At PLASA 2012 (Hall 1, Stand F38), DPA Microphones and its UK distributor Sound Network will showcase an outstanding range of high quality microphones that are ideally suited to the rigours and demands of the live sound and touring industries.

Christian Poulsen, DPA’s CEO, says: “We are excited to be exhibiting at the PLASA show this year with the UK being one of our key markets. With the new d:fine™ headset, d:facto™ vocal and d:vote™ instrument microphones, we are raising the bar for good sound in challenging environments, where DPA microphones have already set the standard for headset and miniature mics for many years. DPA’s long list of fantastic references within theatre, broadcast, lives and installation environments proves the unique combination of high sound quality and reliability.�

DPA will show its expanded d:fine™ series of headset microphones that recently won Live Design’s Sound Product of the Year Award. Offering impressive gain before feedback and very stable construction, the unobtrusive d:fine™ headset microphones are easy to fit and provide a discreet microphone solution. The range, which is renowned for its audio accuracy, is available in both directional and omnidirectional options and in single or dual-ear designs with a choice of three lengths of microphone booms.

DPA will also be showing its new d:facto™ hand-held vocal mic, which offers an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling. In common with all DPA mics, d:facto™ features superior gain-before-feedback and combines a supercardiod pattern with superb definition to give high separation and true sound color on stage. d:facto also features an inbuilt 3-step pop protection grid that allows the artist’s vocal performance to dominate by effectively removing unwanted noise.

PLASA visitors can win one of these ground-breaking microphones by getting their badge scanned at the DPA stand. One lucky visitor will be chosen at random and the winner will be announced after the show.

DPA will complete its PLASA 2012 line up with its popular range of d:vote™ 4099 instrument microphones. Perfect for PA amplification and live recording, d:vote™ 4099 instrument microphones are tiny, elegant products that are extremely rugged and durable. Capable of handling high sound pressure levels and offering superior gain-before-feedback, these microphones live up to DPA’s pedigree of breathtaking clarity and richness.

Versatility is key to the success of the d:vote range, which features a number of different clips suited to a wide variety of instruments. Each microphone incorporates a gooseneck to provide ultra-stable positioning and the mics can easily be unclipped and repositioned or moved to another instrument. Recent enhancements to the shock mount provide even better absorption and d:voteâ„¢ instrument microphones now feature detachable cables available in 2.2mm (0.087 in) and 1.55mm (0.061 in) diameter versions from the end of the gooseneck. Further flexibility is available through an extension unit for the gooseneck supplied with the microphone, which lengthens its neck by 50%.

With their MicroDot connectors and the option of more than 35 DPA adapters, both d:fineâ„¢ headset microphones and d:voteâ„¢ instrument microphones are compatible with just about any wireless system. They can also be used as a standard 48V phantom powered microphone via its supplied XLR connector.

PLASA 2012 takes place at the Earls Court Exhibition Centre, London, from September 9th – 12th. For more information about DPA Microphones, please come to Hall 1, Stand F38 or visit the company’s website – www.dpamicrophones.com

-ends-

Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

VIENNA, Austria – Trained in multiple aspects of rhythm, ranging from classical, Afro-Cuban and Brazilian to West African, Middle Eastern, Japanese and Indian, percussionist Taku Hirano, while touring with the internationally acclaimed Cirque Du Soleil – Michael Jackson: THE IMMORTAL World Tour, is utilizing his down time to host drum clinics throughout Europe. Traveling with a complete HARMAN AKG microphone set, Hirano relies on the functionality and clarity of AKG to provide first-class instruction and an unforgettable experience, while teaching the fundamentals of his art.

In addition to his current world touring schedule with the MJ Immortal tour, the award-winning Hirano has played with musical legends on tour and in the studio, including Fleetwood Mac, John Mayer, Lindsey Buckingham, Lionel Richie, Michael Bublé, Josh Groban, Stevie Wonder, Whitney Houston, Usher, Jay-Z, LeAnn Rimes and Shakira, among multiple other world-renowned acts.

During his clinics, Hirano’s percussion set is mic’d with two C214’s for overhead capture, a P2 for the Cajon, one P17 for the artist’s signature ‘Handbale� – the timbale played only by hand, one P3 on a stand for speaking during the clinics, a P4 for the Bongos, and C518M’s clipped on his congas.

During live performances on tour and in the studio, Hirano also utilizes the classic C414 for overheads.

“I’ve been part of clinics in the past where a lot of time, the artist or performer is subject to use whatever equipment the backline companies provide,� said the percussionist. “My AKG mics came straight out of the box and provide a pristine sound. With AKG, my sound actually gets better as I’m able to hear every nuance I play. The gear is working out great as I continue to delve further into playing for the students and prospective percussionists.�

Hirano’s clinics will take place in every major European city the Immortal Tour lands, including London, Copenhagen, Stockholm, Frankfurt, Munich, Vienna, Hamburg, Berlin, Madrid, Moscow, Prague and Barcelona.

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For more information about Taku Hirano, please visit https://www.facebook.com/pages/Taku-Hirano/137428229609597

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

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

Rockport, MA – July 25, 2012: Premium audio brand Neumann announced that Rockport Music has acquired several Neumann KK 205 capsules in addition to four channels of Sennheiser 2000 series wireless. The new equipment helps Rockport ensure it is able to deliver premium sound quality over the course of its 52 week programming schedule.

Rockport Music, which is best known for its Rockport Chamber Music Festival which began in 1981, has recently undergone significant expansion of both its physical footprint and musical repertoire. In 2010, it opened the Shalin Liu Performance Center, an elegant building that houses its 334 seat, world-class concert hall as well as a multi-function/reception space located on the 3rd floor used for corporate meetings, intimate performances, wedding receptions and many other activities.

The acquisition of the Neumann KK 205 capsules, as well as Sennheiser EM 2050 two channel receivers, Sennheiser SKM 2000 handheld wireless transmitters and lavalier body packs, in addition to a new antenna combiner, helps Rockport realize enormous performance flexibility while offering an unmatched dimension of audio quality to discriminating artists — many of whom insist on performing with Neumann.

Since the new facility opened, Rockport has gone from being a six week performance operation to a 52 week one, simultaneously expanding its repertoire beyond classical to now include jazz, folk, world music, pop and just about every other conceivable musical genre. The new concert hall has advanced A/V facilities including a 20 foot projection screen, and routinely features high definition simulcasts of performances by the Metropolitan Opera and England’s National Theater.

“During my first year here in 2010, one of my first goals was to bolster and enhance our in-house P.A. equipment,” commented David Shriver, technical operations manager for Rockport. “Having very high quality wireless handheld mics and belt packs was very important to me since I wanted a system that could be mostly used on stage but also offer flexible usage applications for other spaces in our facility.”

“The deciding factor for me in adding the Sennheiser 2000 wireless series came when Neumann introduced the KK 204 and KK 205 capsules this year,” Shriver continued. “I get rider requests for Neumann mics all the time, and I knew this was the direction we needed to go in. Neumann is the gold standard in microphones, and when an artist comes in and sees a Neumann mic, they are instantly confident in its ability to deliver.”

When the new Sennheiser 2000 wireless system is not being used in the concert hall, Shriver is able to use it on the 3rd floor multi-function/reception space: “Sennheiser’s Dave Missall came out, looked at the situation, and recommended an RF solution with antennas in the reception space and an antenna combiner to the existing antenna system in the concert hall. This enables me to use my four new RF systems in both places.”

While evaluating the new capsules and wireless sytem, Shriver relied on Rob Pemberton of Wellesley, MA-based Parsons Audio, who was proud to assist in the upgrade of such a world class facility, as well as Sennheiser area sales manager Mike Cleary. “Mike was great,” recalls Shriver. “He would let me try out a bunch of different microphones while we were trying to figure out what to buy — not just for handheld vocal mics, but for drums and other instruments as well.”

Shriver and Rockport Music are pleased with their new equipment acquisition: “The quality has been just top notch,” comments Shriver. “Since we added the Neumann capsules, a number of guest engineers and visiting bands have expressed their interest in working here and performing with the Neumann capsules on the stage. The sound makes a world of difference and also makes my job easier. I can run the mics flat and they sound great — also there is greater feedback rejection when compared to other microphones.”

Award-Winning Features
The acoustic features of the KK 204 and KK 205 capsule heads are derived from the multiple award-winning wired Neumann stage microphones, the KMS 104 and KMS 105. The KK 204, with its cardioid pattern, ensures the best possible suppression of sound originating from 180 degrees to the rear, while the supercardioid KK 205 has greater directivity, and maximizes incident sound from the front as compared to sound from the rear. Due to the “single polar pattern design,� the polar patterns are very uniform over the entire frequency range and provide excellent resistance to feedback.

Solon, OH––CAD Audio is now shipping its installation-grade UHF WX100 Wireless Series system.

The UHF WX100 offers simple and intuitive operation along with exceptionally reliable wireless connectivity in the most congested RF environments and exceptional audio bandwidth.

In addition to enhanced connectivity, the WX100 features a familiar control scheme that facilitates problem-free operation by non-professional users. The transmitters are designed with straightforward form factors that make it easy to identify various features, operate on/off switches, change and recharge batteries.

These designs along with an array of useful accessories make the WX100 a perfect solution for A/V suites, flexible meeting spaces or any situation that requires easy to use, certain-connectivity wireless that doesn’t require a long learning curve.

Basic system components include the WX160 gooseneck desk stand transmitter and WX100 receiver, the handheld WX150 microphone and the WX155 body pack which can be used with the CAD 301 cardioid lavalier mic or CAD 302 headworn microphone for additional flexibility. The WX100 is supplied with a joining plate and rack ears for easy installation.

Asked about the WX100, CAD Executive Director of New Business Development Glenn Roop said, “Based on the high level of interest at InfoComm and positive reaction from our customers, we fully expect the WX100 Series to surpass our expectations in terms of sales and market penetration. The system’s outstanding RF performance, audio quality and ease of use make it a strong contender in the installation wireless market.�

For more information about CAD Audio, call 800.762.9266 or visit www.cadaudio.com.

Denver (CO), Minneapolis (MN), 24 July 2012 – Recording a large orchestral performance can involve extreme dynamic level changes, highly reverberant environments and dozens of channels of microphones, cables and associated electronic circuitry. Using traditional analog equip­ment, controlling these factors can be cumbersome, and maintaining a simple, agile workflow is often difficult. Using several dozen analog microphones onstage significantly raises the noise floor, and may introduce distortion during loud passages. Now, with Neumann’s pioneering range of digital microphones, users can experience an all-digital workflow — dramatically increasing signal integrity and user controllability.

A “Twenty-First Century Orchestra� Goes Digital
Since returning to the Colorado Symphony Orchestra (CSO) to take up the position of President/CEO, Gene Sobczak has begun to modernize the organization with an ambitious program of performances featuring pop and rock artists, recordings, webcasts and educational outreach. Sobczak has also forged relationships between Mike Pappas, a Denver-based recording engineer, and Sennheiser Electronic Corporation to ensure that every nuance of the orchestra is captured with innovative digital microphone technology from Neumann.

The CSO has already shared the stage this year with Trey Anastasio of the rock band Phish, Denver-based multi-instrumentalists DeVotchKa, and Boston-based alt-rockers Guster. In his role as volunteer engineer for the CSO, Pappas captured all three of these shows with an arsenal of Neumann digital microphones.

Realizing Agility and Simplicity
Pappas used 56 KM D series Neumann digital mics in a variety of omni-directional, cardioid and hypercardioid polar patterns. The mic list also included a Neumann KU 100 dummy head binaural stereo microphone for hall ambience, and a KMR 82 D shotgun for spot miking.

When using analog microphones and mixers, self-noise causes the noise floor to become more audible as channel counts increase. This is not the case with digital microphones however, which maintain a consistent noise floor whether one is using a single unit or three dozen units. “In a conventional analog mic setup,� says Pappas, “mix 24 channels together and the noise floor comes up by 15 dB. Now, take 56 analog microphones and you’re looking at the noise floor coming up by 20 or 25 dB. This is significantly lower when using digital microphones. With a Neumann digital microphone you go from capsule to A-to-D converter in less than an inch. What that means is that you don’t have this low level analog signal running through hundreds and hundreds of feet of cable, and then into your preamps. In the end, all the cable does is add more noise.�

Simple Workflow, Astounding Results
Pappas’ workflow is typically very simple: Neumann mics plugged into Neumann Digital Microphone Interface (DMIs), with the signals converted into MADI for transport to a DiGiCo mixing console for monitoring while recording into a computer running Apple Logic software. “The workflow is easier because there’s less stuff you need to worry about when you use digital mics,� Pappas observes. “You plug them in, fire up the software and the system pretty much runs itself. Plus we don’t have problems with things like hums and buzzes.�

“We recorded analog for many years with some of the best gear on the planet,� says Pappas. “When we switched over to full digital, the first thing we noticed was that we could hear the hall very clearly. We couldn’t hear this with analog gear because the noise floor of the gear was significantly greater than the noise floor of the hall.� Since Pappas received his first batch of Neumann digital mics back in 2004, he hasn’t looked back.

A Leading Broadcaster Forays into Digital Mics
Minnesota Public Radio (MPR), which established itself in 1967 as a classical music station, has grown to become one of the United States’ premier public radio entities and currently operates a 43-station radio network. American Public Media (APM), MPR’s parent organization, is the nation’s largest distributor of classical music programming. MPR frequently records and broadcasts the St. Paul Chamber Orchestra (SPCO) for “Performance Today,� a program that reaches 1.3 million listeners on 256 stations each week.

The SPCO is a 34-piece ensemble and the only full-time chamber orchestra in the U.S. Now in its 53rd season, the ensemble enjoys a reputation as one of the finest chamber orchestras in the world.

In early April, Cameron Wiley, MPR technical director for SPCO programming, implemented an eight-channel system at a performance by the ensemble at Wooddale Church in Eden Prairie, MN. He recorded the concert to a Nuendo system using Neumann KM 183 D, KM 184 D and KM 185 D digital microphones, with the main mic array arranged in a modified Decca Tree configuration.

Since there was no rehearsal, Wiley had to take an educated guess while setting levels based on his experience recording the SPCO with his analog rig – the tympani proved troublesome. Thankfully, he recalls, the increased headroom afforded by the Neumann digital system handled the KM 143 D spot mic with no distortion. “That mic was being hit pretty hard, but it handled this very well. If we had used analog, it wouldn’t have survived those levels.�

As a longtime user of analog microphones, Wiley appreciates the benefits of an all-digital mic setup – especially the control provided by Neumann’s Remote Control Software (RCS). “Being able to control polar patterns as well as onboard DSP can be a lifesaver. Having that capability in a mic is fantastic and it certainly makes workflow much easier to deal with.�

To learn more about Neumann digital microphones, please visit http://www.neumann.com.

Image Captions:

CSO_1.jpg:
Resident Conductor Scott O’Neil conducting the Colorado Symphony Orchestra with a Neumann KM 133 D capturing the sound (photo credit: Darius Panahpour)

CSO_2.jpg:
The Neumann KM D digital microphones feature extended dynamic range and an extremely low noise floor, making them perfectly suited for orchestral recordings (photo credit: Darius Panahpour)

Neumann_KM D_family.jpg:
The Neumann KM D family of digital microphones features an agile selection of omni, cardioid and super-cardioid polar patterns

Neumann KM 184 D.jpg:
The Neumann KM 184 D was used during a recent recording by MPR

VIENNA, Austria – In need of a technology upgrade for its lecture halls, which host more than 50,000 students during the academic year, Australia’s Queensland University of Technology’s (QUT) Audiovisual Projects Department installed a campus-wide digital wireless solution to replace its existing analog system. Supported by Len Lotz and Shane Palmer of Videopro, the Queensland-based technology integrator, QUT now has more than 400 educational spaces across multiple buildings channelled with HARMAN’s AKG DMS700 digital wireless solution.

QUT’s wireless channels were already crowded, nearly reaching its capacity, which put constant stress on the channels and brought interference to lectures throughout campus. Recently, with a decision to advance campus technology and expand the CBD area, QUT would require additional channels of wireless, which would not be supported by their previous analog system. AKG’s DMS700 was selected, as it offered a tactical answer, addressing all of the issues related to overcrowded bandwidth and completely eliminating interference. DMS700’s ultra-wide tuning range also offered the greatest degree of flexibility to work around uncertain frequency allocations in the future, as the Australian government redistributes allocations of UHF spectrum.

AKG’s DMS700 is designed to deliver the highest quality and operability to users. DMS700 allowed QUT to provide a significantly larger number of channels, in addition to the clarity and reliability of the digital signal. Its quick and easy setup allows anyone within the university, from the technical team, to professors and students to easily turn on and distribute their audio throughout QUT.

“The lecture halls and teaching spaces have improved, in terms of the audio clarity and reliability, dramatically with the integration of AKG’s DMS700 wireless system,� stated John Vikstrom, QUT. “AKG and its Australian distributor, Audio Products Group, were instrumental in this installation, working tirelessly with Videopro and QUT’s AV team to design a complete system that would span the entire campus and offer user friendly ability for the professors in each room.�

With the project continuing into 2012, Videopro and Audio Products Group, have already deployed more than 300 channels for QUT.

“QUT is pleased with the AKG system, as the improvement is clearly heard when in a room that was previously plagued with interference,� said Lotz. “AKG’s work on producing a university-wide frequency allocation plan allows QUT to take a holistic approach to managing its entire fleet of wireless microphones.�

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For more information on Videopro, please visit http://www.videopro.com.au. For information about Audio Products Group, please visit http://www.audioproducts.com.au.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

Charlotte, NC – July 2012… Blumenthal Performing Arts’ venues are home to premier Broadway touring attractions as well as the Charlotte Symphony, Community School of the Arts, North Carolina Dance Theatre, On Q Productions, Opera Carolina, Queen City Theatre Company, and The Light Factory Contemporary Museum of Photography and Film. As the cultural hub of the greater Charlotte area, there are high expectations for every type of event that takes place here. That’s precisely why—when it comes to wireless microphone performance—the organization relies on its sizeable contingent of wireless microphone systems from Rio Rancho, NM-based Lectrosonics. more

San Francisco, CA, July 20, 2012 – The new TAIDEN HCS-8301M Digital Audio Mixer gives conference systems operators control over the audio level of conference microphones, interpreter consoles and system inputs/outputs, all without the need of a PC. This technology, exclusively offered by Media Vision USA, is a stunning new addition to the expansive 8300 Paperless Multimedia Congress System series. With the TAIDEN HCS-8301M Digital Audio Mixer, conference meetings are now able to run at an unparalleled level of efficiency and sophistication.

The HCS-8301M is a robust 15-channel hardware mixer, with fader attenuation at a range of -30dB to 0dB. The operator has control of up to 6 active microphones at any one time during meetings, ensuring effortless real-time volume adjustment tailored to the current speaker’s voice. This mixer features 11 banks of simultaneous interpretation audio (6 channels per bank), allowing the operator to evenly balance the language channels. The onboard dynamic processor offers a 5-band equalizer for the microphone, line in and line out channels and a 3-band EQ for interpretation channels. A high pass filter, mute capability and peak indicator on each channel strip allows even further control of audio.

The mixer’s 10-inch LCD touch screen enables users to easily monitor audio levels, language channels, and system connections. With the use of the touch screen users have access to the mixer’s internal settings, such as IP and network settings, allowing interconnectivity between TAIDEN’s Digital Conference Software.

“This new product from TAIDEN is important not because of its innovation in design, but because of its simple practicality,� said Wesley Sutliff, Product Manager of Media Vision USA. “Who wants to sit at a PC clicking on virtual faders with a mouse? The 8301M from TAIDEN provides a familiar control format for Audio Engineers and System Operators, and that familiarity will allow them to perform their jobs with better efficiency.�

The TAIDEN HCS-8301M adds even more versatility and enhanced control over the industry-leading 8300 Paperless Multimedia Congress System. It is compatible with existing popular TAIDEN products such as the 8318 Multimedia Terminal Unit, the 4886/4330 Delegate Microphone, and the 4385 Interpreter Console. When utilizing the TAIDEN Room Combiner, the mixer remains the unified source for all rooms, delegates or even borrowed interpreter stations. For system operators, the 8301M makes meeting management incredibly simple.

The TAIDEN HCS-8301M Digital Audio Mixer is available throughout the existing Media Vision USA representation network in North America.

About Media Vision USA
Media Vision USA is a leading provider of professional wired and wireless conferencing solutions for meeting rooms, VTC boardrooms, training centers, council chambers and auditoriums. Supported by feature-rich, flexible technologies, powerful software, and a dedicated product engineering team, we work with system integrators and consultants to design conferencing solutions that improve the quality of the audio in the room, and outside the room for distance communication. Additional information can be found at www.mediavisionusa.com

New York City — July 19, 2012 — Audio specialist Sennheiser announced that it will be offering its highly regarded RF Wireless Sound Academy Seminar in New York City on Monday, August 6th in mid-town Manhattan. The seminar costs $199 and includes continental breakfast, full lunch, workshop materials, and a $50 rebate coupon good for Sennheiser and Neumann products. Participants who complete the seminar will earn 6 RU CTS credits.

This single-day workshop is designed to teach attendees how to plan for trouble-free operation of multi-channel wireless microphones and wireless personal monitoring systems in even the toughest environments. Topics will include:

- RF theory plus practical tips and tricks to maximize reliability

- Reserving TV channels for events on the new FCC spectrum database system

- Best practices for system planning and frequency coordination

- Working with wireless monitoring systems

- New developments in digital RF systems

The event will feature several experts in the field including host and presenter Joe Ciaudelli and special guest Volker Schmitt: the RF engineer who spearheaded the creation of Sennheiser’s most successful and innovative products, including the popular evolution wired, evolution wireless, MKH, MKE, and 3000 and 5000 series.

Other highly qualified guest speakers include Uwe Sattler and Ben Escobedo of Sennheiser, Broadway RF and audio engineer, Andrew Funk and Henry Cohen, president and senior RF engineer at Production Radio – an RF engineering, consulting and event services firm serving entertainment, production and corporate clients. Following are details on the event and how to register:

- Where: Musicians Union Local 802, 322 W 48th St., New York City

- When: Monday, August 6th 2012 between 9:00 a.m. and 4:30 p.m.

- Cost/registration: $199 per participant (register before July 27th and receive a $20 discount). Complete registration details, bios of guest speakers and more information at http://www.sennheiserusa.com/RFseminar.