Archive for November 15th, 2011
Old Lyme, Conn. – November 15, 2011 –
Blake Shelton performs with his Sennheiser SKM 2000 transmitter, coupled with an MMD 935-1 capsule
During the 45th annual Country Music Association Awards, audio specialist Sennheiser
delivered another evening of rock solid audio and flawless RF performance courtesy of its EM 3732-II receivers, SKM 2000 and SKM 5200 transmitters and its ew 300 G3 IEM series monitoring system. The following Sennheiser users also won awards and performed live onstage using Sennheiser transmitters and capsules:
– Blake Shelton: Top Male Vocalist
(Sennheiser SKM 2000 coupled with an MMD 953-1 capsule)
– Miranda Lambert: Top Female Vocalist
– (Sennheiser SKM 2000 couple with an MMD 935-1 capsule)
– Sugarland: Vocal Duo of the Year
(Sennheiser SKM 5200-II coupled with an MD 5235 capsule)
– Lady Antebellum: Vocal Group of the Year
(Sennheiser SKM 5200-II coupled with an MD 5235 capsule)
Among the notable performance highlights was a rendition of “Georgia On My Mind” by the Zac Brown Band and music legend Gregg Allman, during which Brown used a Sennheiser SKM 2000 coupled with a MMD 935-1 mic capsule.
For Bexel staff engineer Jim Dugan, who designs antenna systems for a living and was RF coordinator for this year’s CMAs, Sennheiser was a foundational component of the show’s overall success. “We had 10 of the Sennheiser EM 3732-II receivers, which are really flexible and can cover any of the transmitters the artists are using,” he says. “They are well built, clean and have a very wide switching bandwidth which helps tremendously — especially in shows with 300 or more frequencies. Most importantly, they sound great.”
The sound and dependability of the RF transmitters is key in an awards show that features no less than 29 performers. “This is a challenging show that is all about music, and the only time someone isn’t playing is when someone is introducing music,” commented John Harris, the broadcast music mixer at CMA who had two of his Music Mix Mobile trucks on site. “Since there are performances way out in the middle of the arena and on three different stages, the RF has to be rock solid. The Sennheiser transmitters are very reliable and there were no blips.”
“Overall, the show was a great success,” adds monitor engineer Jason Spence. “Sennheiser had a big role in this, and we had quite a few artists with Sennheiser mics out there. Whether you are the guy mixing, or if you’re in the audience or the artist who is performing, dependability is everything. We had zero issues with the Sennheiser mics, and they sounded great.” In Spence’s role, the right mic choice means that he can get the sound he is looking for faster: “It means I don’t have to hack up the EQ. For example, for Miranda, all I had to do was set the gain, put a high pass filter on it, run it up on the IEMs and put a little bit of reverb on it. Done.”
During this year’s CMAs, a variety of other Sennheiser microphones were used in many other applications. For example, Vocal Group of the Year Lady Antebellum used the new Sennheiser MK4 large diaphragm condenser as overhead microphones, and Sennheiser mics were on every drum kit used by every band during the evening’s performances. “Every band that played had e 602-IIs on the kick drum,” says John Harris. “Everything about my mixes start with drums, and the Sennheiser 600 and 900 series just knock it out of the park.”
“We had a perfect show and it was great,” Dugan concludes. “The CMA show is a very complex, technical environment with a lot of electronics. The fact that the Sennheiser equipment performs flawlessly and sounds great is a testament to its overall quality. I will definitely use Sennheiser again next year.”
Join KRK As It Celebrates 25 Years of Industry Excellence
WHO: KRK Systems, a member of the Stanton Group of companies and a leading provider of accurate and reliable monitors and control room solutions.
WHAT: KRK fans, from major recording artists to discerning music enthusiasts, are known for their allegiance to the brand. In recognition of its 25th anniversary, KRK is presenting its customers with a chance to show their dedication by offering a “Why I Love KRK” Facebook Sweepstakes! From November 14, 2011 through December 14, 2011, customers can post photos of their use of KRK products on the KRK Facebook page http://www.facebook.com/KRKSystems?sk=app_249347133607 and compete to win a pair of KRK Rokit 8s – a welcome addition to any control room or critical listening space.
WHEN: Monday, November 14, 2011 through Wednesday, December 14, 2011. The winner will be announced no later than December 16, 2011.
© 2011 Getty Images
GREEN BAY, WISCONSIN – NOVEMBER 2011: It would be hard to overstate the cultural significance of Lambeau Field. Set in a mid-sized city in eastern Wisconsin, the 73,000-seat “Frozen Tundra” is home to the reigning NFL champion Green Bay Packers. Season tickets to Lambeau Field have been sold out for over half a century, and despite repeated seating capacity expansions, the average wait time for the 81,000 desperate souls on the season ticket waiting list is thirty years. In addition to the high drama of “regular” Packers football, Lambeau Field hosted the 1967 “Ice Bowl,” where -15-degree air (-45 wind chill) provided a merciless backdrop for a contest that would have been historic at any temperature. As part of an ongoing commitment to ensure that game day lives up to its reputation, the Packers recently heeded pleas to improve stadium sound. A new distributed system, based on Danley Sound Labs’ revolutionary Genesis Horn, Synergy Horn, and Tapped Horn loudspeaker technologies, now provides clarity, intelligibility, and punch that has exceeded all expectations.
The old sound system relied on a single cluster of loudspeakers positioned at the scoreboard on the north end of the bowl. Apart from the sometimes surmountable, but ever daunting challenge of throwing sound long distances while still providing even coverage – which, incidentally, the old system was not managing to do – the architecture of Lambeau Field guaranteed that any system that relied on a single point source, no matter how pricey or sophisticated, would be inadequate. Specifically, a hemispherical ring of windowed skyboxes and suites tops the bowl, providing a surface that generates high-SPL, broad-bandwidth reflections that wreck intelligibility. The Packers hired Anthony James Partners (AJP) of Richmond, Virginia to design an improved sound system. With no ties to any vendor, manufacturer, or integrator, AJP provides its clients with ideal, unbiased solutions.
Cooper Hedden, of Danley Sound Labs, stands in front of the custom built enclosures housing the Danley Genesis Horns and TH-118s at Lambeau Field, home of the NFL's Green Bay Packers.
“The biggest challenge at Lambeau was the expected environmental conditions,” said Larry Lucas, director of audio engineering at AJP. “The Packers were understandably unbending about the placement of equipment. To prevent injuries from falling snow and ice (recall the stadium’s nickname!), no structures of any kind could be placed above seats. So even though we were using a distributed approach, we were left with the task of covering large areas of seating using a long throw from loudspeaker positions that were much less than ideal. The Shaded Amplitude technology of Danley’s Genesis Horn promised to provide that coverage without blasting the fans that were close or whispering to the fans who were far.”
The distributed system is primarily comprised of sixteen enclosures placed on top of the enclosed suites, around the perimeter of the field. Each of the enclosures contains a Danley GH-60 Genesis Horn and a Danley TH-118 subwoofer. The Genesis Horn and subwoofer combination covers the majority of the seating, with the Genesis Horn Shaded Amplitude roll-off positioned such that seats both near and far amazingly receive the same SPL. Due to Lambeau’s blustery weather, outdoor enclosures measuring approximately 6′ x 7′ were custom designed by Pro Media Ultrasound, the system installer for the stadium. Nineteen Danley SH-100 loudspeakers are spaced around the stadium in between outdoor speaker enclosures providing near-fill for seats below the suites that fall outside the Genesis Horn’s beam.
Two additional Genesis Horns cover the south end zone, which will be converted to seats and party decks next season. Fifty-six Danley SH-Mini’s provide coverage for club seating and the Legends Lounge. A new Yamaha M7 digital console gives stadium engineers the ability to recall mixes, and a BSS London-series DSP system provides all system equalization, dynamics, routing, and loudspeaker management. Despite the fact that a Genesis Horn contains eighteen drivers, due to ingenious crossover designs, the number of amplifiers required to cover the 80,000-plus seats at Lambeau was quite low. It only required five IP-5000s, nine IP-9000s, and eight IP-12000 Crown amplifiers to provide clean power with ample headroom to the Danley loudspeakers and subwoofers. Danley Sound Labs’ Mike Hedden commented, “Our products produce industry leading high sensitivities and cutting-edge technologies. Other loudspeaker manufacturers would have had an amplifier count at least double ours along with much more required electrical service demands. When you compare this, and then add our lower electrical cost of actual operation, you’ll see why Danley Sound Labs is one of the most “green” loudspeaker companies on the market today.”
Because they have the capacity to throw long distances with appropriate SPL-by-distance performance, the Danley Genesis Horn (GH-60) and its larger sibling, the Jericho Horn (JH-90), represent alternatives to the line array. Indeed, Lucas had considered a line array as a potential solution at Lambeau Field. “However, two critical factors favored Danley’s solution,” he said. “First, when you tally up all the costs, a line array system is considerably more expensive than a comparable Danley Genesis or Jericho Horn. Second, the fact that the Danley boxes are true point-source devices make them a lot cleaner. For example, the Genesis Horn has noticeably greater intelligibility than comparable line arrays out there.”
The Packers’ fans, administration, and even players have praised the new sound system. “The improvement is not at all subtle,” said Lucas. “Fans have gone out of their way to let the administration know that Lambeau’s sound reinforcement system is a significant improvement. That very positive feedback has made them feel comfortable with the investment they made.”
ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.
Aqua+ and SOUND vs SOUND announce international digital casting call for music reality TV series that focuses on up-and-coming musician/producers.
Toronto, Ontario, November 15, 2011 — SOUND vs SOUND has announced an international electronic casting call for producer/musicians who would like to participate in the show as contestants. A new reality competition TV series that follows musicians, composers, arrangers and producers as they face musical challenges across different genres, SOUND vs SOUND will be filmed February 5-18, 2012 in Toronto, Canada. Deadline for submissions is December 1, 2011.
Similar to other reality challenge series, such as Project Runway or Iron Chef, each episode of SOUND vs SOUND features musical challenges that push the cast members/contestants outside of their comfort zone.
SOUND vs SOUND also features legendary musical guests on every episode who will serve as mentors to the contestants, and a panel of celebrity judges. The judges also serve as mentors for the cast members/contestants, and provide each contestant with a 20-minute consultation during the time in which they are addressing the challenge.
At the completion of each challenge, the judge panel decides who wins that week’s challenge after performances in the last act of each episode. In several cases Gold and Platinum artists will be playing alongside of the contestants as they present their projects. Winning tracks from each episode will be sold with the proceeds going to select charities.
Applicants must be able to think on their feet and be well-versed musicians who can perform, arrange, produce, and rapidly interpret music from different genres into something compelling and original.
Filmed in Toronto Canada from Feb 5-18th, 2012, SOUND vs SOUND is the only TV series that incorporates meaningful dialogue between established and emerging musicians. The winner of the SOUND vs SOUND competition will receive a one-album contract with SvS Records and $25,000 in cash.
Submissions must be in digital format, preferably uploaded on YouTube, with links sent to email@example.com. Please include:
• Short background information and accomplishments (up to 250 words)
• A link to a sample of production, composition, performance, or remixing.
• A link to a YouTube video of applicant speaking on camera.
All genres are welcome. All types of instrumentalists and singers will be considered. Contestants may reside in any country. The deadline for digital submissions is December 1, 2011.
Find out more about SOUND vs SOUND at http://www.aquaplus.tv/soundseries/
*** Photo: Bob Ginger controlling the Lectrosonics ASPEN units ***
Flagstaff, AZ – November 2011… With 39 satellite campuses throughout the state, Northern Arizona University (NAU) is a highly respected research university offering both undergraduate and graduate degree programs to approximately 25,000 students—17,000 of which are enrolled at the Flagstaff campus. At the Cline Library on the main campus, the University recently upgraded its Assembly Hall—a multipurpose space for lectures, presentations, meetings, movies, and more—with a new digital video and audio system. Encompassing a wide assortment of input sources that includes computers, document camera, VCR’s, DVD and Blu-ray surround sound playback plus microphones, the various audio feeds constitute a complex audio setup—one that is very competently managed by an ASPEN processing system from Lectrosonics. more
*** Photo Caption: Jim Neil with his Countryman microphone ***
Menlo Park, CA – November 2011… Regardless of whether it’s Canada’s Stratford Shakespeare Festival (the largest repertory company in North America) or the Grand Theatre (one of the country’s best regional theatres), one thing is certain: Countryman miniature microphones make an exceptional choice for a wide range of theatrical applications. The Countryman E6 Omni Earset and B6 Omni Lavaliere models are favorites among theatre professionals—and there are numerous compelling reasons why.
For the past 28 years, Jim Neil has served as the head of audio at the Grand Theatre in London, Ontario, Canada. He’s also a sound designer for the Stratford Shakespeare Festival of Canada. In his line of work, selecting the right microphone is a critical task that has a direct impact on the success of any show. more
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