Archive for November 6th, 2012

Blake Shelton Captures “Entertainer of the Year” at 46th Annual CMA Awards, as Sennheiser Carries Pristine, Flawless Performance to Millions

During the 46th Annual Country Music Association (CMA) Awards last Thursday, Sennheiser users including Blake Shelton, Miranda Lambert, Lady Antebellum and the Zac Brown Band were at the fore delivering star powered performances through Sennheiser transmitters, capsules and wireless systems. Shelton took home the coveted “Entertainer of the Year” and “Male Vocalist of the Year” awards and also took part in a Lifetime Achievement Award performance honoring Willie Nelson along with Lady Antebellum. Lambert was also recognized with “Female Vocalist of the Year.”

One of the more moving awards of the evening was “Song of the Year,” which went to Blake Shelton and Miranda Lambert – the first married couple to ever win the award. The duo wrote the song in memory of Shelton’s brother, who passed away many years ago.

Being recognized as ‘Entertainer of the Year’ is yet another stellar achievement for Shelton, who has enjoyed incredible success as a coach on the NBC hit show ‘The Voice,’ and who delivered his inaugural number 1 album “Red River Blue” on the Billboard Charts last summer – an album that also spawned three number 1 hits.

Sennheiser at Their Back
Following an intense week of rehearsals and technical preparations with its sponsored artists and their production teams, Sennheiser’s microphones and wireless systems performed flawlessly for the duration of the awards ceremony, which was broadcast live from Nashville to an audience of over 13 million viewers.

RF Consultant James Stoffo reports that no less than 12 Sennheiser EM 3732-II receivers were used for the show, along with Sennheiser SKM 5200 and SKM 2000 wireless transmitters. Blake Shelton, Lady Antebellum and the Zac Brown Band all chose an SKM 5200 transmitter and a Sennheiser MD 5235 dynamic capsule combination to help their vocals cut through the often-loud stage volumes, whereas Miranda Lambert opted for a customized pink SKM 2000 and Sennheiser MMD 935-1 capsule combo. Throughout the evening, hosts also used a SKM 5200 paired with a MD 5235 capsule.

Stoffo appreciates the ease of set up and flawless performance of the Sennheiser wireless: “In the EM 3732-IIs, the ability to align the audio processor to work in multiple modes is a really useful tool. Also, the wide frequency tuning over the entire 470-698 MHz band made finding the cleanest frequencies available easier than it has ever been since the invention of wireless microphones.”

Sennheiser evolution in the Backline
In addition to being the wireless transmitter of choice for Blake Shelton, Miranda Lambert, Lady Antebellum and the Zac Brown Band, a full complement of Sennheiser evolution wired mics was also in constant use on the backline and other vocal applications over the course of the evening. These broad range microphones included:

(20) e 935 (vocals)
(20) e 840 (vocals)
(5) e 901 (inside kick drum)
(5) e 902 (outside kick drum)
(5) e 905 (snare)
(20) e 904 (toms)
(10) e 906 (guitar amplifiers)
(10) e 914 (overheads)
(30) e 602-II (bass / kick drum / floor toms)
(5) e 614 (high hat)

“Everything about my mixes starts with drums, and I specifically request Sennheiser evolution series microphones all over the kit,” commented John Harris, music mixer. “In particular, the e602-II on the toms and kick drum allow me to get the crisp sound I need much faster with little or no equalization. Also, the balanced frequency response of the MD 5235 and MMD 935-1 wireless mic capsules allow me to capture an honest, natural sound from the vocals.”

When mixing a superstar like Blake Shelton, RF dependability must be clean and unwavering. In addition to sound quality, this is where Sennheiser excels, says Harris: “No matter what your production role is in a high profile, live broadcast situation such as this, it all begins and ends with the integrity of the signal, and I have never experienced anything but complete dependability from Sennheiser. As far as the sound quality of the wired and wireless mics are concerned, I know that all I need is a solid gain structure and I am 99% of the way there. I am so much more comfortable when I know that Sennheiser has my back.”

Caption:
Blake Shelton performs with his Sennheiser SKM 5200 transmitter, coupled with a Sennheiser MD 5235 dynamic capsule.

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Genelec 2012 AES Press Kit

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The Recording Academy P&E Winig 2012 AES Press Kit

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Aphex 2012 AES Press Kit

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Audio-Technica 2012 AES Press Kit

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Audio-Technica and Fred Ginsburg, CAS, Team Up to Raise Awareness of the Importance of Quality Production Audio for Film and Television

— Ginsburg’s work on classic hit films and television shows including St. Elsewhere, A-Team, 90210, Caveman, The Island and Platoon has created a platform from which he is shaping a new curriculum for film sound that better incorporates the knowledge base for production sound —

133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — Audio-Technica (booth 705), a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” is teaming up with sound mixer/educator Fred Ginsburg to help students acquire the professional tools and skills needed for production sound recording.

A skilled Hollywood sound acquisition specialist who worked on classic television shows like St. Elsewhere and films including Platoon and Used Cars, Ginsburg uses his professional experience as a Production Sound Mixer and Sound Designer to refashion the educational curriculum of sound for picture. Audio-Technica provides microphones and educational materials for workshops Ginsburg offers throughout the country, helping students establish a base of knowledge about this critical but under-taught aspect of cinema and television sound.

Fred Ginsburg has a mission to empower the next generation of film-sound professionals with experience, understanding and expertise about cinema and television sound. Ginsburg, with a Ph.D. in audio and membership in the Cinema Audio Society (C.A.S.), has taught his courses in production sound at California State University Northridge and Chapman University, doing so with microphones and educational materials provided by Audio-Technica.

Ginsburg says that contemporary professional audio education programs have emphasized the post production elements of film and television sound, often at the expense of production audio, which is the foundation of a film’s or series’ sound, comprising dialog and authentic location ambience and effects.

“The emphasis has been on working with programs like Pro Tools and Final Cut Pro in post, but what’s lacking is what students need to know about sound acquisition on location,” Ginsburg explains. “Even at schools like Chapman, which has an ADR stage modeled after the one at Warner Bros. and a mixing room that rivals the one at Universal, there recently wasn’t enough emphasis on the foundation sound that is production audio. That’s what I’ve set out to do: integrate production audio into the curriculum at the level that things like post and mixing are at now.”

Ginsburg accomplishes this by demonstrating his techniques in classes and at workshops around the country, by showing and explaining how he chooses tools and how he uses them to create sound elements that combine with mixing and post production to produce exceptional soundtracks. For instance, when demonstrating how to take echo out of a small room so that dialog becomes more intelligible, Ginsburg shows how he sets up an Audio-Technica AT4051b Cardioid Condenser Microphone on a boom.

“That microphone was designed for music, but a lot of Hollywood location sound people have embraced it for their kit because it’s so great at mellowing out dialog and wiping out echo in a room,” Ginsburg explains. Similarly, he uses an Audio-Technica BP4071L Line + Gradient Condenser Microphone (aka long shotgun) to keep extraneous noises like traffic out of the background on exterior shots, again to keep the focus on the dialog. An Audio-Technica BP4073 Line + Gradient Condenser (short shotgun) allows the recordist to cover from 2 feet to 6 feet overhead for wider interior situations, as well as to serve as a secondary microphone to the long shotgun outdoors, or the 4051 indoors.

Lavalier microphones are critical to location dialog sound, and Ginsburg has hidden mics like the MT830R Omnidirectional Condenser Lavalier Microphone in planters and other props on a set, when close-in dialog recording is needed. He recommends using the AT899 Subminiature Omnidirectional Condenser Lavalier Microphone attached to the sun visor of a car, to capture interior audio and dialog without having to put a microphone on the actor, which could result in noise from clothing and body movements.

“Audio-Technica has fantastic warranties and repair services, and technical support is always just one phone call away. A-T always makes sure that there are good instructional materials available. It’s a big job making sure that production audio gets its due in the education mix, and I’m glad that A-T is there to help make that happen,” Ginsburg says.

For more information, please visit www.audio-technica.com.

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ROGUE ISLAND ENTERTAINMENT SETS THE STAGE WITH SSL DUALITY SE SUPERANALOGUE CONSOLE

“If you want to compete with the best, you have to be the best and Duality is the best choice to attract high-level clients and projects”

SEATTLE – Rogue Island Entertainment is setting the stage for film and video game audio projects with a Solid State Logic Duality SE console in its newly rebuilt Studio A. Carrying on SSL’s sonic legacy and industry standard user interface, Duality provides Rogue Island with the fully integrated 5.1 surround capabilities and DAW control necessary to address the needs of modern production workflow. The advent of Duality in the Seattle media scene will attract a wide client base to this prestigious production studio. more

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