Archive by Hummingbird Media
Santa Monica, CA, April 19, 2012– Antelope Audio will introduce Rubicon, a groundbreaking 384 kHz digital audio preamplifier which integrates the world renowned 10M Rubidium atomic clock. Rubicon caters to the ever-increasing interest in high-resolution audio, addressing the specific needs of high-end consumer electronics enthusiasts for accurate audio representation and detailed soundstage of both analog and digital recordings. The new device will be presented to the public during the Munich High End Show, May 3rd – 6th.
Rubicon is the first DAC to integrate a Rubidium atomic clock, which is 100,000 times more stable than a traditional crystal oscillator. Coupled with Antelope’s 64-bit Acoustically Focused Clocking technology, the Rubidium achieves a breakthrough in jitter management, improving the sound quality in an unprecedented way. The same technology is implemented in the company’s flagship master clocks used for scoring blockbusters such as Avatar and available at the best recording and mastering studios around the Globe.
“I find the idea of an audio enthusiast being able to hear his/her favorite recordings clocked by the world’s most stable clock very exciting. I believe this will bring the music appreciation in the home environment to a completely new level compared only to the precision and sonic detail representation available at the finest professional listening rooms,” shared Igor Levin, CEO and founder of Antelope Audio.
Housed in a sturdy, machined-aluminum enclosure with a vintage Art Deco design, Rubicon incorporates a discrete phono preamp, ultra linear, dual stage headphone drivers and Antelope’s renowned gold-plated relay volume control.
The transformer-based, ultra-low noise, discrete JFET phono preamp is a complement that will be highly appreciated by many vinyl lovers. In addition to the 384 kHz DAC, Rubicon also includes ultra-high sample rate A/D conversion. These functionalities together with the high resolution USB recording capability provide the users with the sublime experience of digitizing their favorite tracks, still keeping the depth and the warmth of the original analog recordings.
In addition to the 384 kHz USB streaming, Rubicon offers extended flexibility and smooth user experience provided by the implemented DLNA capability. The DLNA streaming gives users the opportunity to wirelessly push audio files from their smart phone, PC or NAS (Network-attached storage) server and play the content through the high-sample rate DAC.
Rubicon inherits the D/A conversion technology from 384 kHz Zodiac Gold DAC – the 2012 winner of the Audio Excellence Award in Japan and often described by reviewers and prominent sound engineers as “future-proofed”, “clean”, “neutral” and “accurate”. The A/D circuit comes from the 2011 winner of the Audio Media Gear of the Year award, high-end professional mastering converter Eclipse 384.
Antelope Audio plans to present the Rubicon for the first time to the public and the media during the Munich High End Show, in hall 3, booth A 04, at 2 pm, on May 3rd.
– 10M Rubidium Atomic Clock, providing 100,000 times more accurate reference;
– 64-bit Acoustically Focused Clocking jitter management technology;
– Ultra low noise phono inputs with custom audio transformers, discrete JFET preamp design;
– 384kHz A/D & D/A converters;
– Gold-plated stepped relay volume attenuator matched to 0.05dB for all volume levels;
– Ultra-linear, dual stage headphone amps;
– De-jittered audio S/PDIF output;
– Custom USB 2.0 chip streaming up to 480 Mbits/384kHz with recording option;
– DLNA streaming capabilities through an Ethernet interface
1x PHONO Input on RCA
3x Inputs on RCA
1x HiZ Input on RCA
1x Combo Balanced Input on XLR/¼ TRS
1x Balanced Output on XLR
1x Unbalanced Output on RCA
Word Clock Input
2x S/PDIF De-jittered outputs
Charlotte, NC – April 18, 2012: Recognized by Outreach Magazine as one of the fastest-growing churches in the United States, Elevation Church serves over 10,000 congregants each weekend and maintains six worship campuses — four of which are ‘portable.’ To keep pace with this growth, Elevation has had to establish itself on a solid technology footing and has maintained a strong relationship with Sennheiser since opening its doors in 2005. Recently, Elevation became an official Sennheiser endorsed worship facility and was among the first to put the new Neumann KK 205 capsules — which are designed for the Sennheiser 2000 series wireless transmitters — through their paces.
Brian Poole is technical director at Elevation Church and has worked closely with Sennheiser to ensure that the clarity and sonic integrity of the facility is all that it can be, no matter which campus congregants are attending. Recently, Elevation added five Neumann KK 205 microphone capsules to its arsenal of live performance and recording tools. Poole discusses how he has helped Elevation continue to deliver superior sound with Sennheiser and Neumann.
Can you describe some of the challenges that go along with the growth that Elevation has experienced?
We are six years old and have six campuses in the Charlotte area. All in all, we are running at about 10 or 11 thousand people every weekend. With that growth, there have been a lot of rapid changes we have had to make, especially considering that audio is a very big part of what we do. Sennheiser has been there for us the entire time and has provided the best product and support we could ask for — and even more so now that we are endorsed. A big challenge as a multi-campus church is ensuring that we will have gear that we know will be reliable and sound great. Four of our campuses are portable, so we are lugging gear in and out all weekend; when we plug it all in and turn it on, we know it is going to work. Sennheiser has also helped us through our RF coordination, which can be very complex.
How familiar are you with Neumann microphone capsules?
We have always loved Neumann microphones and already had the KK 105 capsules on our pastor’s [Steven Furtick] speaking mic with a Sennheiser SKM 5200 transmitter. Our pastor does a lot of singing as well, and the performance of the SKM 5200 / KK 105 combination has been fantastic. By making a Neumann capsule that works with an SKM 2000 transmitter is really a game changer for us. Now we can have Neumann sound not only for the pastor, but all our other lead singers and it is a very economical solution.
Tell me about your first impressions with the KK 205s.
We just received them three weeks ago, and they are already on our primary lead vocal microphones [used in combination with the Sennheiser SKM 2000 handheld transmitters] at our two permanent campuses. One of these campuses is a warehouse with low ceilings, and the acoustics aren’t ideal. The KK 205 has a supercardioid pattern so we are able to get plenty of gain before feedback — this is huge for us because we like it loud and we like it to sound good. I was 100 percent comfortable that I could take the KK 205 right to the stage without going through weeks of rehearsals first.
For our Easter service, the new Neumann capsules went into our broadcast facility. We have a big spoken word element in our Easter service, and this is the first thing right out of the gate during our worship experience. All our main worship leaders were on the KK 205s and the feed went out to all six of our campuses. It was also put online for everyone to see and participate in. Everything worked out great and all the voices were very rich.
Do you intend to use the KK 205s in other applications?
We do a lot of recording both for CDs and streaming on our website. In fact, our worship band has just signed a pretty big record deal and we expect the KK 205s and the SKM 2000s will be used on future live recordings. Our first live album and live DVD was a big deal for us and it is very exciting that Sennheiser has released a ‘Neumann for the Masses,’ if you will.
How has your experience been with Sennheiser overall, including with the new Neumann KK 205s?
First of all, Sennheiser has rock solid RF and the sound quality is best of the best. We’ve got 36 channels in our auditorium of Sennheiser wireless and I’ve never had a single issue of anything dropping out. Now, with the KK 205s, we can put Neumann performance in the reach of all our singers, increasing the overall quality of our worship experience. Audio quality has always been an incredibly important component of worship for Elevation Church and the KK 205 capsules truly represent quality for the masses — the cost/performance ratio cannot be beat. All in all, our relationship with Sennheiser has been fantastic and we feel very blessed.
Brad Hudson, Worship Leader at Elevation Church, uses a KK 205 on a SKM 2000 during Easter rehearsals at Elevation’s Blakeney campus.
Old Lyme, Conn. – April 17, 2012– With the new firmware version 1.7.0, audio specialist Sennheiser [NAB booth C2632] is now providing a media control protocol for its 2000, evolution wireless ew 500 G3 and evolution wireless ew 300 G3 series. This new open protocol enables rack-mount devices of the series to communicate directly with media control units in an Ethernet network (UDP/IP) and to be integrated into larger audio/video control systems. The units can then be remote-controlled and monitored directly from a central control panel, such as those supplied by Crestron and AMX. Individual solutions from system providers or control via an Apple iPad/iPhone or a mixing console are equally possible.
“The new firmware enables microphone receivers and monitoring transmitters from the 2000, ew 300 G3 and ew 500 G3 series to be remote-controlled and monitored,” explained Robb Blumenreder, channel manager for professional systems at Sennheiser’s U.S. headquarters. The user can display the channel banks of the rack-mount receivers and transmitters, remotely set a suitable frequency and also assign names. The receivers and transmitters can be muted via the control panel and give warning signals if, for example, the signal strength is too low or if the devices are threatening to over-amplify. “Put simply: this interface can be used to give all essential commands and to set up the system,” Blumenreder said.
For the receivers of the ew 300 G3, ew 500 G3 and 2000 series, the squelch, equalizer and audio signal strength can be displayed, as well as the RF field strength for each receiver unit within the device, the active antenna, pilot tone on/off and the battery status for the associated handheld or bodypack transmitters.
For the monitoring transmitters of the ew 300 IEM G3 and 2000 IEM series, the sensitivity, equalizer and mono/stereo setting can be displayed and adjusted. In addition, the transmitter indicates the audio signal level.
“Of course, even when integrated into a media control system, the rack-mount receivers and transmitters can still be operated and programmed directly at the units themselves,” Blumenreder explained. “The devices will then process the current control signal in each case.”
The new firmware version for the receivers and transmitters as well as the complete documentation for the media control protocol can be downloaded free of charge from the Sennheiser website: www.sennheiserusa.com/mediacontrolprotocol.
*iPad and iPod are registered trademarks of Apple Inc. in the USA and other countries
Screenshot1+2.jpg: Microphone receivers and monitoring transmitters from Sennheiser’s 2000, ew 500 G3 and ew 300 G3 series can now communicate directly with media control units via an open protocol
EM 300 G3 wireless microphone receiver
EM 500 G3 wireless microphone receiver
SR 300 IEM G3 monitoring transmitter
EM 2000 wireless microphone receiver
EM 2050 twin wireless microphone receiver
SR 2000 IEM monitoring transmitter
SR 2050 IEM twin monitoring transmitter
Old Lyme, Conn.–April 16, 2012– Audio specialist Sennheiser is extending its evolution wireless ew 300 G3 series with the addition of the SKP 300 G3 plug-on transmitter. Whether it is for a speaker’s podium or for fast mobile use in video productions, the SKP 300 G3 converts any conventional cabled microphone quickly and easily into a wireless version. The phantom power required by condenser microphones is also supplied by the rugged transmitter – a highly versatile device that enables cabled microphones to become wireless with ease.
“With the new SKP 300 G3, we are further expanding the application possibilities for the evolution wireless series,” explained Robb Blumenreder, channel manager for professional systems products at Sennheiser’s U.S. headquarters. “The plug-on transmitter comes with its own phantom power supply, enabling it to be combined with any microphone with an XLR-3 output.”
For applications in the Installed Sound sector, the plug-on transmitter can be combined with an EM 300 G3 rack-mount receiver, thus making it possible, for example, to have a speaker’s podium without the visual interference of cables or to implement mobile lecterns. For video journalists, the SKP 300 G3 is an ideal partner for the EK 100 G3 camera receiver.
The SKP 300 is powered by two AA batteries or the optional BA 2015 accupack. The plug-on transmitter is available in eight frequency ranges, and is quickly and easily synchronized with its receiver using an infrared link.
The SKP 300 will be available in April 2012.
SKP 300.jpg: Wireless with ease: the SKP 300 G3 plug-on transmitter with switchable phantom power turns cabled microphones into wireless ones in next to no time
Technical Data: SKP 300
Modulation wideband FM
Frequency ranges A: 516–558 MHz; G: 566–608; GB: 606–648 MHz;
B: 626–668 MHz; C: 734–776 MHz; D: 780–822 MHz;
E: 823-865 MHz
Frequency banks 20 frequency banks each with up to 24
intermodulation-free presets; 6 frequency banks
with up to 24 frequencies freely selectable by the user
in 25 kHz steps
(Please note that the EK 100 G3 camera receiver has
only twelve frequencies per channel bank)
Switching bandwidth 42 MHz
RF output power 10/30 mW
Nominal/peak deviation ±24 kHz/±48 kHz
Phantom power 48 V ± 2 V
Compander system HDX
Audio frequency response 80–18,000 Hz
Signal-to-noise ratio > 120 dBA (1 mV peak deviation)
Audio input XLR-3F, balanced
Power supply 2 AA batteries (1.5 V) or BA 2015 accupack
Operating time typ. 8 hrs (30 mW RF power, without P48)
Dimensions 105 x 43 x 43 mm
Weight with batteries 195 g
Old Lyme, Conn. – April 16, 2012: Premium audio brand Neumann announced that it will be showcasing its new KK 204 and KK 205 microphone capsules at the Sennheiser booth [C2632] during NAB 2012. The new capsules, which are available in cardioid (KK 204) and supercardioid (KK 205) patterns, are compatible with Sennheiser’s 2000 series of wireless handheld transmitters.
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.
Wolfgang Fraissinet, President of Neumann, commented: “Neumann capsules have already been used in combination with the Sennheiser SKM 5200 handheld transmitter for the past 10 years on some of the largest stages of the world, where the highest demands are placed on a high-resolution sound and transmission reliability. With the development of the KK 204 and KK 205 capsule heads, the Neumann sound is now also available for the Sennheiser 2000 Series. The synergies between the key areas of expertise of Sennheiser handheld transmitters and Neumann capsule sound permit us to offer our customers a wireless system of absolutely uncompromisingly quality, even for the most demanding live applications.”
In developing the new capsules, particular importance was placed on the effective damping of pop sounds and handling noise, as well as on the extremely low level of self-noise. The KK 204 and KK 205 capsule heads also have an extremely wide dynamic range and were designed to be very easy to service.
The aesthetic design complements the construction of the SKM 2000 handheld transmitter, and each capsule — like the SKM 2000 transmitter — is available in both nickel and black finishes. Each capsule includes a large nylon bag designed to hold the capsules, the handheld transmitter, battery packs and additional accessories.
Both the KK 204 and KK 205 feature:
– Reduced handling noise: Very low sensitivity to handling noise with a steep roll-off from approximately 78 Hz
– Reduced plosives and sibilance: Both capsules feature a foam-lined grille to ensure smooth sound
– Wide dynamic range with high SPL capability: 126 dB-A of dynamic range with 150 dB MAX SPL
– Low feedback: Incredibly smooth and flat frequency response provided high gain before feedback
– Easy to service components: Neumann understands the rigors of the road and has made the KK 204 and KK 205 exceptionally robust but easy to service if necessary
Directional pattern: Cardioid (KK 204) / Super-cardioid (KK 205)
Frequency range: 40 Hz – 20 kHz
Sensitivity (at 1 kHz into 1 k?): 2.8 mV/Pa ± 1 dB
Equivalent noise level, CCIR1): 35 dB
Equivalent noise level, A-weighted1): 24 dB-A Max. SPL for 0.5% THD2) 150 dB
Dynamic range (A-weighted): >126 dB-A
Weight (including transmitter and power supply unit): Approx. 17.6 oz.
Dimensions (including SKM 2000)/length: 10.7 in., ø 2.2 in.
1) according to IEC 60268-1; CCIR-weighting according to CCIR 468-3, quasi peak; A-weighting according to IEC 61672-1, RMS
2) measured as equivalent el. input signal
Austin – April 11, 2012: Since starting his NYCTaper website in the mid-nineties, Dan Lynch (a.k.a. NYCTaper) has been recording and streaming hundreds of recordings over the Internet, reflecting the best that New York City’s live indie scene has to offer. Lynch, who strives to make the listener feel like he or she ‘was actually there,’ is well known to indie music lovers in New York City and well beyond — his listening audience extends from not only major U.S. metro cities like New York, Los Angeles and Chicago, but to more distant geographies such as Japan, Europe and the far reaches of Australia.
While his own backyard is New York City, NYCTaper decided to capture the best of what Austin had to offer during its famous music week last month — listen to some of the results here. Armed with a pair of Sennheiser MKH 8040 cardioid microphones, his HD 280 closed back headphones and a trusty Edirol digital four-track portable recorder, he became “AustinTaper” for a week and recorded some of the best live set lists south of the Mason Dixon line.
What did you record while in Austin?
I have a pretty good relationship with Brooklyn Vegan over the years and the list of bands they were hosting was impressive. So I set up at Hotel Vegan in the afternoons and at the Impose Magazine parties during the evenings and recorded everything I could. In terms of genre, I am particularly drawn to indie rock but I also like any artist that has talent, imagination and something a little different than all the other music out there. For me, it can’t be a formula or promoted by any particular product — I want to see original talent.
What are some of the challenges you encountered in Austin versus what you’re used to in New York City?
Well, there is obviously a lot of extraneous noise when you are recording outdoors. The Sennheiser MKH 8040s are cardioid microphones and this makes them perfectly suited for this kind of thing. Normally, you’d have wind noise to deal with, but this was not an issue since the 8040s have a cardioid pattern and also come with these gigantic windscreens, which are very useful. Wind noise aside, there is not much you can do about the typical chatter you hear during these outdoor type shows, as well as some of the extraneous noise coming through from neighboring stages, but the pattern on the 8040 helped minimize these issues as much as possible.
Did you get a chance to audition the 8040s before you left for Austin?
Yes. Just before I left, I did back-to-back shows in New York City: I recorded Sharon Van Etten at the Bowery Ballroom and Craig Finn from The Hold Steady at Mercury Lounge. I used only the two channels of 8040s in both of these rooms, which I happen know very well, and they worked great. A typical problem I get in some rooms are reflections you get from the ceiling — which sound very ‘claustrophobic.’ With the 8040s, it was the first time I heard my recordings without these annoying reflections. So I knew they would work perfectly well in Austin well before I left.
What was your specific set up during each performance?
I had two Sennheiser MKH 8040s mics set up about eight inches apart in a 110 degree pattern on a stand, which was approximately 8 feet high. In addition to the two live mics, I sourced the left and right main mix feeds via direct outputs from the board. My recorder is an Edirol R44 4-track recorder with modded preamps, and I was capturing 24-bit audio. I was monitoring the recordings through my Sennheiser HD 280s, which are closed back, over the ear headphones.
How did the MKH 8040s perform on the ground in Austin?
First off, there was absolutely no issue capturing the high sound pressure levels on these mics — they can handle anything you throw at them and I have experienced virtually zero distortion. I am getting an extremely clean signal, and in terms of frequency response, the MKH 8040 delivers a sweet and crisp lower end and the highs are very tight. In general, the frequency response was so good that I didn’t have to EQ at all. The mic had basically a zero signal to noise ratio and there was no handling noise or self noise. Ultimately, the combination of the 8040’s cardioid pattern and its ability to perform without any audible distortion makes it the right mic for this kind of festival recording.
Tell me about your monitoring setup while you’re in the field.
For what I’m doing, maintaining isolation is very important because there is just so much noise happening all over, and to that end, I just can’t say enough good things about the Sennheiser HD 280s. Using these headphones, it was the first time I’ve ever recorded a show where I could only hear what was coming through the mics and the board — you are literally inside the cans and I love that. This means I can focus much more, because now I can hear what I’m doing and adjust things like mic positions or levels. They are also fit just right over my ears — I recorded over 35 shows while in Austin and experienced no discomfort whatsoever.
Do you also use the HD 280s while editing and mixing?
Yes. When I am using the HD 280s in hotel room for editing and mixing after a show, I can hear everything. Maybe there is a kick or a snare drum that was a little hot — now I can pinpoint that and make adjustments if necessary. I also enjoy the experience of just listening to music I’ve recorded on the HD 280s while I’m relaxing. One of the nice things about being NYC Taper or AustinTaper is that eventually I get to go home and actually listen to all these recordings, just like the fans of my site.
Listen to some of NYCTaper’s Austin tracks here: http://www.sennheiserusa.com/nyctaper
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.
Old Lyme, Conn. – April 2, 2012 –Audio specialist Sennheiser announced that it will begin hosting a series of online webinars featuring Grammy-award winning engineers and producers this week. The webinars will teach attendees how to use various recording techniques aimed at achieving the best possible studio sound.
The first webinar, which will focus on EQ and compression techniques, will held free of charge this Thursday April 5th at 5:00 p.m. EDT as a special introductory offering to program participants. To register for this Online RSA, or learn about other upcoming webinars that will be taking place, please visit http://www.sennheiserusa.com/RSA.
Avoiding Too Much Equalization and Compression, hosted by David Thoener, Grammy-winning producer/engineer (Santana, AC/DC).
Thursday, April 5th at 5:00 p.m. EDT
Attendees will learn:
– How to use EQ constructively
– When to use compression—and when not to
– How to add the final sheen to the mix with gentle use of EQ
Sennheiser: Supporting Aspiring Producers/Engineers
The Online Recording Sound Academy borrows instructional elements from Sennheiser’s highly successful on-site Recording Sound Academy seminars, such as valuable tips and instruction on microphone selection and placement, recording and mixing techniques. The RSA webinars — which run between April and October — feature instruction by accomplished producers and engineers on a variety of recording topics, and also feature a thorough Q&A session with the instructor. Following is a summary of upcoming dates and topics:
May 3: Modern Compression Tactics
Hosted by Karl Richardson, nine-time Grammy-award-winning producer
June 13: Recording Vocals
Hosted by Tom Young, Grammy award-winning engineer
July 17: Mixing
Hosted by Tim Palmer, Grammy-nominated producer/mixer
August 13: Re-Mixing, Beats and Percussive Rhythms
Hosted by: Cool & Dre, production/songwriting team
September 12: Reverb, Spectral Energy and Human Positional Perception
Hosted by: Greg Lukens, engineer and founder of Audio Fabricators
October 25: Engineer’s Roundtable: Award-winning Engineers Discuss Recording Tips, Tricks and Trends
Moderated by: Al Schmitt, 21-time Grammy-winning producer/engineer
OLD LYME, Conn. – March 27, 2012 –Born in Sao Paulo, Brazil, Julio Figueroa is a percussionist and multiple Grammy award winner whose unique style of drumming has been featured on performances by artists such as Michael Jackson, B.B. King, Patti LaBelle and others. Like many other musicians today, Figueroa has created a semi-professional recording environment in his own home and simply uploads his tracks to an FTP server, where they are accessed by various production teams all over the world. He considers the Sennheiser-distributed TRUE Systems Precision 8 preamplifier a fundamental component of his setup.
“For drums and percussion, the Precision 8 captures my sound exactly as I hear it and this is what I value the most,” he states. Figueroa started with one Precision 8 and then acquired a second one so he could accommodate a greater range of percussion and other instruments, as well as take them on the road. “Now if I want to do a live recording I have everything I need,” he observes.
M-S Decoder and Mic Placement
In addition to the transparent sound characteristics of the Precision 8, Figueroa also appreciates the unit’s powerful integrated M-S decoder, which provides greater versatility and enables him to control the stereo spread of his drum overheads via the front panel of the unit with minimal mic repositioning. “For jazz, that M-S capability is incredible if you want to get a great room sound. You set up a couple of mics (cardioid and figure-8 pattern) and it is just unbelievable,” he says. Figueroa frequently uses both the M-S technique and the “Recorderman” technique simultaneously, along with four additional mics on individual drums. This provides him with tremendous flexibility when it’s time to mix down.
Figueroa, who has over 60 snare drums to choose from and four full kits (Jazz, Classics, Collectors and Performance series) from drum manufacturer DW, wants to stay focused on the sounds he is getting out of his instrument rather than fiddling with knobs and settings. “The TRUE Systems Precision 8 is great for someone like me who is not overly technical,” he says. “The units are simple to use right out of the box and there is nothing complicated about it. This means I can get to work faster.”
By using his Precision 8 preamplifiers, Figueroa is confident that when his producers access his percussion tracks on an FTP site, they will like what they hear. “My engineer and producer colleagues get a pristine-sounding file and they can tweak it any way they want for the mix,” he explains. “This is very important when you are doing tracks from a remote location because there is no producer here to tell you how they’d like it to sound. Since the sonic signature is more transparent, this gives them more flexibility in the final stages of the production.”
Tried and TRUE quality
The TRUE Systems Precision 8 uses a high-voltage composite architecture with discrete devices plus integrated circuits, and offers very low noise and distortion as well as high headroom. The totally balanced dual-servo design eliminates nearly all capacitors in the audio path and is DC-coupled at the output. This results in a very detailed and transparent sound characteristic.
Features of the Precision 8 include:
• Eight highly transparent solid state microphone preamps in a 1 unit rack configuration
• Built-in M-S (Mid-Side) decoding for creative spatial image control
• Active, high-impedance instrument inputs (“DI’s”) selectable on two channels
• 5-segment level indicators with peak-hold feature and selectable peak reference
• Smooth continuous gain controls
• Easy integration with MDM’s, HDR’s, DAW’s, or consoles
• Dual DB25/TRS outputs for flexible interconnection
Austin, TX, March 27, 2012– Every spring, thousands of artists and tens of thousands of record industry professionals flock to Austin, TX for a jam-packed schedule of live music showcases featuring everyone from young, up-and-coming bands to seasoned veteran performers. For six days, live music can be heard at almost any time of day emerging from every conceivable venue in downtown Austin, from the city’s bars, clubs and concert halls to churches, parks and empty lots.
One such makeshift venue – an auto repair shop – this year served as the main stage at the BandPage HQ, where FOH engineer/system tech and production manager Patrick Mundy used an Antelope Audio Isochrone OCX master clock to ensure PA system clarity in the acoustically unfriendly environment. “This was my second year of working showcases at the festival and my second year bringing my Antelope clock,” says Mundy.
BandPage is a popular application developed by RootMusic of San Francisco that launched in 2010. It runs in Facebook and allows artists to create customized fan pages.
The OCX does a fantastic job of stabilizing a digital mixing console when running high channel counts, he continues. “When you build up that much information on a digital desk without having the stabilization of the clocking you can get unfavorable results. Clocking your digital console with an Antelope clock is like turbocharging your desk. The difference between clocked and non-clocked audio is extremely noticeable. I don’t like to work without it.”
Mundy was part of the crew from DBS Sound in Los Angeles who teamed up with Austin’s Miller Pro Audio to handle audio at the BandCamp HQ’s three venues, comprising Empire Automotive, Club 606 and an adjoining outdoor patio. “I mixed FOH for such artists as Porter Robinson, Thomas Wynn and the Believers, Daedelus, TNGHT (Hudson Mohawke & Lunice), Das Racist, Nico Vega, Imagine Dragons, Robert DeLong, Saint Motel, Toy, Escort, Henry Clay People and many more,” he reports. “We also had appearances from such artists as J. Cole and Chairlift, who carried their own FOH engineers.”
Jeffrey Ehrenberg at Vintage King Audio initially introduced Mundy to Antelope Audio’s master clocks in 2008. Mundy purchased an Isochrone 10M Rubidium atomic master clock and an OCX for his Pro Tools|HD3 recording rig, and in 2009 permanently racked the OCX into a two-space unit and began to use it on all of his live shows.
“The OCX is a staple on my gigs from small corporate events to large arena festivals and everything in between,” says Mundy. “I find the clock and its jitter reduction allows me to get to the core of the sound and bring a better mix to listeners. It makes my life easier and I’m able to have more fun just being a front of house engineer and bringing out the natural qualities of the music versus trying to fix artifacts.”
Antelope Audio Zodiac D-to-A converters also made an appearance in Austin this year in the 45-foot UniqueSquared Mobile Studio bus. The mobile recording studio, outfitted with Sennheiser products, featured a number of listening stations where Zodiac DACs were paired with Sennheiser’s flagship HD 800 plus HD 700 headphones.
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