421 for Auerbach’s main guitar rig, with the 906 placed near the centre of the cone to get all the mid/hi-mid details plus the crunch and fuzz that comes from the Marshall amp and Fender guitar, and the 421 placed midway or nearer to the outer edge of the cone to get the low-mid warmth. Blended together, that makes for a nice, full, big-sounding guitar. I’ve got a 906 on the rhythm guitar because it’s a great mic for guitars, (actually, I think the 906 is an all-round great mic, period. You could use it for almost anything loud and it would sound fantastic) and a 421, the classic bass guitar mic, on bass. You can’t really go wrong with this choice, the 421 has excellent low/low-mid response.”

For the drums, Tarulli explained that as Neumann microphones had been used for making the records, the idea was to carry some of them over for the live drum sound in conjunction with Sennheiser equipment. He opted for an e 901 and e 902 for the kick drum, stating them to be respectively, “a good, solid inside kick mic to get the sound of the attack and the drum shell tone and the outside mic to get more of the drum head sound.” He went for an MD 441 on the snare (“a solid mic with good rejection”) and a Neumann KM 184 on the hi-hat which he described as “a small condenser mic that gets the sizzle of the hi-hats without sounding thin.” He also went for KM 184s as overhead mics. “The KM 184 is an excellent small-diaphragm condenser with good detail – the cymbals are full sounding, not thin or washy and it also complements the microphones on the rest of the kit for a more natural feel,” he explained.

TBK Dan Auerbach-photo credit Chris IsaacFor the rest of the kit, Tarulli decided on an MD 441 for the cow bell: “Overkill? Maybe!” he laughed, “but it really makes the cowbell feel full and even. Also, I can push the fader up when things get quiet to add a little extra ambience to the snare.” His final choice regarding the drum kit was an e 904 for the tom-toms, which is perhaps the choice he is the most pleased with. “The biggest problem I had for a while was with the tom mics,” he recalled. “I love mics like the 421 for toms, but mics that size can be difficult to focus and the stands can be clumsy and take up too much real estate on the drum riser. Most drummers can’t help but hit them…. sometimes fatally! The 904 solved all my problems – it’s compact, clips easily onto the drum, won’t come loose or fall off, even after the occasional wild hit from a drumstick, and sounds great.”

Engineers-photo credit Chris IsaacLast but not least, Tarulli decided on e 945s for both the tambourine and main vocals. “The 945 is a good all-round mic with excellent rejection and proximity effects,” he remarked. “The tambourine comes through really well, even in the midst of a loud stage, and it does the same job for the vocals, resulting in nice clear vocals and a crisp-sounding tambourine.”

Rob Elliot, an experienced UK monitor engineer (The Cure, Gomez) has been working with The Black Keys since July 2013. He cheerfully admits that Tarulli was responsible for specifying all the mics. “Jason has been with them forever, so it’s perfectly natural that he should specify the gear. That said, I think he made an excellent choice, so I’m more than happy.”

The final word went to Sennheiser Canada’s Chris Isaac who handles artist relations and has been looking after the band: “It’s great to have The Black Keys on board,” he said. “They are a fantastic rock duo with great stage presence who never fail to bring the house down with their live performances wherever they go. They also happen to be really cool guys, along with their team, who are a pleasure to work with.”

The Black Keys are currently working their way round the US before breaking for Christmas and a month off. In February they will embark on a second European leg and finish in Australasia.

The Sennheiser Group, with its head office in Wedemark (Hanover Region) is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2013 the family company, which was founded in 1945, realised a turnover of around 590 million euros. Sennheiser has more than 2,500 employees worldwide and operates its own factories in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Lichtenstein, 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. The company Georg Neumann GmbH, Berlin (studio microphones and monitor speakers) and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres) are also part of the Sennheiser Group. You can find further up-to-date information about Sennheiser online at www.sennheiser.com.

Photo captions:
1: Patrick Carney of The Black Keys relies on Sennheiser and Neumann microphones for his drumkit

2: TBK’s guitarist and vocalist Dan Auerbach with his e 945

3: TBK’s FoH engineer Jason M. Tarulli (l.) and monitor engineer Rob Elliot

(Photo credit for all images: Chris Isaac)

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Antelope Audio Introduces MP32: 32 Channels of Transparent, World Class Microphone Preamplifiers in a Compact 2U Rack Design

MP32 is the Ultimate Front-End Recording Device for both Live and Studio Applications and the Perfect Companion to Antelope’s Orion32 Interface

Los Angeles, October 6, 2014: As part of its product unveiling at the upcoming 137th International AES Convention, leading professional audio gear manufacturer Antelope Audio announces the MP32, a 32-channel, console-grade microphone preamplifier with integrated software control. Housed in a 2U rack space, MP32 is specifically designed to complement Orion32′s precise conversion and ensure even greater transparency while recording.

mp32plusorion32The combination of the Orion32 and MP32 — totaling just 3U in rack space — make it a perfectly suited solution for studios and live recording where rack space can be a precious commodity. The new MP32 expands on the analog preamplifier circuit design of the recently launched Zen Studio, which includes 12 studio quality mic preamps.

“With the MP32, the key idea was to incorporate an holistic approach,” says Antelope’s founder and CEO, Igor Levin. “Instead of considering a mic pre to be a disparate element, it should be viewed within the framework of the overall structure which comprises the A/D converter, its drivers and the pre itself. The result is that the entire system works in harmony, ensuring sonic integrity throughout the entire recording chain: from recording, to conversion, and playback.”

Quality and Versatility On the Road, in the Home or in the Studio
mp32videoEach of the class-A preamps on the MP32 feature phantom power and four of them can operate as Hi-Z instrument inputs. By using the MP32′s control panel (compatible with both Mac and PC), users can manipulate each of the unit’s input types and mic gain levels remotely. Even more, audio engineers are able to save and easily recall their own presets for various situations, making workflow more efficient. The individual V/U style metering provides instant signal confirmation at the glance of a computer monitor.

mp32rearEach preamplifier on the MP32 was designed to be open and transparent, introducing an increased level of sonic realism in recorded material. The unit offers excellent headroom and up to 65 dB of gain in 1 dB steps: more than enough power for even the most demanding ribbon mics. Since the MP32 is so compact — yet uncompromising in its quality and feature set — it offers an economical solution for modern engineers and producers to increase both quality and channel count at the input stage, whether they are operating a DAW-based project studio, a state of the art commercial studio, a laptop-based live rig or a multi-channel remote recording truck.

The MP32 is scheduled to ship later in the forth quarter of 2014 and will be priced at $2995, with a special discount available for Orion32 owners.

About Antelope Audio:
Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope’s breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

Photo Captions:
1) The Antelope Audio MP32 is specifically designed to complement Orion32′s precise conversion and ensure even greater transparency while recording.
2) Rear panel of the new Antelope Audio MP32.
3) Teaser video for the new Antelope Audio MP32.

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With the Promise of Audio over IP (AoIP) Fully Realized, Telos Systems Helps Broadcasters Carry High Resolution Broadcasts ‘Anytime, Anyplace, Anywhere’

Greg Shay, Chief Science Officer of Telos Alliance, Describes the Birth of Livewire and How the Industry Has Finally Embraced AoIP Nearly Twenty Years Later

CLEVELAND, September 22, 2014: Greg Shay, Chief Science Officer at Telos, began working on Audio Over IP (AoIP) 18 years ago in order to help the professional audio community close the loop on a pressing challenge: moving large amounts of audio data more efficiently, while retaining sonic quality and integrity. After joining Telos Systems in 1996, Shay worked with Steve Church and Frank Foti of The Telos Alliance to make Audio AoIP a reality, combining the company’s unique technology achievements with existing state of the art switches and network-ing solutions from companies like Cisco.

Greg_Shay_webThe result was a watershed breakthrough for radio broadcasters in 1999 with Telos’ Livewire solution. This enabled end users to dramatically reduce cabling and I/O points, while retaining pristine audio quality and facilitating easier management of their systems infrastructure — which often consisted of anywhere between 100 and 1,000 channels of audio. While it was a long road of innovation, Telos succeeded in solving a widespread industry problem — now, the company estimates that Livewire is present in more than 5,000 broadcast studios around the world. Greg Shay was a key architect of Livewire and an important stakeholder in the development of AES67, the AoIP interoperability standard that was published by the Audio Engineering Society (AES) in September of 2013. In the following interview, Shay describes the breakthroughs and nearly ubiquitous adoption of AoIP.

How did your work on AoIP begin?

My work on AoIP predates my coming to Telos, which was 18 years ago. I developed ‘Digital Audio Work Station’ (DAWS) in the late 1980s and early 1990s as part of a company that was eventually acquired by Euphonix. In the early 1990s, you had this interesting work problem of multiple people in separate control rooms working with DAWS, but no real solution for sharing work among them. So the whole problem of audio networking came about and this planted the seed of how can we move large amounts of audio back and forth by just using the network.

How did the discussion of leveraging the network infrastructure come about?

Livewire_BadgeWhen I first came to Telos and met Steve Church and Frank Foti in 1996, my very first conversa-tion with Steve Church was about this new thing Audio over IP. We thought, wouldn’t it be great if we could do all this audio I/O on the hardware that already exists on computer device plat-forms? Of course back then, network speeds were slow: 10MB was considered fast, and the industry wasn’t very mature so it was a lot harder. So we always had it on our back burner and began waiting for the right opportunity and context of a solution while working on the develop-ment of what would become Livewire. This was about 1998, and we got our patents filed in 2002. Since then, Livewire has been very successful — there have been approximately 5,000 studios built with the technology so far, and many of these include very large ones around the world. In the radio market, it is a leading technology.

When and why did you really see the broad market adoption occur?

Early adopters went ahead and started using it around 2003, because it delivered efficiencies but also saved costs. We were able to outfit many studios because our solution helped end-users minimize required cabling — there was much less I/O involved because you were leverag-ing all that computer horsepower. Then the hump period was around 2005 when the broader adoption occurred. All of the sales were based on specific problems that were being solved. It’s hard to convince people to buy a new product when it is more expensive, but since Livewire saves costs and brings technology innovation, it became much easier.

Our solution had lots of features and worked really well, and setting up installations became so fast. It is very analogous to hooking up computers; the difference of having 100 computers in a building and trying to hook them all up with RS 232 cables and a switching box versus just plug-ging it into the network and it’s done. We got that same kind of efficiency, because a typical radio station facility has hundreds of audio channels — the biggest ones have thousands. The sheer logistics of organizing and dealing with that many audio channels delivers unprecedented econ-omies of scale and along with it, cost savings.

What were some of the ways you were able to manage your own risk in develop-ing Livewire?

From the very beginning, the technology strategy — and this is something that Steve Church was just great at -— was the realization that radio on the whole is a relatively small industry, so let’s not try to do all of our own R&D and not reinvent the wheel. Let’s figure out how to leverage what the giants have done already. So we ended up hitching our wagon to the billions of dollars of R&D the big networking companies had. We had to figure out many things that were never done before, but all the while leveraging these bigger technologies. We accomplished this, and to me, this is the number one reason we’ve been successful. In developing Livewire, we made a num-ber of good technology choices that blossomed and matured over the 12 years.

Where do you think some of the future evolution is going to happen?

I believe the telecommunication companies will eventually lay down more fiber, and we are just riding on that progression and evolution. When we developed Livewire, we chose to use stand-ard IP networks formats — so our equipment is future proof and will work on these huge networks once they are deployed. This is where the real payoff will come on the decisions we made while developing Livewire, and it is also the huge problem that many of our competitors will face who made different choices. I have been giving whitepapers about this particular transition happening inside the studio, which will essentially open them up to the whole world. Interconnectivity is coming, but the missing piece is the telcos have to interconnect more cities with fiber. This is going to happen though. The power of networking will mean that the physical location of where people are and where the equipment is doesn’t matter much anymore. We are already seeing that happen in various ways. There is always going to be a human being at a microphone, be-cause of course it is all about the content. How you get that content to interested listeners how-ever, is up for grabs in terms of the technology.

About Telos:

For three decades, the companies of The Telos Alliance have revolutionized radio and television audio technology. Our goal is to help our clients, from global networks to local stations, produce better programming to improve audience engagement and ratings.

The companies of The Telos Alliance – Telos Systems, Omnia Audio, 25-Seven Systems, Axia Audio and Linear Acoustic – develop game-changing technologies and products that raise the bar for quality and innovation in the radio and television industries.

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Powersoft to Present on Advanced Subwoofer Design and its Patented M-Force Loudspeaker Technology at 137th AES Convention

Moving Magnet Linear Motor Technology in Subwoofers Can Deliver Greater Conversion Efficiency and Sound Quality in the Lower Frequency Ranges

Los Angeles, September 22, 2014: Powersoft, a world-leading manufacturer of professional power amplifiers, announced that it will present working methodologies and loudspeaker application scenarios on its patented M-Force linear motor technology, which was introduced at the 136th AES Convention in Berlin [A Novel Moving Magnet Linear Motor: Convention Paper 9060, by Claudio Lastrucci]. The presentation will take place on Friday, October 10th between 2:00 p.m. and 4:30 p.m., and explores applications such as cabinet design using new, electro-dynamic transducers based on a moving magnet linear motor instead of a traditional moving coil.

motorassemblyThe presentation, which will be conducted by Mario di Cola of Audio Labs Systems and Claudio Lastrucci — who both co-authored a new paper for this session — will demonstrate the practical use of M-Force linear motor technology with full measurement results. In the paper presented at the 136th AES, Claudio Lastrucci, Research and Development Director at Powersoft, articulated the benefits of this new technology, including improved conversion efficiency and sound quality in the lower frequency range as well as significantly lower distortion. Additionally, moving magnet technology offers considerably increased power handling, enabling it to reproduce upper bass frequencies with unprecedented level of quality and output. The presentation is open to all AES convention badge holders.

Who:
Mario di Cola, Audio Labs Systems and Claudio Lastrucci, Powersoft

What:
AES Paper Session: P9-4 Subwoofer Design with Moving Magnet Linear Motor

When:
ventedboxdesignFriday, October 10th, 2:00 p.m. to 4:30 pm.

Where:
AES 137th Convention, Los Angeles Convention Center — Room to be announced

To obtain a copy of A Novel Moving Magnet Linear Motor: Convention Paper 9060, please contact the AES online or request to The Audio Engineering Society, 60 East 42nd Street, New York, NY 10165.

About Powersoft:

Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

Image Captions:
1) Moving magnet linear motor assembly with polymeric 30″ diaphragm
2) High output, high quality vented cablnet design

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Sennheiser’s Esfera wins IABM Design and Innovation Award

IABM D&I Awards Winner finalOld Lyme, CT, September 17, 2014: Sennheiser’s Esfera surround microphone system has been recognized with an IABM Design and Innovation Award. At the awards ceremony held on September 13th during the IBC in Amsterdam, the audio specialist received the award within the Audio category.

“We feel extremely honoured that the IABM’s independent panel of experts has selected Esfera for the Audio award,” said Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. “Immersive audio is one of our focus areas, an area which truly creates a difference for the viewers’ TV experience. Esfera makes the lives of broadcast professionals a lot easier. The system enables them to efficiently capture authentic ambience using just two audio channels, and to convert this audio information to 5.1 at any point in the workflow, whether live or in post-production.”

The Esfera surround microphone system:

IABM AwardThe Esfera system consists of the SPM 8000 two-channel microphone unit and the SPB 8000 processing unit. The microphone unit features the typical advantages of RF condenser microphones: natural and detailed sound, transparency, ruggedness and high resistance to adverse climatic conditions. The processing unit uses an algorithm perfectly matched to the microphones to generate a 5.1 surround signal with sampling rates of up to 96 kHz. An integrated compressor ensures a broadcast-friendly signal. For ease of operation, the processing unit uses four directly selectable presets. These can be modified via an Ethernet interface to adapt to local conditions, including the settings for the gain of the individual channels, front and surround focus, surround delay, rotation, filters and cut-off frequencies, compressor, make up gain, output gain, limiter and windshield compensation.

About the IABM:

Sennheiser_Esfera_systemThe IABM, is the authoritative voice of the broadcast and media technology supply industry worldwide. Its wide range of services to members encompasses market research and intelligence, training, expert representation at standards bodies and broadcasting unions, executive networking opportunities, and preferential purchasing. A presence at every major broadcast tradeshow, the IABM also provides a valuable channel for communication among broadcast manufacturers, government, and regulatory bodies. Additional IABM activities include awards programs for innovation and scholarships designed to stimulate the development of the broadcast and electronic media industries on an international basis. For more information, please visit www.theiabm.org.

About Sennheiser:

The Sennheiser Group, with its head office in Wedemark (Hanover Region) is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2013 the family company, which was founded in 1945, realised a turnover of around 590 million euros. Sennheiser has more than 2,500 employees worldwide and operates its own factories in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Lichtenstein, 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. The company Georg Neumann GmbH, Berlin (studio microphones and monitor speakers) and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres) are also part of the Sennheiser Group. You can find further up-to-date information about Sennheiser online at www.sennheiser.com.

Image captions:
1: Sennheiser’s Claus Menke (l.) accepting the award from Peter White, CEO of IABM

2: Immersive surround sound and workflow efficiency: the Esfera 5.1 surround microphone system, consisting of a two-channel microphone unit and the 5.1 processing unit

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Sennheiser adds an interpreter console to its Tourguide portfolio

Old Lyme, CT, September 16, 2014: With the new SL Interpreter console, audio specialist Sennheiser expands its Tourguide conference and presentation system with a complete solution for controlling language interpreting channels.

SL_Interpreter_isofrontAs a self-contained unit for simultaneous interpreting, Sennheiser’s SL Interpreter brings together all the key functions of an interpreting console. When combined with the rack-mount SR 2020 Tourguide transmitter and Tourguide receivers for the audience, it delivers scalable language interpreting solutions that ensure simple installation and user-friendly operation.

“Whether you’re doing a small product presentation or an international conference with hundreds of participants, SL Interpreter will impress with its flexibility and ease of use,” explained Vanessa Jensen, Senior Product Specialist, Integrated Systems at Sennheiser.

In combination with the digital Tourguide 2020 receivers (available in both bodypack and stethoset versions), SL Interpreter creates an interpreting solution that is easy to operate and quick to install. For more demanding applications, SL Interpreter and Tourguide 1039 bodypack receivers are the best combination to ensure optimum speech intelligibility, even in environments with heavy RF traffic.

A flexible complete solution – ready in next to no time:

SL_Interpreter_backSL Interpreter handles the floor language plus one relay language. If more translations are needed, up to four interpreting consoles can be combined in order to provide simultaneous interpreting in up to four languages.

As usual, two interpreters can work at each SL Interpreter console, which enables them to take turns at interpreting. Each interpreter can individually adjust the audio settings directly at the console. In addition to controls for volume, treble and bass, the new Sennheiser interpreting console has a mute function and “cough” button to briefly mute the microphone. As a complete solution, SL Interpreter can be set up easily and quickly. All that is needed is to connect a headset (or a microphone and a pair of headphones) and the language interpreting solution is ready to use.

The Sennheiser SL Interpreter is available now.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group. More up-to-date information about Sennheiser is available on the internet at www.sennheiser.com.

Captions:
1: The SL Interpreter console completes Sennheiser’s Tourguide portfolio

2: The new SL Interpreter console turns Tourguide into a genuine all-round talent

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MORE THAN 130 POWERSOFT AMPS AT CORE OF NEW BILLION DOLLAR SPORTS HUB IN SINGAPORE

E&E fulfills major AV integration on National Stadium site

Singapore, September 15, 2014: The dynamic new Singapore Sports Hub, constructed at an estimated cost of Just over $1 billion US dollars, has now opened on the site of Singapore’s former National Stadium in Kallang. With the newly constructed 55,000-capacity stadium as its centerpiece, offering spectacular views over the waterfront and Singapore city skyline, it also includes the 6,000-capacity OCBC Aquatics Centre, the 3,000-capacity Arena (scalable into six halls), the Water Sports Centre located along the Kallang Basin, and commercial areas for leisure, shopping and dining activities.

Construction began in 2011, and the following August, Electronics & Engineering Pte (E&E) won the contract for the full integration of the Event Sound System and HD giant screens. Working to an architectural and engineering design prepared by the consultants, they specified well over 130 of Powersoft’s premium 1U K-Series and Duecanali Series amplifiers to drive the various PA and sound reinforcement systems. They described the project as “probably the largest high-powered distributed audio system that E&E has ever worked on.”

The network design for the National Stadium audio transmission was extremely complex, involving switching via 40 Netgear Gigabit 1000 base network switches. The main racks are populated by no fewer than 70 Powersoft K10 amplifiers (capable of delivering a jaw-dropping 12000W into 2 ohms) and 26 K2 amplifiers, incorporating the company’s proprietary DSP+AESOP technology — offering fully integrated sound shaping and system management capabilities).

These are found in 16 air-conditioned racks up on the Catwalk where they power six EAW MQX speakers, 35 QX speakers and 48 SB528zP subwoofers to serve the entire stadium bowl. This is processed by Symetrix SymNet Edge DSP, while a PC runs Dante software control and patching.

The Catwalk location for the amp racks was determined at an early stage in order to minimize the cable runs to the speakers. This was logistically challenging in view of the available space. However, Gary Goh, Deputy Managing Director at E&E, acknowledged that despite the limited rackspace, the fact that Powersoft amplifiers output extraordinary power from just 1RU chassis made this possible. “To derive sufficient power from such compact real estate required the superior switchmode amplification technology of Powersoft’s K series, with its incredible power to weight ratio. It really helped to maximize the space efficiency,” he reports.

The audio distribution design was based on an amplifier network running AES inputs as standard and analog inputs as backups. The amplifiers are controlled and monitored via the Armonía Pro Audio Suite software and deliver EAW Greybox settings in the DSP to the loudspeakers.

Elsewhere, a similar network was constructed for the OCBC Arena, using Powersoft’s energy-saving Duecanali 2-channel installation series. Via Netgear 1000 base network switching, in Amp Room 1 22 x Powersoft Duecanali D3904 amplifiers were specified to power large quantities of EAW and Community loudspeakers at various levels in all six halls — with signal processing again carried out in SymNet Edge, with signal transport over Dante.

Operating on the same principle in the Aquatic Centre are a further 15 Powersoft Duecanali D3904 amplifiers populating Amp Rack 1 and 2 to power the EAW loudspeakers installed at the Catwalk to serve the swimming pool area and further column speakers, installed at pool side, to service the corridors.

The final deployment of Powersoft amplification is in the Water Sports Centre, which, like the other zones is fully featured with Netgear switching, Symnet DSP, full audio control/mixing and playback devices. Here, the final three Powersoft Duecanali D3904 can be found in the Amp Room driving three EAW speakers installed at the top tower of the Centre.

All of which will future-proof the new Singapore Sports Hub for years to come — ensuring on the one hand that the public address and voice alarm systems can be heard intelligibly while the line and live playback pack plenty of punch.

“The clients trusted us to deliver all their technological requirements and I am confident that we have succeeded,” concluded Mr. Goh.

About Powersoft:
Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

About Singapore Sports Hub:
The centrepiece of the Singapore Sports Hub is the new 55,000-seat National Stadium. The retractable seating capability allows for flexible reconfiguration of the stadium’s bowl, making the National Stadium the only stadium in the world able to host rugby, cricket, football, athletics and concerts in one venue. The stadium’s retractable roof and energy efficient bowl cooling technology also represents the next stage in sustainable stadium design, providing athletes and spectators with a unique and comfortable environment. OCBC Arena consists of six halls over two levels that are designed to be scalable in size, and will cater to an array of indoor sports events for both National Sports Associations as well as the general public. This 1,000-3,000 capacity venue was designed for badminton, fencing, taekwondo, basketball, netball, volleyball, rhythmic gymnastics training and table tennis. OCBC Aquatic Centre is designed to cater to both the general public and elite athletes, and will be able to host community-run events to premier aquatic competitions. Planned for everyday use and flexibility to host international events, the OCBC Aquatic Centre will have the ability to add additional temporary seating and double its 3,000 permanent seating capacity to accommodate a variety of events. Water Sports Centre will have community and elite training facilities for aquatic enthusiasts of all levels. A 500 metre course will be mapped out on the water and a one kilometre course will be accessible from Marina Bay. Canoeing, kayaking and dragon boating can be enjoyed at the Water Sports Centre.

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