Archive for April 10th, 2012
New Haven, Conn. – April 10, 2012 – Since 2000, Mateusz Zechowski’s STUDIOTEO has been providing freelance recording services to some of the most renowned orchestras, choirs and ensembles in the northeastern corridor. Based out of New Haven, Zechowski, who has just upgraded his monitoring system to include the Sennheiser-distributed Neumann KH 120s, has a versatile geographic reach working with clients in and around neighboring Yale University as well as New York City and Boston. He counts Yale Symphony Orchestra, Orchestra New England, New York Choral Society and Juilliard Baroque Ensemble among his clients.
“For classical recordists, there are generally two types of recordings,” says Zechowski. “One is taping concerts, in which you are more or less battling a recording environment that has already been chosen, and the other is ‘co-creating’ a recording with a client where you can exert more artistic control. Both scenarios — and in fact all the work I do — require top-notch studio monitors and now I am 100 percent dependent on the Neumann KH 120s.”
Zechowski is a native of Poland who studied at the Chopin Academy of Music in Warsaw and more recently at the Yale School of Music in New Haven. His recordings regularly appear on internationally regarded classical labels such as Naxos, Carus Verlag and Dels. The Neumann KH 120 active near field monitor is his monitor of choice whether he is on-location or working in his mastering suite in the lower level of his home. He was introduced to the KH 120 during the AES show in New York, when he met Sennheiser product specialist for studio products, Christopher Currier.
“I asked Christopher about the Neumann KH 120s at the booth, and he said he was happy to bring a pair by for me to demo in my studio,” Zechowski recalls. “When he did, I was in pretty deep shock because when compared to my other set — a respected large format British monitor — it was immediately apparent that the Neumann’s clarity, openness and large sound stage was far superior. My first impression was that they were on the bright side, but later I realized that this was due to its extended clarity.” The other thing that struck Zechowski was the amount of sheer bass force and dispersion in the low end: “It is quite incredible that such small monitors can generate such a large sound stage — especially in the lower frequencies. It is quite a remarkable achievement.”
Once Zechowski acquired the KH 120s and began using them on a regular basis on his work with choirs, small ensembles and large orchestras, the sonic attributes of the KH 120s became even more apparent: “These speakers are very precise, and this becomes very important when you have singing voices. With this kind of precision, you can hear and fix things immediately, whether it is a miking set up, EQ, or whatever. They give you an exact read.” The compact size and extreme portability of the KH 120s also enable Zechowski to bring them on location to his sessions. “They are a real winner for what I do and help me quickly assess what kind of mic set up I want to use, whether it is a Decca tree, a traditional spaced pair or a coincident mic arrangement.”
Zechowski now relies on the KH 120s to ensure his work sounds good outsideof the studio, as well. “All the mixes I do on the KH 120 translate beautifully to the external world, whether it is a mundane car stereo, a home-based system or audiophile setup alike,” he says.
As Zechowski continues his relentless pursuit to increase the quality of his recordings, the phone keeps on ringing: “In this profession, everything depends on word of mouth,” he observes. “Musicians relate to each other and recommend recording engineers like other people might recommend dentists. I’ve managed to build a steady group of loyal clients, because I am always looking to improve on what I’m doing.”
The Neumann KH 120 studio monitor
The Neumann KH 120 is a compact near-field studio monitor that delivers unprecedented accuracy and versatility within a broad range of monitoring environments. The KH 120 is perfect for tracking, mixing and mastering in music, broadcast, project and post-production studios.
The KH 120 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible. It has a Mathematically Modeled Dispersion™ (MMD) waveguide, flexible acoustical controls, analog class-AB amplifiers, various input formats and an extensive mounting hardware range. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment and physical locations.
Provides Greater Flexibility and Control, Improving Production Workflow
LAS VEGAS, APRIL 10, 2012 – Clear-Com, a global leader in critical voice communication systems, will unveil at the 2012 NAB Show (Booth C8008) two additions to its Eclipse digital matrix intercom family, including a new line of V-Series rotary panels and the Eclipse MADI (E-MADI) card. The new V-Series rotary panels provide users with optimal control over audio level adjustments while the E-MADI card supplies 64 MADI channels per card from the Eclipse-Median or Omega digital matrix frames to achieve higher levels of connectivity during production.
V-Series Rotary Panels
The addition of the V-Series rotary panels to the existing V-Series pushbutton and lever key panels presents broadcasters with the widest range of user control key panel options. When using the new V-Series rotary panels, site technicians and more importantly, the production team can quickly and independently adjust system audio levels from one or more audio sources, including external lines, partylines and intercom from other local and remote control panels. They also support faster and easier audio mixing for IFB assignments, enabling a more efficient production workflow in the fast-paced broadcast environment.
Available in 1RU, 2RU, desktop and extension panel variants, the V-Series rotary panels feature push-listen with mix control knob and a separate push-talk button for easy-to-use, intuitive talk-and-listen monitoring. Colored LEDs show keys that are active, who is calling and what the talk key is programmed to do. V-Series rotary panels have a dual use as intercom and/or assignment panels for IFBs, partylines and groups, even when using expansion panels.
Designed in a 6RU form like the other frame cards for the Eclipse-Omega and Eclipse-Median, the E-MADI provides connection with standard MADI devices. The new E-MADI card offers full user set-up and can be configured through the Eclipse Configuration Software (ECS) to supply up to 64 full channels of digital four-wire connectivity per card. E-MADI cards are used to route talent and other incoming feeds across the intercom system for monitoring and the insertion of IFB.
Other key features include sample frequency choices of 44.1, 48 and 96 kHz, a selectable channel/port quantity of 32, 48, 56 and 64, VOX on all 64 inputs, a fiber (MM) SFP duplex LC removable transceiver module and BNC MADI in and BNC out. Users can derive channel labels from a third-party device and can use the MADI channels for high-capacity trunking or audio distribution. The E-MADI card can use AES word clock, SD NTSC/PAL video or Tri-level HD.
“The Eclipse is the most comprehensive digital matrix platform in its class with a broad range of system frames and technologically advanced features,” says Simon Browne, Director of Product Management, Clear-Com. “The addition of the V-Series rotary panels and the new E-MADI card to the Eclipse family of products helps broadcasters achieve high productivity more easily”.
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.
HM Electronics, Inc. is a diverse group of companies providing solutions that enhance productivity and customer service in markets including restaurants, sports and professional audio. Founded in 1971, we sell, service and support products in 89 countries worldwide, via company-owned offices in the U.S., Canada, Europe, and China, and an extensive network of HME-authorized distributors, dealers and service agents. Every day quick service restaurants take over 24 million orders using HME systems. With the recent acquisition of Clear-Com, HME is the world’s leading provider of professional intercom systems. To learn more, visit www.hme.com.
*** New Life Community Church’s Midway Campus sanctuary ***
Chicago, IL – April 2012 … With 14 campuses in and around the city of Chicago and 25 weekend worship services each Sunday, New Life Community Church is one very active non-denominational Christian church. Until recently, their Midway Campus sanctuary faced a number of speech intelligibility and related challenges with their sound reinforcement system. The situation is now resolved—thanks in large part to the new sound system consisting of Variant Series installation line array loudspeakers from D.A.S. Audio.
West Chester, OH-based Troubadour Solutions, an A/V design / build firm with a focus on churches and associated Christian venues, was contracted to design and install the new sound reinforcement setup at the church’s Midway Campus. Dr. Scott Weaver, owner and chief designer of Troubadour Solutions, discussed the challenges of the project and his reasons for deploying fourteen D.A.S. Audio Variant loudspeakers. more
BOWLING GREEN, KENTUCKY – APRIL 2012: Living Hope Baptist Church in Bowling Green, Kentucky is not unlike other mid-sized churches. “Although we had always been happy to embrace new audio and video technologies over the years, the fact that we had fallen behind crept up on us slowly,” said the church’s creative arts pastor, Jon Farmer. In order to stay true to the church’s stated relationship with supporting technologies – “to better connect people with our message,” in Farmer’s words – Living Hope recently undertook a significant overhaul of its video system. Aided by the experts at dB Audio and Video of Gainesville, Georgia, the church now has a full HD presentation and recording system centered on Panasonic cameras, switchers, and projectors. Despite the truly vast improvement in performance, the cost was only a fraction of what it would have been just a few more
*** The new RAVENNA DALLIS Master Card ***
Las Vegas, NV – April 10, 2012… Lawo, a leading manufacturer of digital audio networking systems and consoles for a wide range of applications from small to large scale audio production in television and radio, post production, and live sound is pleased to announce several important developments that will be showcased during the forthcoming NAB (National Association of Broadcasters) show. Showing a comprehensive range of audio production solutions that will appeal to the broadcast community, Lawo’s technological prowess will be on display at booth #2046, Hall C2.
During NAB, Lawo will be showcasing a variety of exciting product offerings, including implementations of RAVENNA Audio over IP technology, the world premiere of the company’s new SDI-Dock, JADE and Multitrack Editor software products, the new Version 4.16 software running on the mc²66 MKII broadcast console, Visual Extension for sapphire, Nova29, a crystal console, plus demos of practical applications using the Virtual Studio Manager for the device-independent control of audio and video equipment. more
EGG HARBOR TOWNSHIP, New Jersey—St. Thomas The Apostle Church is located in the shore community of Brigantine, New Jersey. During the summer months, the church congregation swells to about 3,000 from approximately 1,000 attendees in the off-season, due to residents that flock to the ocean community from May through September. “The existing church space could not accommodate the increase in congregation, so they decided to expand services by constructing an overflow event center,” states Bobby Harper, V.P. of Sales, ACIR Professional. “ACIR Professional was hired to expand the church audio requirements in order to tie the event center to the main sanctuary through a video and audio feed, as well as to renovate the main sanctuary to accommodate more of the congregation.”
Phase One of the enhancement to St. Thomas The Apostle Church included the installation of a 5.1 audio system for playback of media for non-service affairs, as well as a portable audio and video system to handle church services for overflow, and other events such as weddings, meetings, etc. ACIR accomplished this with the installation of a Yamaha MG series mixer, Eiki Projector, JBL ceiling and wall speakers, JBL portable PRX12M and PRX18 speakers, and Sennheiser wireless microphones. “The church budget was influential in the requirement criteria,” says Harper. “The combination of equipment used fulfilled the budget requirements as well as the quality and portability requirements.”
Phase Two was to renovate the existing sanctuary. The interior of the church was modified slightly with the addition of Naves on Altar L+R. The entire floor was converted from carpet to marble, so an affordable, yet highly intelligible distributed speaker system from Community Professional was used. This system is also driven by a Yamaha MG series mixer (for a total of three Yamaha mixers throughout the premises), and includes a Community DSpec processor, all powered by Yamaha P series amplifiers (four in total). “Sennheiser wireless microphones were chosen for their clarity,” adds Harper, “and Shure MX series boundary mics are utilized on the altar, pulpit, and choir area.”
While Phase Two was taking place, the sanctuary was moved to the overflow event center. Because audio I/O panels were placed throughout the room, the church was able to setup a portable sanctuary and perform services as needed, while waiting for the renovation of the main sanctuary to take place. Once the main sanctuary was complete, the services were moved back to the church, with feeds continually sent to the overflow event center.
“The sound system is awesome in the church and the hall,” states Mary Jane Morey, Director of Liturgy and Music. ACIR was exceptional to work with and unbelievably knowledgeable. I was able to contact them with concerns during the installation process and initial use of the system 24/7.”
For more information on ACIR Professional, visit www.acirpro.com.
Kimbra’s energetic live performances and powerful vocals reproduced by Earthworks microphones without missing a beat as she tours the globe.
Milford, NH, April 11, 2012 – Kimbra is quickly becoming somebody that you ought to know. With a slew of SXSW showcase gigs, nationwide tours in support of Gotyé and Foster The People, tens of millions of views on YouTube, and a cover of the hit Gotyé song she lends her powerful vocals to, “Somebody That I Used to Know,” performed on Fox’s hit show Glee, Kimbra is bringing her music to the masses, one powerful performance at a time. And Earthworks is there to capture that sound all along the way thanks to Kimbra’s FOH Engineer Angus Davidson. Covering every instrument on stage, Earthworks microphones have brought Kimbra’s lively and moving performances to the masses as the intensely talented musical force tours the globe.
Angus Davidson, FOH engineer for Kimbra and Crowded House, is no stranger when it comes to using all Earthworks microphones on stage. “Previously, with Crowded House, we also enjoyed tremendous success using 29 Earthworks mics, which we used on vocals, drums and instruments,” Davidson noted. “Everything was miked with Earthworks microphones.”
For Kimbra’s performances, Davidson went the all Earthworks route once again. The new SR40Vs are being used on both Kimbra’s and her band’s vocals. On drums Davidson uses a pair of SR40s for overheads, 2 DP30s on snare (top and bottom), DP30s on toms, SR30 on high-hat and SR30 with KickPad on kick drum. SR30s are used on the guitar amps, as well as for audience mics, and some things are fed direct. “An integral part of sound for Kimbra and her band is the exclusive use of Earthworks microphones,” Davidson remarked.
Monitor Engineer for Kimbra’s tour is Rod Matheson, who worked with Kylie Minogue for 18 years, did a world tour last year with Bristish trip hop duo Massive Attack and has done monitors for countless other artists throughout the world. “In my opinion, Rod is one of the finest monitor engineers on the planet,” Davidson said. “He has an exceptional set of ears and is a very particular and fastidious engineer who gets great results. Rod was a little dubious at first, about using all Earthworks microphones, but after using them the first time, he agreed that these mics were in a league of their own.”
The newest addition to the Earthworks lineup, the SR40V, has found a welcome home on stage with Kimbra. “The Earthworks SR40V is an incredibly flat microphone. The benefit to me is that I can make it sound any way I want, depending on the application. Because of the super fast rise time of the small diaphragm, I can add and subtract EQ without it ever sounding ‘tubby or flabby.’ Its natural presence and tightness is quite unique,” noted Davidson. “Kimbra has an incredible vocal range from a whisper to a huge full voice. Regardless of how she sings, I can always place her vocal exactly where it needs to be in the soundscape. No other vocal microphone I have used can compete with the SR40V. For me it is simply the best vocal microphone ever.”
With a background that spans three and a half decades of live and studio work, Davidson has a unique perspective on microphone technologies over that time. “When I was starting in this industry 35 years ago there was an enormous focus on the “rise time” and “transient response” of microphones,” Davidson noted. “Somehow over the past 30 years that function of microphone audio physics seems to have been lost. David Blackmer’s unique microphone technologies have allowed all of this to work really well for the first time. Earthworks microphones very clearly illustrate how important rise time, transient response, fast diaphragm settling time and extended frequency response truly are. These microphone characteristics provide an enormous depth of field, with incredible detail over the audio spectrum, not to mention their incredible phase coherency, particularly when we use these mics on every drum.” Davidson remarked on his experiences with the technologies found in Earthworks mics specifically on a drum kit, “I’ve listened very closely to recordings where we’ve used Earthworks mics on every element of the drum kit. The detail, separation, and accuracy of the stereo sound stage is unbelievable. The drums are crisp, detailed and really natural sounding.”
“In contrast, you could select a number of other ‘Specialty’ mics to use on a kick drum and get that huge round fat bottom end with the click of the beater, but it is a very one-dimensional sound,” Davidson continued. “There are all sorts of microphones out there that do a great job, specifically on one thing, but there are very few microphones that I have ever used that do “everything” equally well, like the Earthworks do. I don’t use two microphones on kick drum; instead, I use a single Earthworks SR30 with a KickPad. This combination with the addition of a little EQ makes the kick drum really beautiful and natural sounding, with no B.S. to the sound.”
Davidson continues with this natural sounding approach beyond drums to each instrument on stage. “I also don’t want to be pulling ridiculous monster sounds for every instrument that’s on stage,” said Davidson. “Instead, I feel that we should be balancing what is there, and not trying to reinvent the wheel. I like the idea of creating a sound stage that makes you feel a certain way; by the way you mix it, and not having to make every instrument and vocal sound bigger than everything else. There seems to be a trend to create thunderous bass, but at the expense of everything else. Why would you keep applying EQ, compression and all types of signal processing and not treat the signal with the respect it deserves? I want to be able to look on stage, and be able to clearly hear everything I can see. The essence of this is to pick a microphone that will do that effectively, and then place it perfectly to best reproduce the source it is hearing.”
Before turning his attention back to the demands of the tour, Davidson offered these final thoughts. “Earthworks microphones look at the sound and give it an enormous amount of respect at the start, and that makes our job ten times easier. So, when I see someone playing something, I want to be able to hear it clearly and distinctly. The Earthworks mics make that job easier than it has ever been. They are so detailed and so clear. It’s like an artist walking around all the time with dark glasses on, and then one day taking them off and discovering that it’s ‘light out there’.”
Kimbra is preparing to unleash her debut studio album Vows to the United States on May 22, 2012. For tour dates, news, videos and more, visit Kimbra online at kimbramusic.com.
Earthworks manufactures extended frequency condenser microphones and zero distortion preamps that are expertly tuned to sonic perfection. Each Earthworks microphone is backed by a fifteen year warranty and is hand tuned, tested and built in our Milford, New Hampshire facility. For additional information, visit the company online at www.earthworksaudio.com.
The Hand Clap As An Impulse Source, Virtual Microphones & Audio For Games
BUDAPEST: Over one hundred enlightening Paper and Poster presentations have been developed for the 132nd Audio Engineering Society Convention set for the Novotel Budapest Congress & World Trade Center April 26-29. Leaders throughout the international professional audio community will gather to exchange ideas, and take maximum advantage of the Convention’s unique networking opportunities. Highlights of the varied Paper and Poster schedule include:
The Hand Clap as an Impulse Source for Measuring Room Acoustic: Authors – Prem Seetharaman and Stephen P. Tarzia tested the suitability of hand clap recordings for measuring several acoustic features of musical performance and recording rooms. Their goal was to make acoustic measurement possible for amateur musicians and hobbyists through the use of a smartphone or web app. Using their technique, measuring a room’s reverberation times and frequency response is as easy as starting a smartphone app and clapping several times.
Emerging and Innovative Audio Virtual Microphones – Using Ultrasonic Sound to Receive Audio Waves: Authors – Tobias Merkel, Hans Lƒhmann, and Tom Ritter will discuss their research with highly focused ultrasound beams and microphones. They overlaid the wave field of a common audio source with an ultrasonic beam. They discovered that the phase shift of the received signal obtains the audio information of the overlaid field. Since the ultrasonic beam itself acts as sound receiver, no technical device e.g. membranes, are necessary in the direct vicinity of sound reception. Because this type of sound receiver is not visible or touchable they describe it as a “Virtual Microphone.”
Audio for Games and Mobile/PDA, Efficient Binaural Audio Rendering Using Independent Early and Diffuse Paths: Author – Fritz Menzer A multi-source binaural audio rendering structure is proposed that efficiently implements plausible binaural reverberation including early reflections and late reverberation. The structure contains delay lines and, a feedback-delay network that operate independently, modeling early reflections and diffuse reverberation, respectively. Computationally efficient heuristics are presented for the implementation of an HRTF set and, for the diffuse reverberation, a real-time implementation on a mobile device will be presented.
Please visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.
Photo: The Budapest Congress & World Trade Center hosts the 132nd AES Convention April 26-29.
The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org
Exceptional Sound Quality, Reliability, and Comfort for Broadcast
Sanken Microphones is exhibiting at NAB the new head worn COS-11D HWM, utilizing the same components as Sanken’s popular lavalier mic known throughout the broadcast and film industries. This ultra-miniature new generation microphone was designed for hands-free hi-resolution audio in broadcast television, infomercials, sportscasting, product demonstrations, Internet programming, live stage productions, and houses of worship.
* Exceptional Sound Optimized for the Human Voice
* Stable Adjustable Dual-Earpiece frame,
• MicBoom is Interchangeable for Right or Left Side
• Unique Vertical Diaphragm Design – a Sanken Original
• Available in Beige or Cocoa
• Strong immunity to RFI
The compact COS-11D HWM is ideal for broadcast of major talent, stage singers, high-profile commentators, on-camera journalists, musical actors, singer/dancers and a wide variety of live performers. The new hands-free microphone is especially valuable when there is rigorous head movement, while the close proximity of the mic to the vocal source provides consistently exceptional audio with very natural characteristics.
Sanken, known worldwide as an industrywide standard in highest quality professional studio and stage microphones, utilizes an exclusive vertical placement of the diaphragm for a much greater effective area within an extremely small casing. The COS-11D HWM features a front mesh screen which is water resistant, better protecting the microphone from perspiration and cosmetics.
This new Sanken microphone was designed to meet today’s HD audio standards while providing greater immunity to RF interference. The COS-11D HWM incorporates exclusive design advances that deal with both digital and digital/analog hybrid RF wireless transmission.
For a free VIP pass to NAB and more info about Sanken, visit distributor plus24: http://www.plus24.net or phone 323.845.1171
See and hear the entire line of Sanken microphones at NAB in Las Vegas,
April 16 – 19, at Booth #C-3740
**** Photo: Lectrosonics WM Watertight Transmitter ****
Rio Rancho, NM – April 10, 2012… Lectrosonics, recognized the world over as a leading manufacturer of wireless microphone systems and audio processing products, is pleased to introduce the WM Watertight Transmitter, the company’s newest addition to its line of highly acclaimed Digital Hybrid Wireless® microphone systems offering compandor-free audio. Combining ‘cabled-microphone’ audio performance combined with a super-tough housing designed to withstand the harshest environments, the new Lectrosonics WM Watertight Transmitter is certain to be well received by theatrical and location sound professionals. more
Fairlight Xynergi Media Production Centre
Mix Briefing Room, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the Briefing Room for the latest press postings.