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Moog Announces Minifooger Analog Effects for Guitar & Bass

New line of powerful, compact and affordable effects pedals

Asheville, NC – October 8, 2013Moog Music Inc. today announced the launch of the Minifooger Analog Effects family – a series of compact – easy to use stomp boxes designed primarily for use with electric guitar and bass. Each Minifooger is housed in a rugged cast aluminum enclosure and features a 100% analog signal path, true bypass design, optional battery power, and a single expression pedal input providing hands-free control of one specified parameter within each unit.

“We have been working on designs for a line of highly engineered analog effects pedals that are affordable, compact, and easy to use for some time. We are extremely pleased with the outcome and hope that guitar and bass players are too,” said Mike Adams, President of Moog Music.

Each Minifooger’s user interface is centered on musicality and the ability to create new effects quickly. There is also a dedicated expression pedal input that provides control over a function and allows the player to go beyond the panel settings to explore wild, and experimental sounds. This input can also be controlled via CV.

“We want people to approach these pedals from an aural standpoint. The sonic capabilities of Minifoogers are extensive, but they are also easy to use. You can just close your eyes, turn knobs, and create modern, vintage, or other worldly sounds,” said Cyril Lance, Chief Engineer Moog Music.

Moog is launching The Minifooger Analog Effects family with 5 compact stomp boxes – the MF Drive, MF Boost, MF Delay, MF Ring, and MF Trem. Each pedal is 100% analog, designed and hand assembled in Moog’s factory in Asheville, North Carolina and carries a US street price below $200. Moog is debuting two videos today featuring artists experimenting with the Minifoogers: Troy Van Leeuwen, guitarist for the band Queens of The Stone Age takes a more classic approach; and Xander Singh and Ian Hultquist of Passion Pit explore the other worldly side of the Minifoogers.

Minifooger Analog Effects Pedal Descriptions:

The MF Drive is a filter-based overdrive pedal employing a Moog Ladder Filter, boutique FET amplifiers, and OTAs in its drive section making it highly reactive to picking dynamics. The panel features a bipolar tone control and sweepable filter that work dynamically with input gain to offer each player unique and customizable sounds that retain the core timbre of their instrument. A filter Peak switch shifts harmonic content to the filter’s cutoff position, adding new tonal creation and dirty wah performance possibilities not found in other drive pedals. MSRP: $179.

The MF Boost is a selectable topology boost pedal that allows the player to switch between an “articulate VCA” signal path and a “colored OTA” signal path. Each is tailored to deliver boutique amplifier sound and responsiveness from any guitar/amplifier combination. The design also imparts natural compression to an input signal, which brings out note articulation and significantly increases the performance of other effects pedals. When paired with an expression pedal, the MF Boost can be used as a tone enhancing volume pedal, sweepable-gain boost pedal, and VCA. The expression pedal input also provides access to higher gain values not available on the panel. MSRP: $149

The MF Delay features 35mS-700mS of completely analog delay time. At shorter set-tings, repeats are fast and bright for creating classic slap-back and plate sounds. At medium and long settings the repeats become darker and naturally trail into reverb-like state. A Drive circuit allows the player to adjust the tone and feel of the MF Delay as well as overdrive the Bucket Brigade Delay line, and the input of a guitar amplifier for bigger sound and feel. Also, the expression pedal input is switchable between feedback for expressive swells and delay time for tape delay and chorus/flange effects. MSRP: $209.

The MF Ring is an analog ring modulator that is based on the world’s best selling Ring Mod, the Moogerfooger MF-102. Its refined frequency range and tone voicing circuit add new-musical elements to ring modification, making it easy to dial in everything from octaves and choral dissonance to harmonic undertones and synthesized lead lines. The expression pedal input provides hands-free control of the Freq parameter for sound sweeps, pitch shifting effects, and playing between two scales on the fly. MSRP: $159

The MF Trem is an analog tremolo pedal designed around a balanced modulator and Sub Audio VCO. This design creates a wide range of effects that are based on phase cancellation and addition. Players can create classic optical tremolo, hard tremolo, rotary effects and more that react dynamically to harmonic content. A variable Shape control interacts with Tone and Mix to craft subtle swells and gallops to rhythmic percussive, and swirling effects. When pushed, the MF Trem can also approach the beginnings of phasing and chorus. The expression pedal input adds control of the Speed parameter for hands-free swells and rotary effects. MSRP: $189

Minifooger Analog Effects Pedals are available for preorder from all authorized Moog dealers now. Moog Music will begin shipping the first units from their Asheville factory in October, 2013. For more information about Minifooger Analog Effects Pedals go to: MINIFOOGER.COM

Links:

• Video featuring Troy Van Leeuwen: http://www.moogmusic.com/Troy-Van-Leeuwen
• Video featuring Passion Pit: http://www.moogmusic.com/Passion-Pit
• Moog Music website: http://www.moogmusic.com/
• Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
• Moog Music on Facebook: http://www.Facebook.com/MoogMusicInc/

About Moog Music:

Moog Music synthesizers and other electronic musical instruments are designed and lovingly built 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.

Photo captions:
1) The Minifooger analog effects for guitar and bass.
2) Troy Van Leeuwen, guitarist for the band Queens of The Stone Age.
3) Xander Singh and Ian Hultquist of Passion Pit.

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Moog Music Announces 3 New Expansion Packs for Animoog

ASHEVILLE, NC – October 4, 2013 – The award winning Animoog by Moog Music now offers three new expansion packs for iPad, iPhone, and iPod, available now. Each new expansion pack gives users the ability to create sounds never before available through the professional synthesizer app. Each expansion pack is available as an in-app purchase through the Animoog store.

The Monster Moog Expansion Pack, the largest of the three, comes with 167 timbres and 48 presets. It uses elements from new and classic Moog instruments including the System 15 Modular, Minitaur, 904a Filter, Freq Box, Bode Frequency Shifter, Sub Phatty, and more.

The Vintage Vibe Expansion Pack, holding 114 timbres and 46 presets, is a throwback to synths from the 1980s. It was made using vintage synthesizer VCOs and filters, shaping up for unique timbral content.

Meanwhile, The Vintage FX Expansion Pack contains 41 presets and 53 timbres. Its timbral content is derived from vintage modular, rack, and stomp box effects, including multiple analog delays, phasers, frequency shifters, resonant filters, and vocal phase filters.

Each expansion pack expands Animoog’s vocabulary and musical capabilities. Previous Expansion Packs include the Devine expansion pack ($3.99) and the Grateful Dead expansion pack ($4.99), which converted a 1968 live performance into a source of harmonic content for the app.

The Animoog app, which received the 28th annual TEC award for Audio Apps Technology For Smartphones and Tablets, is available for download on Apple’s iPad, iPhone, and iPod as well as for the Blackberry Z10.

Audio samples for Animoog expansion packs are available on the Animoog product page at http://www.moogmusic.com.

Prices:

Monster Moog Expansion Pack – $4.99
Vintage Vibe Expansion Pack – $3.99
Vintage FX Expansion Pack – $2.99

Links:

• Animoog on the iTunes App Store: https://itunes.apple.com/us/app/animoog/id471638724?mt=8
• Animoog product page: http://www.moogmusic.com/animoog
• Moog Music website: http://www.moogmusic.com/
• Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
• Animoog on Facebook: http://www.Facebook.com/animoog

About Moog Music:

Moog synthesizers and other electronic musical instruments are designed and lovingly handcrafted at the Moog Factory in downtown Asheville, North Carolina. The company and its customer’s carry on the legacy of Dr. Bob Moog, inventor of the Moog synthesizer and founder of Moog Music Inc. Moog Music celebrates the innovative spirit of Dr. Moog in every instrument they produce and also at Moogfest, their five-day festival dedicated to the synthesis of technology, art and music.

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Antelope Audio Sets the Tone for Rocky Mountain Audio Fest with New Zodiac Platinum 256x DSD DAC and Rubicon Atomic AD/DA Preamp

Denver, October 3, 2013 — Leading digital audio manufacturer Antelope Audio (exhibit room 477) will set the tone at this year’s Rocky Mountain Audio Fest by demonstrating its new Zodiac Platinum DSD DAC and its CES 2013 Innovations Award Winning, Rubicon Atomic AD/DA, the first audiophile preamp with an integrated atomic clock.

The presentation will demonstrate the unprecedented clarity, detailed imaging and wide frequency response that is possible with digital audio recordings while using Antelope Audio’s premium audiophile componentry. Attendees will experience A/B listening comparisons between analog source material and digital recordings, using Antelope Audio playback systems.

In addition to the room exhibition, Antelope Audio Director of Sales and Marketing Marcel James will be on hand to present a seminar on Sunday afternoon entitled The Advantages of Superior Clocking for Digital Audio.

In Perfect Company

To effectively demonstrate the new Zodiac and Rubicon, Antelope Audio has chosen to use ATC Loudspeakers as part of its playback system — a company known for its purist approach in audio reproduction.

Introducing the Zodiac Platinum DSD DAC

The new Antelope Zodiac Platinum DAC brings audio appreciation to a higher level, offering the audiophile community the widest DSD support, including the unique 256 DSD mode and a PCM sample rate of 768 kHz via a custom-built USB chip.

The extreme DSD256 greatly extends the accuracy and transparency of the audio reproduction as well as the overall system performance. The custom-designed Antelope USB chip compliments high fidelity by reducing clock jitter and pushing the envelope of the USB streaming with sample rates four times higher than those offered by similar devices.

Whereas many top of the line DACs offer PCM upsamplers, the Platinum is the first device to offer a DSD upsampler. This distinctive feature allows the upsampling of DSD64 to DSD256, pushing DSD noise into higher frequencies, vastly improving the quality of the D/A conversion. The Platinum bypasses internal digital filters built into the DAC chip by implementing a custom upsampler with carefully designed high-precision linear phase filters in the FPGA.

In the heart of the new Platinum lie the renowned 64-bit Acoustically Focused Clocking and the ultra-low jitter oven-controlled crystal oscillator, which are Antelope’s signature for unprecedented sound quality appreciated by the best recording, mastering and post production studios around the world. In addition, the Platinum is equipped with a 10 MHz input for the legendary Antelope 10M Rubidium atomic clock, providing the most accurate and stable clocking reference and therefore an uncompromised digital to analog conversion.

Zodiac Platinum has an enhanced stepped relay volume control compared to its very successful and highly appreciated predecessor Zodiac Gold. It also carries the Antelope dual stage headphone drivers with impedance control. Platinum comes only in bundle with the second generation of the audiophile power supply Voltikus. The upgraded version of the PSU has a separating power line filter on its own board, an improved transformer shielding and better connector with stronger locking. A new, high-performance power cable, connecting both devices is also included in the bundle.

Rubicon – World’s First Atomic AD/DA Preamp

Antelope Audio will also feature Rubicon, its groundbreaking digital audio preamplifier which integrates the world renowned 10M Rubidium atomic clock. Catering for the ever-increasing interest in high-resolution DSD audio, Rubicon will be offering the unique 256 real DSD upsampler, providing high-end consumer electronics enthusiasts with the most accurate audio representation and detailed soundstage of both analog and digital recordings.

The integrated Rubidium atomic clock makes the clocking reference in Rubicon 100,000 times more accurate than the one of a traditional crystal oscillator. Coupled with Antelope’s 64-bit Acoustically Focused Clocking technology, the Rubidium achieves a breakthrough in jitter management, achieving analog-like sounding of the digital recordings.

The Advantages of Superior Clocking for Digital Audio

Antelope Audio’s Marcel James, U.S. Director of Sales & Marketing, will present a seminar titled, The Advantages of Superior Clocking for Digital Audio in the Marriott Aspen Amphitheater on Sunday, October 13th at 12 noon. In this seminar, he will explain how audio can be affected at the conversion stage by a master clock device. Examples will be given on how master clocks are used in the creation of nearly all of the audio we consume, including movies, television, mastering, live sound and production work. The importance of playing back audio at home, using the same clocking technology used in the creation process that more accurately represents the clarity and depth of the audio will be discussed.

About Antelope Audio

www.AntelopeAudio.com
Antelope Audio is a leading manufacturer of professional audio master clocks and A/D & D/A converters. The company is among the few offering 768 kHz USB DACs and the first one implementing a 10 MHz atomic clock in a consumer audiophile AD/DA Preamp, providing extremely accurate audio representation and detailed soundstage of both analog and digital recordings.

The company utilizes more than 20 years’ experience in professional audio to develop high-end consumer audio products, which bring to the home environment an audio precision and sonic detail comparable only to the finest pro studios. Antelope’s customers include many Grammy award-winning sound engineers, producers, and some of the most renowned recording, mixing, mastering and post-production studios around the world.

# # #

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

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Engineering Emmy® awarded to iZotope RX® Audio Repair Technology

iZotope Inc., Cambridge, MA (October 2, 2013) – iZotope Inc., a leading audio technology company, has been honored by the National Academy for Television Arts and Sciences with an Emmy Award for Outstanding Achievement in Engineering Development for RX Audio Repair Technology. The Engineering Emmy is presented to an individual, company or organization for engineering developments so significant that they materially affect the transmission, recording or reception of television.

“We are incredibly proud to be recognized by the Academy for the development of iZotope RX,” says Mark Ethier, CEO of iZotope, Inc. “iZotope’s customers have helped shape RX into what is today—their feedback has been invaluable as we’ve refined RX’s workflows and strengthened its processing power. We are excited to be recognized as a game-changer in the television and broadcast industries and are sincerely humbled by this award.”

For audio professionals in the television industry, RX is now the standard for rescuing audio from the cutting room floor. With remedies for noise, clipping, hum, buzz, crackles, unwanted reverb and more, iZotope’s RX visual audio repair technology is the fastest, easiest way to repair and restore audio. RX makes it possible to clean up dialogue that has been spoiled by weather conditions, microphone issues, equipment buzz, and sudden noises like dog barks, sirens and much more.

A highlight of RX is its powerful spectrogram, which exposes details that are hidden in a standard audio waveform. By revealing a rich visual display of audio frequency over time, RX allows engineers to detect and isolate problems with innovative selection tools. In addition, RX features intelligent, cutting-edge modules that are carefully designed to tackle specific audio problems. Whether used as a standalone software application, or as plug-ins within industry standard editors, RX integrates seamlessly with any post production workflow. To meet the modern demands of a fast-paced production schedule, post production studios worldwide use RX to transform troubled recordings into professional grade, broadcast ready audio.

RX Audio Repair Technology will be honored among YouTube, Aspera, Digital Dailies, and Lightcraft Technology on October 23, 2013 at the Lowes Hollywood Hotel.

To learn more about RX Audio Repair Technology, visit: www.izotope.com/rx.

About the 65th Primetime Emmy Engineering Awards

The 65th Primetime Emmy Engineering Awards are overseen by chair Wendy Aylsworth, SVP of Technology, Warner Bros. Committee members are Stuart Bass, A.C.E., Picture Editors Governor, Academy of Television Arts & Sciences; Chris Cookson, President, Sony Pictures Technologies; Kevin Hamburger, Sr. Supervising Producer, THE TALK; Eileen Horta, Sound Editing Governor, Academy of Television Arts & Sciences; David Jensen, Partner, Monitor; Geoff Katz, Vice President, Watchwith; Frank Morrone, C.A.S., Sound Governor, Academy of Television Arts & Sciences; John D. O’Brien, Video Control/Consultant “The Big Bang Theory”; Mark Scott Spatny, VP Digital Effects, Stargate Studios; Barry Zegel, Senior Vice President and General Manager, CBS Television City.
Learn more about the 65th Primetime Emmy Engineering Awards: http://www.emmys.com/news/press-releases/winners-announced-65th-primetime-emmy-engineering-awards.

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony.

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

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No Compromise Wireless Audio: Sennheiser Digital 9000 System On Tour with Jonas Productions

Specialty Audio Company With Offices Around the World Take Sennheiser’s Most Advanced Wireless Audio System on the Road, to the Delight of Artists, Fans

Old Lyme, Conn. – September 30, 2013 – Jonas Productions, Inc. is a specialty audio and backline services company with a primary focus on backline. The company, which has offices in Indianapolis, Las Vegas and Sydney Australia, recently adopted the groundbreaking Digital 9000 — Sennheiser’s ‘no compromise’ wireless system that was introduced at last year’s IBC after having been under development for more than ten years. Jonas Productions is a longtime user of Sennheiser and handles production Harry Connick, Jr. and many major music festivals in the U.S., Canada, Mexico, Caribbean and Australia.

Once the Digital 9000 was introduced in the fall of last year, owner Ted Jonas was among the first to express interest in the new system: “We were making a large purchase and upgrading some of our Sennheiser G2 wireless units,” he recalls. “We always try to stay on the cutting edge of technology with what’s new, and we knew the Harry Connick Jr. tour was coming up. We were so pleased with the system that we ended up purchas-ing quite a few of the Sennheiser SKM 5200 handheld transmitters as well as the Digital 9000 system itself.”

The Sennheiser Digital 9000 features completely uncompressed audio, artifact free wireless performance and superb dynamics while making frequency coordination nearly effortless. These features have made it a top consideration for many high-end appli-cations in broadcast, on Broadway and of course in live performance environments.

For Jonas Productions, the timing was right to upgrade to a world class, state of the art wireless system. “The product was available and the system itself was really impressive,” says Jonas. There are many considerations that go into such an investment, not the least of which is flexibility and long-term viability. “You want to make sure that the system is both expandable and flexible, and that the expected longevity of the product is there so you can realize your investment,” Jonas explains. “Since the Digital 9000 works in almost any situation, be it film, broadcast or special events, it seemed like the right investment to make — especially with the RF environment getting as busy as it is.”

For Jonas Productions, the ultimate measure of any investment comes back to the cus-tomer. “We want to be able to provide the best possible service,” Jonas says. “Competi-tion is really tough in the marketplace, and if you can offer something that is better than anything else, it gives you an edge. As an audio manufacturer, Sennheiser has always been able to do that.”

The Sennheiser Digital 9000 — Taking Wireless into the Digital World

The Sennheiser Digital 9000 enables users to keep the audio signal entirely within the digital domain, from the microphone all the way to the speaker. On its touring operation with Harry Connick, Jr., Jonas Productions is using the Digital 9000 in conjunction with a Midas digital console. “We use the Midas interface right out of the Digital 9000, and main-tain a digital signal right from the microphone itself all the way to the speaker box,” Jonas explains. “And we can have the digital split to monitors and front of house. As far as I know, that’s something that nobody else can do.”

Since Jonas Productions has operations in different regions of the world, the company also appreciates the modular flexibility of the Digital 9000 as frequency requirements change country to country: “If we are traveling overseas where there are other frequency regulations, we can maintain the same EM 9046 receiver unit – racked and ready to go at any time – and just grab the appropriate transmitters and antenna boosters to comply with local regulations.”

Perhaps the most important feature of the Digital 9000 is its sound, which is noticeable to both fans and artists alike: “When we graduated to the Digital 9000, we didn’t tell Harry that we were going to make a switch,” recalls Jonas. “He walked up, sang a few verses, stopped almost immediately and asked me, ‘What’s up? This sounds really good.’ I told him we upgraded our wireless system and he noticed right off the bat that there was something different.”

Jonas says that the Digital 9000 has also helped simplify the overall touring set up, which translates to time efficiency: “When we find a product that fits nicely into our workflow, like the Digital 9000, we have fewer things to worry about — it’s a cleaner package. As a small example, the rechargeable battery solution on the Digital 9000 saves a huge amount of money, not to mention it is also helping the environment,” he says.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the com-pany with numerous awards and accolades including an Emmy, a Grammy, and the Sci-entific and Engineering Award of the Academy of Motion Picture Arts and Sciences.You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Captions:
1) Josh Sprague, Ted Jonas and Chuck Smith of Jonas Productions, Inc.
2) Sennheiser Digital 9000 Wireless product spotlight
3) The Sennheiser Digital 9000 rack

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Digital 9000 – Sennheiser’s Digital Wireless System Makes Waves in Its First Year

Old Lyme, CT, September 26, 2013 – Launched at last year’s IBC, Sennheiser’s Digital 9000 wireless system has since become an integral part of the broadcasting, theatre and live audio worlds. The high-end solution is the first digital wireless system that can work without compression, transmitting full HD audio. We take a look back at what we’ve achieved together with our customers in a year of pristine audio transmission. It’s a journey featuring top events such as Eurovision, global superstars like Leona Lewis, renowned theatres, and national broadcasters. And this is only the start…

The Best Sound, the Biggest Broadcast Events:

Praised by engineers and artists alike for its incredible sound, the Digital 9000 system is the perfect solution for music broadcasts. In its first year, Digital 9000 has already powered prestigious shows such as the Eurovision Song Contest and The Voice of Switzerland.

The Voice of Switzerland:
Hit show The Voice of Switzerland was produced by Technology and Production Center Switzerland AG (tpc). With a reputation for staying at the forefront of technology, tpc has created a string of spectacular primetime television shows and events, including its award-winning series of live opera broadcasts. One of the first production companies worldwide to use digital desks and optical fibre networks, tpc was quick to invest in Sennheiser’s Digital 9000 wireless microphone system: the company’s broadcast productions make regular use of its three 8-channel EM 9046 receivers and the associated SKM 9000 handheld and SK 9000 bodypack transmitters.

The Voice of Switzerland was no exception; the show used the full 24 digital channels for the artists plus an additional 16 analogue channels for interviews. With just seven days to prepare the audio – which included the full PA in the venue and managing the broadcast sound in 5.1 and stereo – the show required a seamless blend of technical expertise and teamwork. Audio expert Peter Flückiger of tpc: “We had 160 channels on the main mixer plus an additional 80-channel desk for the band and backing vocals for the broadcast alone. In the venue, we had two FOH desks and a monitor desk for the artists’ IEMs. We also used separate PA systems for speech and music.“

To familiarise their engineers with the digital wireless system, tpc had organised a test run of both the digital and their existing analogue equipment. The exercise revealed the key differences, both in terms of improvements over analogue and the new skills that were demanded.

“You need to have a certain amount of knowledge about digital wireless systems,” explained Peter Flückiger. “They can’t be used exactly the same way as analogue microphone systems. For example, you need to be more careful about interference from LED walls and moving lights. By carefully positioning the antenna systems and by using additional and higher antennas we ensured a super reception in High Definition mode. The reward was great sound – it’s amazing how much sound you can now get out of a wireless system.”

Peter Flückiger: “We used the 9004 capsule for vocals and there was absolutely no handling noise! The sound is transparent, has brilliance, and the sound distortion that is so much a part of analogue systems is no more. It’s quite a revelation: with Digital 9000 I can actually hear what I would be able to hear if no microphone were used.”

“The psychological effect on the artists is immense: when they hear that they sound just fantastic, they become really confident, and that joy and spontaneity carries across to the audience at home, whether they have a 5.1 system or just a small stereo TV set in their living room.”

The 2013 LOGIE Awards, Australia:
The first use of a Digital 9000 system in Australia was at the 2013 LOGIE Awards. The Logies are one of the biggest broadcast events in the Australian TV calendar. As with previous years, the wireless microphones and in-ear monitor systems for the event were all Sennheiser and supplied and operated by SSSH! Audio. There were well over 80 channels of wireless microphone systems and another 18 channels of IEM in use on the Red Carpet, at the awards show itself and on Nine’s Today show the next morning. All of Sennheiser’s top-end wireless microphone systems were deployed, including Digital 9000. Guest artists used SKM 9000 handhelds fitted with a choice of dynamic or condenser capsules from Neumann and Sennheiser. “The Logies get more complex and demanding every year but Digital 9000 was more than a match for everything the event could throw at it,” said Brendan Drinan from SSSH! Audio. “The system sounded fabulous – just like the Sennheiser wired mics. Despite the busy RF environment and the constantly changing procession of guest artists and presenters, everything ran perfectly.“

Digital 9000 at Wimbledon Presentations:
At this year’s Wimbledon Championship men’s final, all eyes were on Andy Murray and Novak Djokovic. With peak viewing figures at 17.3 million, the televised coverage drew the biggest audience since 1990. The feast was not only visual, but aural as well, with Sennheiser’s flagship Digital 9000 wireless microphones used on Centre Court by BBC presenter Sue Barker.

The presentation from Centre Court after the Men’s Final is watched by one of the largest annual global television audiences, and the audio has to be perfect. So when Sennheiser UK suggested specialist audio company RG Jones to try the new 9000 system, they jumped at the chance. RG Jones Sound Engineering is the Club’s sole provider of audio equipment and services and has been working with Wimbledon for almost three decades. As well as providing equipment on hire to the Club, the company also manages the Club’s ever increasing inventory of audio equipment.

RG Jones project manager Tim Speight commented: “By some margin, 9000 was the very best sounding radio mic system I have ever used, it really is as good as they say! We only need two channels for The Championships – a main and a backup – so we didn’t really explore the multi-channel flexibility of the 9000 system. We did, however, make use of the multiple audio output options; we took a signal directly from one output and the BBC picked up an identical signal from another output on the device.

“The requirement for The Championships is to deliver a high-quality and reliable audio signal from the centre of the court. It is only required for approximately 30 minutes across the duration of the tournament, but it is heard by a worldwide television audience. Thank you Sennheiser, the 9000 system did exactly what was required.”

Digital 9000 Took Centre Court at the US Open:
The U.S. Open was the final major Grand Slam tennis tournament of 2013, with a purse of $34 million and an audience of over 700,000 attending between 26 August and 9 September. The tournament traditionally began with the Arthur Ashe Kids’ Day, which was televised by CBS Sports and included a special appearance by the First Lady of the United States, Michelle Obama. In addition to the First Lady, who was introduced by tennis champion Serena Williams and spoke about her “Let’s Move” campaign for young people, Arthur Ashe Kids’ Day featured performances by The Wanted, and Coco Jones.

Audio Incorporated provided the audio infrastructure, which included eight channels of Digital 9000, used together with 12 analogue channels of evolution wireless 300 G3 microphone systems, six channels of evolution wireless 300 IEM G3 in-ear monitors plus Sennheiser ME podium microphones for Ms Obama. “The Sennheiser Digital 9000 system was selected for its robust construction, audio quality, and the ability to provide us with an amount of frequencies that is not available in the analogue world,“ commented Michael Sinclair, VP at Audio Inc.

The Digital 9000 system also supplied flawless wireless audio at the opening ceremony, when dignitaries including New York City Mayor Michael Bloomberg and 39-time Grand Slam winner Billie Jean King delivered opening speeches. The evening also featured a moving rendition of The Star-Spangled Banner, as performed by 11-year old Frenie Acoba, star of Broadway’s hit musical Matilda.

“Considering the importance of this live broadcast event and the difficult RF conditions in New York City, the Sennheiser Digital 9000 series really shone and was the professional system that put everybody at ease,” Sinclair observed. “The quality and reliability of the wireless audio as well as the overall flexibility of the system were absolutely spectacular. The built-in spectrum analyser on the Digital 9000 helped our techs consistently monitor RF signals as they came on line, keeping the audio clean and interference-free for the duration of the event.”

The New First Choice for Broadcasters:
Norway’s TV 2 became the first broadcaster in northern Europe to invest in Digital 9000. TV 2 selected the system in December 2012 after intensively comparing a range of different digital wireless solutions. Martin Mæland, the sound engineer responsible for the wireless systems testing at TV 2 in Oslo: “Our tests began as early as May 2012, but the shootout began in earnest in autumn of that year. We tested the systems in the live broadcasts of God morgen Norge and Ettermiddagen. All digital wireless systems had their own strengths and certain unique features. Our main requirement was that the new system should offer great sound and that we would be able to handle and manage it as easily and intuitively as our existing system. Digital 9000 was the system best able to meet the greatest number of our requirements and expectations. Its sound – both in High Definition and in Long Range mode – had us convinced.“

TV 2 acquired 24 channels of Digital 9000, and installed the system with a special antenna deployment solution developed jointly by Sennheiser Nordic and Sennheiser’s international head office.

Televisa Delivers Outstanding Music Programmes:
Televisa was the first broadcaster in Latin America to opt for Digital 9000. In November 2012, Televisa acquired a 24-channel system which was immediately used for the second season of The Voice Mexico, and later for Teletón, a popular music and entertainment show that raises money for charity and operates – via the Teletón Foundation – more than 20 rehabilitation centres for children and teenagers across Mexico.

Seeing that the system was ideal for their music shows, Televisa expanded it by another eight channels in 2013. For each channel, the broadcaster can choose between bodypack or handheld transmitters. Later this year, Digital 9000 will be used for the third season of The Voice Mexico.

Further Digital 9000 highlight projects include the 2013 Swiss Music Awards, the 2013 PRG Live Entertainment Awards, Anugerah Juara Lagu – Malaysia’s major annual music competition, and the third series of X Factor in Germany, produced at MMC Film & TV Studios, Cologne.

Further production companies and broadcasters using Digital 9000 include Tele Züri, RTS (Radio et Télévision Suisse Romande) and SRG SSR (Schweizerische Radio- und Fernsehgesellschaft) in Switzerland, German broadcaster NDR, which has just expanded its existing 16-channel system by 16 more channels for TV OB applications, Grupo Diez in Mexico, Pro Plus in Slovenia, and France Télévision Nancy, to name but a few.

Taking to the Stage – A Smash Hit in Theatres:

Digital 9000 also proved strong in the theatre world, as can be seen by three recent installations in Finland, open-air events in Switzerland and Germany and pioneering sound design work in the UK.

Transparent HD Sound for Helsinki City Theatre:
In Finland, Petteri Murto and Jonas Næsby of Sennheiser Nordic worked to facilitate the installation of Digital 9000 in three prestigious theatres, one of them being the renowned Helsinki City Theatre.

Founded in 1965, the Helsinki City Theatre (Helsingin Kaupungin–teatteri) is the biggest professional repertoire theatre in Finland. Whether Finnish or foreign drama, comedies, children’s theatre, musicals or performances by its own Helsinki Dance Company – the theatre attracts more than 350,000 spectators a year, putting on around 1,100 performances and 20 new productions annually.

This year, Helsinki City Theatre upgraded its audio system by investing in a 40-channel Digital 9000 solution. Five EM 9046 eight-channel receiver units were combined with 42 SK 9000 bodypack receivers and ten SKM 9000 handheld transmitters with Sennheiser MD 9235 and Neumann KK 204 capsules. These are in use for the main stage with over 900 seats.

Antti Rehtijärvi, Head of Lighting and Sound of the Helsinki City Theatre: “We already started the planning of the new wireless system in late 2011 due to the legislation change with regard to the frequencies for wireless transmissions. At that time Digital 9000 wasn’t ready but we got a chance to view the prototype and it looked really promising. We ended up postponing our project until Digital 9000 was officially released.”

At the beginning of 2013, the system was specified, and towards the end of the summer the installation was finished as part of bigger sound system refurbishment.

“Our first season with the new system has just started,” continues Antti Rehtijärvi. “We are very pleased with the transparent sound that Digital 9000 provides us with, especially in HD mode. The system is a great tool for our demanding musical and drama theatre productions.”

Dear World at Charing Cross Theatre:
An all-star cast came together at the Charing Cross theatre for the London production of Broadway musical, Dear World. Sound designer Mike Walker, a longtime Sennheiser user, saw the production as the ideal way to see how the Digital 9000 system sounded.

“I wanted to try the 9000 series on a production with various vocal ranges, to hear it with excellent singers at the top of their game,” he said. “The show was using fourteen 5000 series systems – EM 1046 with SK 50 transmitters. After a few weeks of letting the show settle and having got used to how it sounded, I switched to the 9000s.“

“I really like the 5000 series – of the existing Sennheiser systems I think it’s the best suited to voices and I’ve been very happy with the quality of audio it delivers,” Mike said. “But the 9000 series completely surpassed it – it’s the best-sounding digital microphone system I’ve heard. Because the audio is so transparent, it highlights the way that compression circuitry in analogue systems affects the dynamic quality of the sound.

“It’s very straightforward to set up and is an excellent amalgamation of technology, engineering and audio quality, the latter being my priority. It far surpassed what I thought it would be capable of. Compared to any other wireless microphone system I’ve heard, it’s quite amazing!”

Dramatically Better Sound for Merrily We Roll Along:
At the Harold Pinter theatre, Sondheim’s Merrily We Roll Along was awarded more five-star reviews than any other West End show in history. Sound designer Gareth Owen had first tried the Digital 9000 system on last winter’s production of Jack and The Beanstalk in Glasgow – the UK’s only arena pantomime – but Sondheim proved a very different challenge.

“The trouble with panto is that there are so many variables regarding how a show sounds, that you can’t always tell whether differences in sound are because of different equipment or other factors,” said Gareth. “Merrily We Roll Along was a really good test for the system because, with Sondheim, the trick is to make the show sound unamplified, but without losing the excitement. You tend to put so much effort into making a Sondheim musical sound natural that it’s easy to make it sound boring.”

Gareth’s aim was to make the show sound ‘cinematic’, without it sounding amplified. To achieve this, the quality of the vocal sound was key. “Initially we tried the 9000 series out on less important characters in chorus, but we were so impressed with it that we moved the principals on to it,” he said. “I knew it worked, the question was how much better was it than other systems? On Merrily, we instantly realised that it’s dramatically better.”

The show featured eight Digital 9000 channels working seamlessly alongside 24 channels of EM 3732-II. “We had no problems at all, it was very reliable and the coverage was good. I also really liked the way the monitoring software was integrated between the two systems,” Gareth said. “The ease of set-up was excellent – the way the system scans, it looks at what else is going on and works out the best frequency to put each unit on. We also often have opening night troubles where television and press turn up and start running other radio systems. There was none of that this time – the 9000’s ability to deal with it was remarkable.”

Switzerland Turns a Whole Village Into a Stage:
In the Swiss monastic village of Einsiedeln, “Das Einsiedler Welttheater” (“World Theatre of Einsiedeln”) celebrated its premiere on 21 June, turning the impressive monastery square into a huge open air stage with 2,700 seats. The play by Tim Krohn is based on a 17th century work by Calderón de la Barca, and describes the individual’s quest for happiness and perfection in a world where medicine promises to cure all physical and mental ailments via genetic manipulation.

300 amateur actors from Einsiedeln were part of “Das Einsiedler Welttheater”, and had committed themselves to be available for the full run of the play until 7 September. Music had an important function too, and was played live at all 41 performances. To ensure that all actors and musicians got heard, Sennheiser Switzerland had deployed a 72-channel RF wireless system with 48 analogue 3000 and 5000 Series systems, including two wireless microphone booms with SKP 3000 plug-on transmitters, and a 24-channel Digital 9000 system for the main actors.

Opera at the Lakeside with “Klassik am See”:
Once a year, the lakeside of idyllic Dechsendorfer Weiher in Germany turns into a fully-fledged open-air opera house. At the end of July 2013, opera enthusiasts enjoyed Verdi’s La Traviata in a semi-dramatised production conducted by Ljubka Biagioni. Alongside various wired MKH condenser microphones for the orchestra, the opera made use of a 14-channel Digital 9000 system for the soloists and hosts. While the hosts of the opera night spoke into SKM 9000 with ME 9005 heads, the soloists of La Traviata were fitted with SK 9000 bodypack transmitters and HSP 4 head-worn mics.

Florian Johann Denzler, tonmeister of the opera production, commented on the sound of the wireless system: “The High Definition mode of the Digital 9000 system ensured a truly crystal-clear transmission. Combined with the transparent and direct sound of the HSP 4 headset mics, the audience was treated to a fantastically pure sound. Also, the HSP 4 mics excelled due to their extremely high feedback rejection, which made it possible for the soloists to act in front of the PA and in the auditorium. This would not have been possible with any other microphone solution.”

Making Live Audio Come Alive:

In its first year, the Digital 9000 has proved itself with some of the world’s top performers.

Benny Ibarra:
Benny Ibarra is the first Latin American artist to switch from a Sennheiser 5000 Series system to Digital 9000. In July, the singer, producer and actor from Mexico City acquired an 8-channel system including three SKM 9000 handheld transmitters with MD 9235 capsules and five SK 9000 bodypacks with instrument cables.

Born into a family of artists, Benny began his musical career with the pop band Timbiriche, and after 11 years, kicked off his solo career with the album Hablame Como La Lluvia in 1992. Since then, he has published ten more albums, many of them winning gold and platinum, and went on to become Mexico’s most popular pop and rock singer.

Benny is currently touring with artist friends Sasha Sokol and Erik Rubin, with whom he has joined forces. The trio released their first album – Primera Fila Sasha Benny Erik – in November 2012. Just one week later, this live recording went gold, soon followed by platinum and finally triple platinum in 2013. On their tour, Sasha, Erik and Benny sing their solo hits as well as shared hit singles such as Cada Beso via SKM 9000 microphones. The tour started in October 2012 and has continued in 2013, wowing fans across Mexico.

Claudia Leitte:
One of Brazil’s biggest stars, Claudia Leitte, brought her unmistakable axé sound to the Montreux Jazz Festival in July. Using a Digital 9000 microphone system, she thrilled the audience in the Auditorium Stravinski with the musical style that originated in Bahia in the 1980s and that quickly spread over the whole of Brazil. In Montreux, she presented some previously unreleased songs from her upcoming DVD, “Axemusic”. Roque Almeida, her monitor engineer, was thrilled by the microphone system: “It was fantastic to have the 9000 system for our concert at the Montreux festival. Claudia was very happy to sing with this excellent microphone.”

Leona Lewis:
British superstar Leona Lewis has become a regular user of Digital 9000, and also used the system on her Glassheart tour in May. Complementing the tour’s audio system, which was supplied by SW19 Productions, Sennheiser UK supplied SR 2050 and EK 2000 in-ear monitors and a Digital 9000 wireless microphone package. The latter comprised ten SKM 9000 handheld microphones with MD 9235 capsules, seven SK 9000 belt packs for guitars and the show’s string quartet, plus a pair of EM 9046 receivers.

The tour’s venues ranged from regional concert halls through London’s Royal Albert Hall to arenas in Birmingham and Liverpool. Despite playing to an ‘Academy’ style seating plan in the arenas, the acoustics were obviously very different in the various venues.

Her FOH engineer Dave Wooster is full of praise for the Digital 9000 wireless system. “The remarkable clarity of the 9000 series means that every gig showed off all that’s great about Leona’s voice. The vocals were truly stunning,” he says. “The string section really showed how the 9000 series bodypacks perfectly captured their character. Having a system that fully and accurately captures the full audio spectrum without affecting the audio needs to be heard by all engineers, the benefits are staggering.”

Depended on by Top Rental Companies:

MM Communications:
The biggest deployment of Digital 9000 systems with a rental company worldwide is with Berlin-based MM Communications. The company owns twelve eight-channel receivers, each of which is available with eight handheld transmitters or eight bodypack transmitters to ensure optimum flexibility for the customers. Their system was also used at the recent Eurovision Song Contest in Malmö, which featured the biggest Digital 9000 system used to date.

“The systems are used wherever highest audio quality is a must,” said MM Communications founder, Markus Müller. “This includes broadcast applications and studio recordings. The fact that the system can transmit encrypted data and is thus tap-proof makes it an ideal choice for my political and industry customers too.”

AED Rent:
AED Rent – with subsidiaries in Belgium, The Netherlands, the United Kingdom, Germany and France – is a total solutions provider, offering its customers a variety of opportunities in the rental, sale and financing of sound, light and video equipment. The company has prestigious projects such as the Olympic Games, various European Football cups and the 2012 Queen’s Jubilee under its belt.

“In 2011, we stocked up on Sennheiser’s analogue systems, which proved to be a great success. Our international customers lost no time in contacting AED Rent for hiring Sennheiser products,” said Piet Verstraete, sound engineer and account manager at AED Rent. “At the end of 2012, we added a 24-channel Digital 9000 system – each receiving channel with a choice of either handheld or bodypack transmitter – to expand our business in the fields of broadcasting and larger theatre productions.”

“Digital 9000 is an extremely promising system and offers excellent audio quality. We have strong faith in Digital 9000’s future, particularly due to the brisk expansion of digital applications in the audio industry. At present, Digital 9000 is the only wireless microphone system with totally digital operation, while possessing all the acoustic qualities that we have learnt to expect from Sennheiser.”

Jonas Productions:
Jonas Productions, Inc. is a specialty audio and backline service company with a primary focus on backline. The company, which has offices in Indianapolis, Las Vegas and Sydney, Australia, is a longtime user of Sennheiser and handles the touring production for Harry Connick jr. and many of the major music festivals in the U.S., Canada, Mexico, Caribbean and Australia. When the company was in the process of expanding their inventory, they also invested in a Digital 9000 system. Ted Jonas: “The timing was right and the system itself was really impressive. Since Digital 9000 works in almost any situation, be it film, broadcast or special events, it seemed like the right investment to make – especially with RF environment getting as busy as it is.”

“Sennheiser products have always given us an edge and have been a reliable tool that you can count on. Competition is really tough in the marketplace, and if you can offer something that is better than anything else, it gives you an edge. As an audio manufacturer, Sennheiser has always been able to do that.”

“One thing that impressed us about Digital 9000 was the ability to keep the entire signal chain in the digital domain: all the way from the mic to the speaker itself. Currently, we use the Midas interface right out of the Digital 9000, and maintain digital right from the microphone itself all the way to the speaker box. And we can still have the digital split to monitor and front of house. As far as I know, that’s something that nobody else can do.”

“Sennheiser has always stood behind its product. When I think of Sennheiser, I think of reliability. From a rental perspective, their products may cost a little more than the competition, but you are always going to earn it back over the long run.”

Further rental companies offering Digital 9000 to their customers include Tapages & Nocturnes, one of the largest rental companies for broadcast and cinema in France, and SONO Studiotechnik GmbH in Germany.

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiser.com.

Photo captions and image information:

Eurovision Song Contest.jpg: The biggest Digital 9000 project in 2013: The Eurovision Song Contest in Malmö used 96 channels of the system (photo credit: ralph@larmann.com)

US Open Arthur Ashe Kids’ Day.jpg: Main Stage in Arthur Ashe Stadium for the Arthur Ashe Kids’ Day on 24 August

Klassik am See.jpg: Opera on the lakeside: the 2013 opera event featured Verdi’s La Traviata with Marta Torbidoni as Violetta (photo credit: Klassik am See 2013, Klassikkultur e.V., copyright: Thomas Langer)

Leona Lewis.jpg: Leona Lewis performing during her Glassheart tour (photo credit: Getty Images)

Ted Jonas.jpg: Ted Jonas, President of Jonas Productions, Inc., Audio and Backline Service with offices in Indianapolis, Las Vegas and Sydney, Australia

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Young Drumming Prodigy Owen Bonaventura Makes His Sound Count Measure for Measure with Sennheiser and Neumann

Bonaventura Moves to the Head of the Class with Classic Sennheiser Dynamic Microphones and Neumann KH 120 Nearfield Monitors

Old Lyme, Conn. – September 25, 2013 – If you are a musician and you have not already heard of Owen Bonaventura, you will. A drummer of extraordinary natural talent since he was just 11 years old, his YouTube channel has already received over half a million views by music fans and aspiring drummers who watch him play technically diffi-cult rock tunes note for note — most notably by the progressive rock trio Rush. As his drumming talent continues to develop, Bonaventura is honing his own sound and has turned to Sennheiser and Neumann for his microphone and monitoring solutions.

After a visit to the Winter NAMM show two years ago, Bonaventura’s profile began rising in the music industry and he began putting together a home studio of his own. He says he began feeling a ‘passion for sound’ around this time, when his father gave him a cou-ple of microphones as a Christmas present. “I branched off into mixing and began sculpt-ing my sounds so that I can portray the sound that I hear in my head out to the drums,” he says. It wasn’t long before he gravitated to classic dynamic microphones from Senn-heiser to capture the sounds from his drum kit. “I now use a Sennheiser MD 441 on my snare and have all MD 421s on my toms. All the other mics I tried from other companies had a midrange response that sounded muddy and boxy,’” he says. “The MD 421s have a classic warmth that isn’t muddy whatsoever.”

Currently, Owen is playing in a funk/jazz trio and working on two new projects: a straight ahead jazz album and a Christmas album featuring Grammy nominated singer Tina Fab-rique, which he says combines jazz with just the right touch of funk and gospel. On his Christmas album, Fabrique sings through a Neumann M147 tube microphone, which Bonaventura says sounds ‘tailor made’ for her voice, accenting the low to mid frequency range. On his drums, he is using the aforementioned Sennheiser MD 421s and MD 441s in combination with a pair of Neumann U87s as overheads. “The U87s have a great low-mid characteristic you simply can’t get with other mics, and they pick up the entire image of the drum kit, versus just the cymbals — this lends a great sense of space to the record-ing,” he says.

“I play a really broad range of musical styles and wide dynamic ranges, and I know the MD 421 can handle the high SPLs as well as pick up the softer nuances,” he continues. As for the snare, he appreciates how the MD 441 captures the ‘sizzle.’ “I could never get the high end articulation of the snare wires mixed in with the nice body of the DW snare I had,” he recalls. “The presence boost on the MD 441 also seems to enhance the ‘airy’ frequencies of the snare drum.”

Neumann KH 120 Monitors: when accuracy counts

Owen maintains similarly high standards in his choice of monitoring equipment, opting for the recently launched Neumann KH 120 nearfield monitors, which he says are a great ‘bang for the buck.’ “These speakers are really flat and reveal all kinds of details and nu-ances in the mix,” he says. “However I decide to make my final mix, I can be confident that these decisions will translate and will sound exactly the way I wanted them to.”

He says that even though the KH 120 monitors have a small footprint, they perform par-ticularly well in the lower frequencies. “I do a lot of Hip hop production, and with other monitors of this size, I find that I can’t hear the kick drums,” Owen observes. “For exam-ple, on an 808 machine, details in the lower frequencies tend to get lost. On the KH 120s, I can hear below 60 Hz no problem and the crossover is very, very smooth.”

As Owen continues to sculpt his own sound in both drumming and mixing, he trusts Senn-heiser and Neumann implicitly: “With these products, I find that I am able to portray the sound as I hear it in my head. I really want listeners to experience what I was feeling when I was creating my music.”

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the com-pany with numerous awards and accolades including an Emmy, a Grammy, and the Sci-entific and Engineering Award of the Academy of Motion Picture Arts and Sciences.You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Caption:
Owen Bonaventura mics his snare drum with a Sennheiser MD 441, and mics his toms with Sennheiser MD 421s.

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

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

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

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

Enter the MKE 400, MKE 600 and KA 600i

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

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

What does sound mean to YOU?

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

About Sennheiser

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

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

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

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

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

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

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

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

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

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

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

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

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

The HD 25 ALUMINIUM – The cult classic reborn

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

About Sennheiser

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico, the USA and now Australia and New Zealand, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers) and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

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

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

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

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

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

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

Sennheiser makes Osheaga’s La Scène Verte sing

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

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

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

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

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

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

K-array Powers The Green Stage for Four Years Running

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

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

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

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

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

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiser.com.

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

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