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Archive by Megan Clifford

Peavey Electronics® Appointed as Earthworks Master Distributor Asia-Pacific

July 30, 2013, Milford, NH – Earthworks Inc., manufacturer of High Definition Microphones™ and Zero Distortion Technology preamplifiers, is pleased to announce Peavey Electronics® as its Asia Pacific Master Distributor.

As exclusive Master Distributor, Peavey Electronics® will oversee all sales, marketing and technical support for Earthworks audio products along with their local distributors in the Pacific Rim region which includes People’s Republic of China, Macau, Hong Kong, Taiwan, Indonesia, Thailand, Philippines, Malaysia, Vietnam, Myanmar, Laos, Cambodia, Singapore, New Zealand, India, Nepal, Sri Lanka, Pakistan, and Oceania.

Heidi Blackmer Robichaud, president and CEO of Earthworks added, “We are very excited about the appointment of Peavey Electronics®. Their experience, background and expertise will make them excellent partners in promoting Earthworks’ technically advance products throughout this region of the world.”

Brent Beery, Managing Director APAC of Peavey Electronics® said, “We love the design and build quality of Earthworks products and think they are a great complement to the Peavey line. Our dealers in APAC are going to win more projects because they are selling Earthworks and Peavey together.”

About Peavey Electronics®
Founded in 1965, Peavey® is one of the world’s largest manufacturers and suppliers of musical instruments and professional sound equipment. Peavey has earned more than 180 patents and distributes to more than 130 countries. Peavey and its MediaMatrix®, Architectural Acoustics®, Crest Audio®, Composite Acoustics® and Trace Elliot® brands and affiliates can be found on concert stages and in airports, stadiums, theme parks and other venues around the world. To find out more, visit www.peavey.com.

earthworksaudio.com

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Earthworks Podium Microphones Capture Florida Governor’s Press Conference

June 25, 2013, Milford, NH – Florida-based audio, lighting and AV production company Sound Media deployed two Earthworks FMR500 podium microphones at Florida Governor Rick Scott’s April press conference in Riveria Beach, Florida.

Lennox Foster, President of Sound Media, selected two FMR500 19 inch podium microphones for the press conference, his go-to choice for podium miking.

“Speakers tend to shift from side to side when speaking, turn their heads, speak softly or too loud and back away from the mic. The FMR500 helps us to combat these issues,” Foster explains. “The response is consistent and clear during the entire presentation.”

Lennox also noted the response of the press conference’s organizers to the FMR500s. “Organizers of the press conference were amazed at the quality and gain of the microphones. This press conference was conducted in a manufacturing facility with a high ambient noise.”

For this particular event, Foster utlized two Meyer Sound UPA-1P loudspeakers on stands, a Presonus Live 24.4.2 console and two Earthworks FMR500 podium microphones.

“A typical setup range from 8 – 12 Turbosound Flex line array loudspeakers per side in larger venues like ballrooms and arenas to 2 Meyer Sound UPA-1P on stands. Consoles choices are Yamaha PM5D, Yamaha M7CL, Presonus live or Allen and Heath analog consoles. Our podium choice is always 2 Earthworks FMR500.”

“It is great working with Earthworks as a company. Craig Breckenridge was able to listen to our request, recommend the correct product, sent samples for evaluation, then followed up to verify we found the solution,” concludes Lennox.

For more information on the Earthworks FlexMics or other High Definition Microphones, please contact Earthworks at 603-654-2433 ext.114 or by email at sales@earthworksaudio.com.

earthworksaudio.com

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Earthworks Expands Installation Series Microphone Line

May 29, 2013, Milford, NH – Earthworks has expanded its Installation Series to include the IM12-W, a 12 inch gooseneck cardioid condenser microphone designed for fixed installations. The Series previously offered a 3 inch and 6 inch model. The primary applications for the IM Series include ceiling mounted teleconferencing, distance learning, surveillance, boardrooms, government facilities, and ambient room miking.

The IM12-W provides an ultra-low profile microphone solution with pristine sound and a 30Hz-30kHz flat frequency response. Patented near-perfect polar technology prevents the loss of high frequencies on or off-axis to the microphone.

The microphone’s slim gooseneck and small microphone head allow quick and easy positioning, while nearly disappearing into the ceiling. And like the rest of the Earthworks product line of microphones and preamplifiers, the IM12-W is manufactured in the USA and comes with a 15 year warranty.

The Installation Series, along with the rest of the Earthworks line up, will be at InfoComm in Orlando June 12-14, 2013 in Booth 323. Visitors to the Earthworks booth will have the opportunity to win an Earthworks installation microphone of their choice.

www.earthworksaudio.com

St. Andrews Lutheran Church Chooses Earthworks Choir Microphones

Maple Grove, MN, April 23, 2013 – Kevin Crow, Vice President of Audio Video Electronics announced that their firm has utilized 8 Earthworks ChoirMics™ in the sanctuary of St. Andrews Lutheran Church in Mahtomedi, Minnesota. Mr. Crow says that their firm specializes in acoustics, sound, video & stage lighting systems primarily in the house of worship market, but also works in the hospitality, corporate and education markets. “Earthworks is one of our very top choices for choir microphones in many of our church installations,” states Crow. “Earthworks is one of our strong preferences because they fit a really good niche for us.”

“Along with the customer Brad Nelson, Front of House Engineer for St. Andrews, we chose the Earthworks ChoirMics™ for the St. Andrews Church installation because they have a massive choir,” explains Crow. “Their sanctuary seats over 1200 people. Even though their choir may project well into the room, we still like to mic the choir because it really fills the room. We positioned the ChoirMics on the various sections of the choir (soprano, alto, tenor & bass). In this large sanctuary, the ChoirMics are virtually invisible from the congregation,” says Crow. “Even when photographed with a telephoto lens the ChoirMics are hard to see.”

“The main reason we prefer the Earthworks microphones, is because of their sound quality and gain-before-feedback. The sound quality that we obtain from the Earthworks sound element is just unbelievable,” says Crow. “There is also a giant organ very close to the ChoirMics, which is the largest organ in the state of Minnesota. It is a miracle that we can get as much sound from the choir with the organ and mics placed where they are. It is a real testimony to the exceptional quality of the Earthworks microphones.”

“After this installation was completed, church leaders and members comment on the improvement of the choir sound quality on nearly a weekly basis. These comments are typically: ‘The music sounded good before, but sounds so much better now.’ The improvement in sound quality is due to the use of quality microphones and a quality sound system working together. There are Earthworks ChoirMics into a Midas Legend mixer through an L-Acoustics Kiva/Kilo loudspeaker system. It’s like having all the best ingredients, you only need good music and this church has that for days,” says Crow.

“We end up recommending Earthworks microphones all the time, because they are the only high definition microphones in the industry. In addition they also offer more gain-before-feedback than any other microphones that I have ever seen. We use the Earthworks FlexMic™ podium microphones all the time, which is hand-down the best podium microphone in the world. I would also like to add that St. Andrews church also has an Earthworks PianoMic™, and they really love it.”

Crow concludes, “The use of Earthworks High Definition Microphones™ enables us to design and install very impressive sound installations. Needless to say, we are great fans of Earthworks microphones.”

For information on the Earthworks ChoirMics or other High Definition Microphones please contact Earthworks at 603-654-2433 ext. 114 or by email at sales@earthworksaudio.com.

audiovideoelectronics.com

earthworksaudio.com

Earthworks Launching 500 Series Preamp at NAMM

Milford, NH, January 21, 2013 –Earthworks will introduce its first 500 Series module, the 521 ZDT at the 2013 NAMM show this week in Anaheim, CA (Booth 6882).

Based on the ZDT Preamp technology designed by David Blackmer, the 521 ZDT brings the exacting standards of the Zero Distortion Technology preamplifiers to the convenient 500 series format, providing a “wire with gain” option to the 500 series rack.

The solid state ZDT 521 features switchable phantom power, polarity invert, and peak amplitude clip detection, just as in the original 1021 single channel ZDT Preamp. The transformerless output stage of 521 ZDT will easily drive long cable runs without loss of quality, making it ideal for remote recordings. Transparent gain is switchable from 5dB to 60dB in 5dB steps.

The Earthworks mic amp topology provides outstanding common mode rejection, excellent overload margin and an incredibly low noise floor, combined with the ultra wide bandwidth of the ZDT Preamps (1Hz to 200kHz +0.5dB) and distortion of less than 1 part per million (0.0001%). This exceptional level of performance is maintained over an extensive range of impedances applied to the input, making the 521 ZDT suitable for practically any microphone – ribbon, dynamic or condenser.
The 521 ZDT is expected to ship Spring 2013.

earthworksaudio.com

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Lachlan Carrick Chooses Earthworks Microphones for Gotye World Tour

Earthworks P30/C on xylophone

Milford, NH, January 10, 2013 – With over 364 million views as of December 2012, Belgian–Australian multi-instrumental musician and singer-songwriter Wally de Backer, known by his stage name Gotye, has likely become somebody that you know with his hit song featuring Kimbra “Somebody That You Used to Know.” In May 2012, Gotye announced a world tour and as they wound the globe, Earthworks microphones came along along for the ride.

Gotye’s FOH engineer Lachlan Carrick was familiar with Earthworks in a studio setting, yet discovered the live sound microphones while touring with Gotye and Kimbra in early 2012. “I’d used Earthworks mics a couple of times in the studio for various things, and was always impressed with the way they came up,” explains Carrick. “Then more recently I was introduced to the new series by a fellow Australian engineer, Angus Davidson, who was mixing Kimbra at the time. The Earthworks mics sounded like they provided excellent transient response, with a natural, full tone. Although the Kimbra sound was very different to what I was going for with Gotye, I could see how the mics could work well for us.”

And work well they did. With 12 Earthworks microphones covering the stage and 1 M30 in the FOH booth for analysis, Carrick quickly found his favorite applications. “The DP30/Cs sound killer on congas and bongos!”

The complete Earthworks setup includes 3 SR40s on hats and overheads on the main drum kit, 4 DP30/C mics on congas, bongos and toys on the percussion kit, 2 P30/C flexible gooseneck instrument mics on various percussion instruments on the frontline specials, and 1 M30 measurement microphone in the FOH booth for analysis. And on Wally’s kit you’ll find 3 DP30/C mics on snare and toms.

As a touring professional who has used his fair share of microphones on stage, Carrick explains how Earthworks microphones differ from other mics he has used. “The Earthworks mics have a great build quality, and seem to be very robust,” says Carrick. “But the biggest difference is the dynamic response. Drums can really sound lively and exciting when the mics fully capture the very start of the hits. They really are quick and detailed.”

Carrick was equally complimentary of Earthworks’ support services, “The experience has been fantastic. Communication has been excellent, and everyone seems to want to help out!”
“I wouldn’t hesitate recommending Earthworks microphones for live concert applications,” concludes Carrick. “They’ve proved themselves to me many times over.”

earthworksaudio.com

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Earthworks Drum Mic Hits the Film World

DP30/C on 18 foot boom pole

Milford, NH, December 3, 2012 – At the end of a boom pole on a film set is probably the last place you’d expect to find a microphone designed for close miking toms and snare. Yet thanks to some ingenuity from Production Sound Mixer Mark LeBlanc, that is exactly where you’ll find the Earthworks DP30/C.

So, how did a drum microphone end up as 25 year industry veteran LeBlanc’s microphone of choice on set? After meeting with an Earthworks representative to discuss the challenges faced on movie sets, LeBlanc zeroed in on the DP30/C. “I selected the DP30/C because it would address a possible need to have a mic that could easily be hidden because of its non-standard shape,” LeBlanc explains. “Until that day I never considered using an Earthworks mic because the literature showed it to be a studio mic.”

While shotgun microphones are a more traditional choice for location recording, LeBlanc found the DP30/C provided a number of benefits that made it a clear choice for location recording despite its non-traditional shape. “The DP30/C rejects sound coming from the rear as good as, if not better than, some shotgun mics specifically designed to reject sound,” explains LeBlanc. “It’s extremely low vertical footprint allows me to use it in scenes that otherwise a microphone would not be able to get in.”

“The very first film I used the DP30/C on was a SyFy original movie called MonsterWolf. I was in a large government office building and was having trouble with some of the other mics I had in my kit at the time. I threw the DP30/C on the pole as a last ditch measure and was blown away by the results. Since then, the DP30/C has made an appearance in every movie I’ve mixed since.”

“All interior scenes for the award winning movie Beasts of the Southern Wild were recorded using the DP30/C. Additionally, the horror movie MaskMaker used the DP30/C for all interior and some exterior scenes. We just wrapped up the movie The Outsider staring Craig Fairbrass and James Caan, which features a scene in a large office building that used the DP30/C on an 18 foot boom pole.”

“It’s one of the most natural sounding mics I’ve ever used,” LeBlanc says. “Very little coloration of the sound as presented to the mic. It gives you a very good feel for the room as it was on the day of shooting. The photograph that the DP30/C makes an appearance in for Beasts of the Southern Wild is a perfect example. We were in a remote location, in a very confined set and when you watch that scene, it really draws you into that moment!”

While on set for Beasts of the Southern Wild, the DP30/C’s 150dB SPL handling came in handy. “Being a drum mic, it can handle high decibels, which young actress Quvenzhané Wallis had a lot of. It was the only mic in my kit that did not get overloaded!”

With budget and timeline restrictions, the DP30/C has a hand in saving time and money on set. “The speed at which we can deploy the DP30 in car rigs is certainly a plus,” says LeBlanc. “My boom operator, Matt Champagne, knows exactly where I like them placed and has become quite adept at hiding cables and such. These days, we can generally rig a car for a scene in under 10 minutes.”

LeBlanc shares his final thoughts on the DP30/C’s presence on his film sets. “As a production sound mixer, we strive to capture the highest quality audio possible on set,” concludes LeBlanc. “A vast majority of ADR needed is due to factors beyond my control, planes, trains and dump trucks lumbering by in the middle of the take. What the DP30/C has given me is a tool that is extremely useful in high reflective areas such as large office building where a normal shotgun mic would struggle with the reflections. The DP30/C simply captures the dialog in a very natural way.”

earthworksaudio.com

louisianafilmsound.com

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Garbage Touring with Earthworks WL40V Wireless Capsule

Milford, NH, October 2, 2012 – After a 7 year hiatus, Garbage released their fifth studio album, Not Your Kind of People, in May this year. The band has hit the road in support of the album’s release and is taking the new Earthworks WL40V along for the ride.

Shirley Manson singing into the WL40V

Garbage’s FOH engineer, Brad Divens, is no stranger to Earthworks microphones on tour. “I used the DP25/C and the DP30/C on Don Brewer’s kit during the Bob Seger & The Silver Bullet Band tour last year,” says Divens. “I was so blown away by the microphones that I used them on Stephen Perkins kit while on tour with Jane’s Addiction, also adding a pair of SR25s for overheads.”

After learning about the WL40V Wireless Capsule, Divens reached out to Earthworks to ask about trying the capsule on Garbage’s lead singer, Shirley Manson. “I heard that it was being developed and close to being finished about the time Garbage was starting up rehearsals,” says Divens. “I called Kim Hilton at Earthworks and inquired about trying one out on Shirley. I figured since the drum mics were so amazing that the vocal mic had to be just as impressive.”

As a touring professional who has used his fair share of microphones and wireless capsules on stage, Divens explains the major benefit of using the WL40V that he found. “When Shirley said to me that this was the first time she’s used a microphone that sounded like what she uses in the studio, I knew it was the one.”

“Shirley is a very dynamic singer and the WL40V responds well to her different vocal styles. One song she’ll be very intense and aggressive and the next song very soft and lush. She loves the way this microphone sounds both in her ears and on the live recordings that I’ve done on the road,” explains Divens.

Divens also got to try out the Earthworks SR40V wired vocal microphone at the 98.7 FM & Grammys.com performance in May. “I thought the SR40V sounded incredible,” says Divens. “It required very little EQ. It had clarity, presence and a very rich sonic quality about it. The rejection is very impressive also. When we do these types of performances there are wedges involved and we all know how troublesome that can be at times.”

So, how does the WL40V Wireless Capsule compare to its wired counterpart, the SR40V? “It had the same sonic clarity and presence as the SR40V,” concludes Divens. “A great addition to the Earthworks family of microphones.”

www.earthworksaudio.com

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Earthworks Teams Up With Front End Audio For Dual Microphone Giveaway

August 27, 2012, Milford, NH ― Earthworks Audio has teamed up with Front End Audio to give away two microphones in August. One winner will receive a QTC30 multi-purpose omni and the other winner will receive the all new WL40V Wireless Capsule.

With a frequency response to 30kHz and excellent impulse response, the multi-purpose Earthworks QTC30 will reproduce sounds with perfectly flawless imaging and true-to-life detail. The microphone’s circuitry is extensively tested and hand selected to match its capsule, delivering the highest levels of clarity, nuance and realism to your sound.

The first ever 40kHz wireless microphone capsule, the Earthworks WL40V will make you rethink the limits of wireless microphones. With its textbook perfect hypercardioid polar pattern and extended flat frequency response, the capsule will grab vocals and reproduce them with amazing openness, clarity and detail.

Front End Audio, one of Earthworks’ premier dealers, will host the giveaway on their website. Enter at: http://www.frontendaudio.com/Articles.asp?ID=362. The contest runs from August 15 – 31, 2012. A complete list of rules can be found on the contest entry page.

www.earthworksaudio.com
www.frontendaudio.com

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Earthworks WL40V Wireless Capsule Now Shipping

Milford, NH – July 26, 2012 – After 14 months of development, the Earthworks WL40V Wireless Vocal Microphone Capsule is now shipping.

The WL40V is a wireless microphone capsule head suitable for use in a variety of live sound applications. The capsule head has a three ring bulls-eye connector and is interchangeable with any of the screw-on-type handheld transmitters that receive a 31.3 mm / pitch 1.0 mm.

Ideal for live performance, stage and broadcast use, the WL40V delivers a detailed and realistic vocal sound that requires little to no EQ. Its textbook perfect hypercardioid polar pattern and extended flat frequency response translate to a natural on- and off-axis performance coupled with benchmark levels of clarity and detail.
MAP pricing for the WL40V is $899.

www.earthworksaudio.com

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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