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Antelope Audio Introduces a 384 kHz A/D & D/A Converter, Master Clock and Monitoring Controller – All in a Two Space Rack Unit Called Eclipse 384

Santa Monica, Calif., December 7, 2011 — Antelope Audio announces the launch of ?Eclipse 384 – the first of its kind multifunctional audio device that provides 384 kHz A/D and D/A conversion clocked by Antelope’s renowned 64-bit technology and a powerful and flexible monitoring control.

Eclipse 384 was unveiled during the Audio Engineering Society (AES) convention in New York last October, where it received the accolade “Best of Show” and subsequently “Gear of the Year” from two highly regarded industry publications.

“The philosophy behind Eclipse 384 is Aristotle’s dictum: ‘The whole is greater than the sum of its parts‘,” commented Igor Levin, CEO and founder of Antelope Audio. “The device is a technological fusion of our best and most prominent innovations, such as the 64-bit Acoustically Focused Clocking (AFC) and the Oven-controlled oscillator, high resolution USB streaming, and next generation conversion and power supply circuits.”

Inside the Eclipse 384

The Eclipse comprises 384 kHz A/D & D/A converters clocked by two independent 64-bit DSP Trinity-level clocks. The fully integrated monitor controller employs 0.05 dB accurate gold-plated relay attenuators and provides speaker switching, bass management and cue mix functions with integrated talkback. The Eclipse also includes two dedicated headphone amplifiers and a custom USB interface, as well as two large peak meters on the front panel. The advanced software control panel compatible with both Mac & PC, allows five nameable presets for easy recall of favorite setups.

The unique dual-domain clocking system enables analog-based, more natural sounding sample rate conversion. The integrated patching/routing capabilities make monitoring of either analog or digital sources extremely simple, avoiding jitter, distortion and cabling noise. By eliminating the many input and output stages and the various power supplies, that would be present in separate devices, the noise floor can be substantially reduced and the audio quality significantly improved.

“The 2U-box easily substitutes and outperforms an equivalent combination of five separate high-end products. It is targeted towards audio engineers who crave superb sound quality and maximum efficiency,” Levin added. “ By simply pushing a preset button, a user is able to completely reconfigure dozens of settings. This beats running around the studio and turning a gazillion knobs on multiple devices.”

The Eclipse is also well-suited to live environments. Master clocks are becoming more and more popular for use with digital consoles and recording equipment at concerts and live events. By using the Eclipse 384, a live sound engineer is able to provide sync reference for up to four different devices, while using the main D/A for backing material, the A/D with multiple digital outs feeding redundant recording systems, and monitor DAC to check the recording post A/D conversion.

Currently Antelope Audio is accepting pre-orders for Eclipse 384, which is expected to ship during the first quarter of 2012; however the first pre-ordered units will arrive in studios before the end of 2011.

Eclipse 384 features
Clocking

– 64-bit DSP Trinity-level clocking
– Oven-controlled oscillator
– Factory calibrated to better than +/- 0.001 ppm stability
– Two independent sample rates
– Varispeed capability of +/- 200 cents
– 10M atomic clock input

Conversion

– 384 kHz A/D & D/A converters
– A/D with Dynamic Range of 124dB
– D/A with Dynamic Range of 129dB
– Burr-Brown D/A conversion chip
– Two bypassable A/D inserts
– Custom USB 2.0 chip streaming up to 480 Mbits

Monitoring

– Three sets of switchable monitor outs
– Second dedicated monitor D/A
– Bass management with LFE output
– Precise input and output peak meters
– Talkback and cue mix functions
– Relay volume attenuator matched to 0.05 dB

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The Sing Off Takes to the Stage with a Live Finale and 100 Sennheiser Wireless Microphones as The Pentatonix Rise to the Top

Pentatonix, seen here singing into Sennheiser SKM 5200 wireless transmitters with MD 5235 capsules, took top honors in season 3’s The Sing Off.

Old Lyme, Conn. – November 30, 2011 – On Monday night, NBC presented the “Live Finale: Top 3 Finalists” of its hit show The Sing Off featuring not only the final three group contestants, but over 100 Sennheiser microphones on stage. The Pentatonix were elected champions of season 3, and music mixer Randy Faustino was on hand to ensure the audio quality was outstanding until the very end.

Faustino, a multiple Emmy award-winning music mixer and CEO/President of Creative Sound Solutions, has been responsible for mixing not only The Sing Off, but other top national prime time programs including The Voice, American Idol and others. Whether he is faced with a live broadcast or an in-studio production, Faustino depends on Sennheiser transmitters and capsules to achieve a great sound. For “Live Finale: Top 3 Finalists” he used over 100 Sennheiser SKM 5200-II transmitters, each coupled with Sennheiser MD 5235 capsules.

Faustino prefers the MD 5235 capsules because of its clear sound and versatility: “It seems to work for everybody, and I never seem to have a hard time getting a great sound,” he says. “Sometimes I have people eating the microphone, other times I have performers more than a foot off the mic — it has to perform equally well in both scenarios.”

Since each performance is a ‘once in a lifetime’ career opportunity for the contenders, Faustino needs to ensure that the mix is the best it can be for whichever group approaches the mic. He says that the Sennheiser MD 5235 mic capsule helps facilitate this: “The technology has to be plug and play,” he says. “I get that one shot at putting a live mix together, and then you have to move on. I have very little EQ on those mics, and they sound fantastic across a range of vocal types — that is the beautiful part of these MD 5235 capsules.”

“You have to have a good, clear sounding capsule so you can pick out the voices and have them defined in the track,” observes Thom Salisbury, Western Regional Sales Manager for Sennheiser. “On a program like The Sing Off, you not only have a variety of frequencies coming into the vocal track, but also tonal and volume differences. The MD 5235 is very sensitive and has a very smooth frequency response — I believe this is why it is our most popular capsule for television and touring.”

Predictable and reliable RF performance
In the case of a live programming scenario such as “Live Finale: Top 3 Finalists” where audio is being broadcast to millions of television viewers, the audio quality needs to be synchronous with solid and reliable RF performance. In the middle of Los Angeles — one of the most difficult RF environments in the world — the challenge can be daunting, especially considering the massive lighting rig and number of microphones operating on the stage at the same time.

Dave Bellamy of Las Vegas-based Soundtronics Wireless was in charge of ensuring that the RF for Monday evening’s performance — and indeed the entire preceding season — was flawless. “In a show like this, ‘pretty good’ isn’t going to get you there,” Bellamy observes. “This is a very demanding and exacting business, and in an extremely overcrowded RF environment, Sennheiser gives me predictable reliability.” Bellamy used Soundtronics’ Phoenix system antenna system in combination with dozens of Sennheiser EM 3732-II wireless receivers to ensure that the audio was free of any RF interference.

How does mixer Randy Faustino manage to stay cool in such a technically challenging and intense production environment? “I have to stay two steps ahead of everything, but I feel secure in the fact that Sennheiser always works. We’ve never had a failure and have always had great product support from Thom Salisbury if we ever need anything.”

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Related Topics: Events, Large Venue, Microphones |

Antelope Audio Brings Back Popular OCXmas, Offering Special Discounts on its OCX Master Clock and Zodiac Digital to Analog Converter

Santa Monica, Calif., November 21, 2011 — Antelope Audio announced the return of its OCXmas special this holiday season, by offering substantial discounts on its most accessible products including the Isochrone OCX master clock and the Zodiac digital to analog converter (DAC). Beginning on Black Friday and running through December 31st, authorized Antelope Audio dealers will be offering the Isochrone OCX at $1,095 — a $300 discount from its regular street price of $1,395, and the Zodiac at $1,295 — a $400 discount from the price of $1,695.

“If you are a project studio owner or a live sound engineer who has ever wanted to improve the clocking and conversion performance, there has never been a better time to acquire an Antelope Audio product,” commented Marcel James, Director of Sales for Antelope Audio USA. “Our OCX is the clock that started it all and is used by thousands of studios around the world. Our Zodiac, meanwhile, will appeal to those looking to attain the core functions of conversion, clocking and monitoring in a single, elegant solution.”

Antelope Audio OCX
Since its introduction to the market in 2004, the Antelope Audio Isochrone OCX has redefined the standard for clocking in the professional studio. It was quickly embraced by notable engineers and mastering professionals including Michael Brauer, Emily Lazar and many others. The OCX is the perfect complement to pro audio converters in the studio or for a digital live console. By acquiring an OCX at the special discounted rates, users can upgrade the clocking capabilities of their project studio or live sound rig and achieve greater detail and clarity in their mixes.

Antelope Audio Zodiac
Antelope Audio’s Zodiac D/A converter represents a groundbreaking addition to any project studio or DAW set up. It employs proprietary 64-bit clocking technology used in Antelope Audio’s Trinity master clocks. By taking advantage of the Zodiac Holiday Special, consumers can access mastering quality converting at a fraction of the cost of other high-end products on the market today. Studio owners will appreciate not only the ease of set up and elegant design of the Zodiac, but moreover its stability and performance providing sampling rate of up to 192 kHz.

OCX Features

Oven Controlled Discrete Transistor Crystal
Atomic clock input resolves to Rubidium clock for perfect stability
Sample Rates 32-192 kHz
Factory calibrated to better than +/- 0.02PPM accuracy via Atomic Clock
Outputs multiple, divisible sample rates
8 Word Clock outputs
2 AES/EBU outputs
2 S/PDIF output

Zodiac Features:

Custom USB chip streams audio up to 192kHz
Antelope Oven Clock for supreme stability
64-bit Acoustically Focused Clocking (AFC)
129dB Dynamic Range
Ultra Linear, Dual Stage Headphone Amps
PC/Mac Software Control Panel
Accurate Level Display for Main Volume

Dealers participating in OCXmas include audioMidi.com, Sweetwater.com, VintageKing in the U.S., Studio Economik in Canada and Audio Gate International in Mexico. To learn more about the Antelope OCXmas, or for complete product information, please visit one of Antelope Audio’s authorized dealers or manufacturer’s website.

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Related Topics: Audio Playback |

Antelope Audiophile Special Brings Holiday Cheer to the Audiophile Community with Discount on its Zodiac Digital to Analog Converter (DAC)

Santa Monica, Calif., November 21, 2011 — Pioneering audio company Antelope Audio announced its Antelope Audiophile Special — a unique holiday price drop on its world-renowned, audiophile-grade Zodiac digital to analog converter (DAC). From now until December 31st, authorized U.S.-based Antelope Audio dealers will be offering the Zodiac at $1,295 — a $400 discount from its regular street price of $1,695.

Antelope Audio’s Zodiac D/A converter represents a groundbreaking addition to any listening set up. It contains the exact clocking technology used by top mastering professionals and engineers in the music, film and television industries. With the latest holiday discount, the Zodiac represents the most affordable entry point to help music afficiaonados hear the music as it was intended by top professionals such as Bernie Grundman of Bernie Grundman Mastering and Ward Hake, vice president of music at 20th Century Fox’s TV Music division.

“With our Antelope Audiophile Special, we are helping audio consumers access the exact same conversion and clocking technology used by the most prominent industry professionals in the world at a fraction of the cost,” commented Marcel James, Director of Sales for Antelope Audio USA. “The Zodiac is an ideal solution for a home listening environment and the ‘missing link’ in helping any system achieve optimal performance.”

Unprecedented detail and clarity
The Antelope Audio Zodiac helps audiophile consumers experience a new level of detail, sound clarity and warmth. Featuring a plug and play interface that connects seamlessly to a Mac, PC or just about any other digital media source, the Zodiac delivers 192kHz resolution audio, dramatically improving the listening experience on both loudspeakers and headphones. Antelope’s proprietary clocking technology, which is shielded from other electronic components to maintain a consistent temperature, is at the core of the Antelope sound and results in astounding accuracy, dynamics and stereo placement of the audio.

The Zodiac is particularly attractive also to audio consumers who use headphones being designed for precise monitoring with a wide range of headphone impedance. Ultra linear, dual stage headphone amplifiers, which are controlled by a dedicated volume knob, deliver smooth sound at both high and low levels.

Features:

– Custom USB chip streams audio up to 192kHz
– Antelope Oven Clock for supreme stability
– 64-bit Acoustically Focused Clocking (AFC)
– 129dB Dynamic Range
– Ultra Linear, Dual Stage Headphone Amps
– PC/Mac Software Control Panel
– Accurate Level Display for Main Volume

Dealers participating in the Antelope Audiophile Special include audioMIDI.com, Soundsciencecat.com, Sweetwater and Vintage King. To learn more about the Antelope Audiophile special, or for complete product information, please visit one of Antelope Audio’s authorized dealers or manufacturer’s website.

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Sennheiser Delivers Flawless RF Performance During CMA Awards

Blake Shelton performs with his Sennheiser SKM 2000 transmitter, coupled with an MMD 935-1 capsule

Old Lyme, Conn. – November 15, 2011 – During the 45th annual Country Music Association Awards, audio specialist Sennheiser delivered another evening of rock solid audio and flawless RF performance courtesy of its EM 3732-II receivers, SKM 2000 and SKM 5200 transmitters and its ew 300 G3 IEM series monitoring system. The following Sennheiser users also won awards and performed live onstage using Sennheiser transmitters and capsules:

Blake Shelton: Top Male Vocalist
(Sennheiser SKM 2000 coupled with an MMD 953-1 capsule)
Miranda Lambert: Top Female Vocalist
– (Sennheiser SKM 2000 couple with an MMD 935-1 capsule)
Sugarland: Vocal Duo of the Year
(Sennheiser SKM 5200-II coupled with an MD 5235 capsule)
Lady Antebellum: Vocal Group of the Year
(Sennheiser SKM 5200-II coupled with an MD 5235 capsule)
more

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Sennheiser Announces InfoComm Certified Technology Specialist (CTS®) Accreditation for its Educational Sound Academy Programs

Old Lyme, Conn. – November 14, 2011 – Audio specialist Sennheiser announced that several of its Sennheiser Sound Academy programs now qualify for InfoComm
Certified Technology Specialist (CTS®) renewal units (RU). Individuals that hold an
InfoComm CTS certification (including CTS, CTS-D and CTS-I) are required to earn RU credits periodically in order to keep their certification current. Sennheiser has partnered with InfoComm’s RU provider program in order to reinforce its standing commitment to the continuing education of CTS professionals in the industry.


Sennheiser RF Sound Academy

Sennheiser’s popular RF Sound Academy seminar now offers six (6) RU credits for individuals that successfully complete the course. RF Sound Academy is a comprehensive, one-day course covering many subjects pertaining to the use of wireless radio frequency microphones. Frequency coordination, antennas and distribution systems, system planning, wireless monitoring and the impact of FCC regulations on users of wireless microphones are among the topics included in this wide-ranging course, which is suitable for beginners to experienced professionals. RF Sound Academy training programs are conducted by Joe Ciaudelli (director of advanced projects and educational services, Sennheiser) and Dave Missall (national market development manager, Sennheiser).


Installed Sound Academy

Sennheiser’s Installed Sound Academy offers 7.5 RU credits for participants that successfully complete the program. Taught by Sennheiser National Market Development Managers Kent Margraves and Eric Reese, the Installed Sound Academy covers sound reinforcement, microphone theory and applications, wireless personal monitor systems, RF wireless systems and troubleshooting logic. The course is suitable for designers, consultants, project managers, worship leaders, system operators and technicians and anyone involved in the selection or purchase of audio products and systems.

Audio for Video and Film

Sennheiser’s Audio for Video and Film Sound Academy seminar, which is also led by Dave Missall, is a valuable resource for those who routinely work with video and would like to enhance their knowledge of how to integrate audio into their workflow. The Audio for Video and Film Sound Academy now offers six (6) InfoComm CTS® RU credits for participants who successfully complete the program. Among the topics covered in the seminar are microphone basics, microphone pickup patterns, boom techniques, shotgun microphones, tips and tricks to eliminate unwanted noises in recordings, and much more. The course also includes a mock scene in which participants practice mic placement and record and playback the results.

For more information on any of Sennheiser’s Sound Academy programs or to register, visit http://www.sennheiserusa.com/soundacademy.

Metalcore Band blessthefall Announces New Album “Awakening,” Headlining North American “Fearless Friends Tour” with Sennheiser at Their Back

Old Lyme, Conn. – November 10, 2011 – Since hitting the post-hardcore scene in 2007 with their debut album and earning a spot on the Warped Tour that same year, blessthefall has made measured progress in its career, reaching legions of fans while playing larger, more prominent venues around the world. Their most recent album, Awakening, was released last month and solidifies the high energy sound and intensity the band has been crafting over the course of its discography, which now includes three albums.
more

Sennheiser’s evolution Series Microphones are an Integral Part of Le Poisson Rouge’s “Perfect Sound System”

New York – October 24, 2011: Now celebrating its third year in business, New York City’s Le Poisson Rouge (LPR) has reinvigorated the musical landscape of Greenwich Village –- birthplace of the Beat movement and former home to musical legends such as Bob Dylan, Jimi Hendrix, Simon & Garfunkel and so many others. Located on Bleecker Street on the site of the former Village Gate, LPR has made a name for itself in a musical community that now includes more contemporary names like Florence & the Machine, the JACK Quartet and Lykke Li.

Since opening in the summer of 2008, LPR –- which has been recognized by restaurant guide Zagat® as having a “perfect sound system” — has hosted a remarkably eclectic listing of musical performances. Any given show may feature a classical pianist, hardcore avant-garde ensemble, or anything in between. Perhaps the only common element among the performances is that each one is captured using Sennheiser ’s evolution series microphones.

Le Poisson Rouge: Bringing out the Best
Shortly after opening, LPR recruited Richie Clarke, a 15-year sound veteran who has worked across every conceivable genre of music including jazz, rock, reggae, classical and R&B. Clarke, who came from New York’s famed Manhattan Center studios, has been a longtime user of Sennheiser equipment and brought with him a solid understanding of microphones and sound. On his first day of work, among the first things he did was check out the mic cabinet at LPR. “Sennheiser has always been extremely high on my personal list and -– along with Neumann — is the only microphone company I’d want us to be closely aligned with,” he says.

The broad range of performances at LPR presents unique technical challenges. “Some nights we need to mic a 30-piece orchestra with various classical instruments and percussion –- often ‘in the round’ in front of the P.A.,” Clarke observes. “Our collection of Sennheiser mics helps me achieve the highest possible sound pressure level with no feedback — while maintaining the sound integrity of each instrument.” Since LPR often features multiple performances in a day, Clarke and his team are often working against the clock. “It is very tightly scheduled, so when we put a mic on an instrument -– whether it is a screaming electric guitar or a gentle violin -– we need that microphone to help us get to where we need to be as fast as possible.”

Great sound across a diversity of applications
For drums and percussion, Clarke is big a fan of the Sennheiser e 900 series all around. “They sound great whether we are doing heavy hip hop shows or more sensitive jazz standards. The sound of the drum comes through so naturally, and it is all there before EQ,” Clarke says. In terms of specific placements, he prefers to use the e 901 and e 902 on the kick, inside and out. On the snare, he uses an e 905. “This gives us the punch we need –- whether it’s rock or jazz,” Clarke says. He uses e 904s on toms, an e 614 on hi-hat and e 914s as overheads.

Perhaps Clarke’s most favorite microphone of all is the Sennheiser e 906. “For the guitars, we use these exclusively — there is never a situation where they don’t work,” he says. “Our room is a very bright room, and the 906 brings out all the right elements. They give you the crunch of the sound, but without the brittleness.”

LPR routinely puts Sennheiser microphones to the test on vocals, and the e 965 has quickly earned its position as ‘most favored microphone,’ Clarke says: “We already loved the e 935 and e 945, and didn’t think it could get any better. Then we got our hands on an e 965 and I had everyone try it out independently. One by one, I started getting emails and texts from all my engineers telling me that it is the best sounding vocal mic they ever heard. They all had the same experience.”

Microphones that translate to live broadcast
As LPR becomes well established beyond the boroughs of New York City, Internet broadcasting plays an increasingly important role in helping the club attract and maintain its loyal fan base. “We started streaming shows about six months ago and hit our highest viewership numbers in the last couple of weeks,” Clarke says. “It is very important to me that if I have a great sound in the room that it also translates to our live broadcasts. So far, whatever I hear from the mix position sounds great on the radio as well, and this is in large part due to the quality we are getting out of those Sennheiser mics.”

Clarke says that the magic of Sennheiser microphones lies beyond just the great sound: “The versatility of these microphones is very important to me. Being able to switch microphones at any given moment and roll with the punches is key. Sennheiser is a lifesaver here because they perform well across so many different instruments. I can mix and match any of these mics, and they all sound good!”

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Related Topics: Microphones |

Sennheiser’s Installed Sound Academy to Visit Oklahoma City on October 25, 2011

OLD LYME, Conn.–October 20, 2011: Audio specialist Sennheiser announced that it will offer its Installed Sound Academy Seminar in Oklahoma City, Oklahoma, on Tuesday, October 25, 2011. The one-day event focuses on key practices, topics and trends in the installed sound/systems integration business.

The eight-hour session will be led by Sennheiser veterans Kent Margraves and Eric Reese. Modeled after Sennheiser’s highly acclaimed RF wireless and studio recording sound Academy seminars, the session will provide attendees with the opportunity to learn or refresh integration skills while earning 7.5 CTS renewal units of credit toward Certified Technology Specialist (CTS) re-certification. The training session will provide classroom and demonstrative instruction on the following topics:

– Sound reinforcement
– Microphone theory and applications
– Wireless personal monitor systems
– RF wireless systems
– Troubleshooting logic

Who should attend?

– Designers and sales engineers who recommend systems to customers
– Consultants involved in designing and writing specifications
– Technicians responsible for correct system installation and implementation
– Worship leaders
– Project managers, production managers, system operators, mixers and technicians
– Anyone involved in the selection and purchase of audio products and systems, or seeking CTScredits for certification renewal

About the instructors
Kent Margraves’ 20-year industry history includes eight years at Sennheiser. His decade-long career as a professional worship audio director included completing thousands of events in sound reinforcement, live broadcast, post production, studio recording, live recording and touring applications. Eric Reese has been immersed in the systems integration industry for over 11 years. Prior to joining Sennheiser’s national market development and education team, he served as an area sales manager for Sennheiser, held project/design engineering positions with two national integrators, and served as a reliability engineer for another manufacturer.

Registration costs $149 and includes, lunch, workshop materials, complimentary giveaways and a $50 coupon toward any Sennheiser product. The session will be hosted at Crossings Community Church at 14600 N. Portland, Oklahoma City, Oklahoma.

For more information and to sign up, visit the Sennheiser Installed Sound Academy registration page.

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Sennheiser Shines on the Creative Arts Emmy Red Carpet

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Los Angeles—September 22, 2011: At this year’s Creative Arts Emmy Awards show, audio specialist Sennheiser was tapped to capture the “glamorous? sound bites from the bustling red carpet for one of the entertainment industry’s leading crew-centric magazines, Sound & Picture.

The Academy of Television Arts & Sciences awarded the 2010-2011 Creative Arts Primetime Emmy Awards for programs and individual achievements at the 63rd Emmy Awards presentation at the NOKIA Theatre L.A. LIVE in Los Angeles. Included among the presentations were Emmy Awards for Outstanding Sound Mixing Achievement in a One Hour Comedy or Drama Series and Outstanding Music Composition in a Miniseries, Movie or a Special. For the evening’s events, Sound & Picture looked to the new MKH 8060 shotgun microphone, equipped with the MZD 8000 digital output module, to capture the vibrancy of the red carpet. While the digital microphone more

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