Archive by Hummingbird Media
Oxford, UK – July 30, 2012: The Sheldonian Theatre in Oxford is among the city’s — and indeed England’s — most prized performance jewels. Designed by Sir Christopher Wren, one of the most highly regarded architects in history, and constructed between 1664 and 1669, it is still very much a part of Oxford culture and is used not only for music concerts, but also degree ceremonies for local University students, celebrations, lectures and a number of other events. Recently, over the course of a painstakingly detailed restoration, a state of the art K-array loudspeaker system was installed to help bring the acoustics of this priceless architectural gem into the modern age.
Among the Sheldonian’s unique architectural details are its arch layout and a large cupola; its shape allows it to be used in a variety of ways. For example, during degree ceremonies, a presenter will typically speak from one side of the theatre, while during conferences, speakers might address the audience from the opposite side. For each event, a decision is made on whether to involve all or part of the seating on each of the theatre’s three levels.
Since the interior restoration included delicate finishes and flourishes, a core requirement in the installation was to ensure that the sound system would not interfere or otherwise obstruct its unique architectural details. Additionally, the loudspeaker system needed to perform across variety of performance and event applications, while delivering an extremely high standard of audio quality. The chosen K-array system, distributed by Sennheiser, was able to gracefully meet and exceed these requirements.
“We had to design a system which could work in both directions, with various combinations of loudspeakers used at different times,” said Brian Hillson, managing director of B+H Sound, the company responsible for designing and installing the new system. B+H Sound installed (12) KV50W compact line-array modules comprised of eight 1” neodymium transducers and two KKS50W bass line array systems, powered by two KA7 compact amplifiers and one single KA10.
The KV50W was able to provide even sound coverage while minimizing reflections —which was important considering the semicircular shape of the space and the three superimposing orders of tribunes. The (12) speakers were discreetly placed along the handrail of the stairs leading to the organ, as well as on the doorframes and at the sides of the buttresses positioned on the ground floor and third floor. The chassis themselves were then painted to match the colors of the theatre, making them almost invisible. The two KKS50W units were then hidden within the stair structure.
“With DSP programming at the front end, the speakers could easily be controlled to suit any particular application, depending on which orientation the theatre is used in,” Hillson continued. A series of presets was created so that the theatre’s custodian can pre-select them depending on the intended use of the theatre.
The project was an important work of ‘technological restoration,’ carried out in close contact with both the contractor and the University building surveyor. “One of the professors, and Chair of Curators who had been involved in the project came in and asked where the speakers were,” says Hillson. “That to me said everything about the advantages of using K-array.”
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.”
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.
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.
Resident Conductor Scott O’Neil conducting the Colorado Symphony Orchestra with a Neumann KM 133 D capturing the sound (photo credit: Darius Panahpour)
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)
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
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.
Nashville, TN – July 12, 2012: Once again, multiple GRAMMY winner and Christian artist Ricky Skaggs has been hard at work with “the boys” — his longtime band Kentucky Thunder, which have been playing bluegrass music alongside him for over 15 years. Each time Skaggs and his band enter the studio — usually at his own “Skaggs Place Studio” — the resulting music pays homage to the early trailblazers of bluegrass music, while forging entirely new paths within the seemingly timeless genre.
As an artist, Skaggs is wholly committed to authenticity and detail in his recordings. He is an avid collector of vintage microphones and esoteric gear, and constantly in pursuit of the latest sonic building blocks that will help make his recordings stand the test of time. The latest addition to his studio? The new Neumann KH 120 studio monitors. We chatted with Ricky to learn more about his recent projects, and why it’s important to have a loudspeaker that tells the truth…..
What have you been up to lately?
“Me and the boys [Kentucky Thunder] have gotten together and will be putting out a bluegrass record — the first one since Honoring the Fathers, which we recorded several years ago. We’ve cut two days of tracks, about six songs on which we are now working on overdubs. In the coming weeks, we will be doing more tracks, as well as singing and overdubs. For this record, which will have a lot of variety, I’ve brought in Gordon Kennedy [producer] for moral support. I really wanted him involved because I didn’t want it to be just another bluegrass record. Gordon is able to bring some input and creativity that I wouldn’t necessarily think to bring to the project. Beyond this, I’ve been working on a live CD of Bruce Hornsby and myself. Last time we toured, we did a lot of live recordings on the road and we’ve been going through those live shows and hope to get a record out soon.”
Tell us about your first experiences with the Neumann KH 120 monitors
“When I found out that Neumann was doing monitors, I knew they wouldn’t do anything unless it was excellent — because they have never done anything outside of excellence. If it was Neumann, it was going to be great. I first heard the KH 120s out at Winter NAMM and I was just blown away. I really loved what I was hearing. There is something in the midrange that highlights the acoustic instruments and strings, and the highs are not too bright or harsh. Finally, I just can’t believe how small they are and how great they sound.”
How about the low end?
“Typically it is a little bit harder to define the low end, but everything translates great through the KH 120s. In general, I was really impressed and surprised with their performance given their small size, and could not believe that that such clarity in the low end could be achieved without a subwoofer. The low end of my mixes sound tighter now — and in bluegrass, this is important on instruments like the upright bass and the acoustic guitar. We know that when we get to the mastering facility, that the entire low end will be nice and tight.
Why is the crossover important and how does the KH 120 perform in this regard?
“For any instrument that occupies the midrange, you’ve got to have crossovers that are extremely quick, smooth and transparent. The crossover on the Neumanns is very smooth and you can really hear this on acoustic guitars and mandolins. This is exactly what I hear from the KH 120s, and highlights the thing that I love most about them: the midrange. My instruments sound like I know they should.”
Why have the KH 120s earned a place at Skaggs Place Studio?
“I want the safety net of having a great monitor system — it takes the guesswork out of recording and mixing, and you can be more confident in what you are putting down to tape. I know the low end is there, as well as the mids and the highs. Nothing is falsified and it is the real thing. I don’t like cutting any corners — especially in the recording studio. Once you cut something and put it out, it is out there forever. As an artist, I want to make sure that the recording represented the best that I could be at that moment in time.”
You are no stranger to Neumann. Tell us about your collection of Neumann microphones
“My history with Neumann goes back a long way, and to me, the company’s microphones represent the gold standard. I have a U 47 that was once used by folks like Dolly Parton, George Jones and Johnny Cash. I also have two U 69s, which we use on everything including the piano on the recent Bruce Hornsby recording. I bought some KM 64s years ago that had been owned by a traveling gospel band, The Happy Goodman Family. My Neumann KM 66, an early version of the KM 86, is our all-time favorite guitar mic. I also use and appreciate the newer Neumann microphone models such as the TLM 102, TLM 103 and of course the M 149 and U 87.”
1. Ricky Skaggs, pictured alongside the Neumann KH 120 monitor
2. The Neumann KH 120 monitors are the latest edition to Nashville’s Skaggs Place Studio
Old Lyme, CT, July 11, 2012– Since 2009, when audio specialist Sennheiser launched its Mentorship Program to help encourage the next generation of audio engineers to enter the field of televised sports, the company has initiated collaborations among a variety of higher education institutions and professional broadcast networks. For its most recent mentorship program, Sennheiser selected students Zachary Templin, from the New England Institute of Art in Boston, and Shawn Brewer, from the Conservatory of Recording Arts and Sciences near Phoenix, to participate in covering the Mayweather vs. Cotto fight by HBO Boxing and NASCAR’s Coca-Cola 600 race by FOX Sports, respectively.
According to Randy Flick, senior audio mixer, HBO Boxing, immersing a student for several days in the setup and broadcast of a major sports event provides an experience that simply cannot be provided by the majority of audio schools. “You’ve got to have a grasp of all the technology in your head before you can even think about getting into a show,” says Flick. “Zach proved to be a great asset, and my senior RF guy, Lloyd Jacobsen, was very impressed with him.”
Templin got hands-on experience with two set-ups for the broadcast, one for the weigh-in and another for the fight, and was also introduced to the importance of the communications systems. “Randy placed an emphasis on covering the intercom system, which was the biggest mystery to me and is the backbone of any broadcast,” recalls Templin. “The A2s — Lloyd, Shep and Paul — covered RF, PLs, and IFBs with me, and taught me how to make sure they are set correctly for each different position.”
Broadcast Talent for Hire
For Jason Cohen, director of live events, HBO Sports, Sennheiser’s Mentorship Program serves to increase the talent pool in the industry. “But, altruistically,” observes Cohen, “it allows us to use the power and the tools that we have and give these young, aspiring, career-minded audio technicians the experience and learning that many of us were not fortunate enough to have when we were younger.”
“This is an initiative that is really on the shoulders of Sennheiser,” Cohen adds. “Sennheiser has to research and interview and weed through the potential candidates; they have to put their name behind the person; and they pay for their expenses and their time. We do the easy part — we just let them in our door!”
Fred Aldous, audio consultant and senior mixer for FOX Sports, notes that there is a big difference between the typical training a student receives at an audio school and an event such as the Coca-Cola 600. The long-distance race, one of the most-watched on the NASCAR calendar, was broadcast from Charlotte, NC last May. “It’s a bit overwhelming when students emerge from the nice, protected environment of a recording studio into this hostile live environment on the road,” says Aldous. “I don’t think even people in the industry know or understand what it takes to put together a show of this magnitude.”
The many benefits of giving back
Aldous says he became involved with the Mentorship Program because he believes in giving back. “When I was younger, I would have liked to have had somebody to spend a weekend with, and get an idea of what happens behind the scenes. That’s why I do it; I want to give somebody the opportunity to get a head start on a possible career.”
The race broadcast was done in conjunction with NASCAR, conducted onsite from Game Creek Video’s FX truck. During his three days on-site at the racetrack, Brewer was introduced to the main audio production room as well as the track effects and competitor communications submix positions, head-end patchbays, announce booth, track effect microphone setups and communications systems. “It was really valuable to be able to get into an actual broadcast event and see what kind of equipment they’re using, how fast everything moved and what actually goes into running a race of that caliber,” says Brewer.
What particularly struck him, Brewer says, was the change in tempo of the calls Aldous had to listen to from the producer, a director and associate director from the practice sessions and qualifying, on SPEED, to the race, which was broadcast on FOX. “During qualifying it was kind of laid back; there weren’t as many calls coming through. But when the actual race started it was a mile-a-minute. They were moving just as fast as the cars were!”
1) Fred Aldous, A1 and senior mixer for FOX Sports, pictured alongside the Conservatory of Recording Arts and Sciences student Shawn Brewer.
2) Zachary Templin of New England Institute of Art participated in covering the Mayweather vs. Cotto fight by HBO Boxing.
3) Randy Flick, senior audio mixer, HBO Boxing, pictured alongside student Zachary Templin of New England Institute of Art.
New York– July 9, 2012 – Audio specialist Sennheiser hosted a Silent Disco during The Governors Ball Music Festival on Randall’s Island on June 23 and 24. Thousands of festival-goers donned Sennheiser RS 120 wireless headphones and danced under a ‘big top’ tent to energetic mixes from international DJs. To onlookers, it appeared as though participants were dancing in silence as the mixes could only be heard by those wearing Sennheiser wireless headphones.
“The Sennheiser Silent Disco was one of the festival’s biggest draws,” said Tammi Montier, senior vice president of partnership marketing for Revolution Marketing, who worked closely with Sennheiser and The Governors Ball Music Festival to host the event. “At a festival like this, there is always dancing by the stages while the bands are playing, but there are plenty of people who want to interact with friends and express themselves in more of a dance club experience — it creates a memory. With Sennheiser running the silent disco, it heightens the quality of the experience for music fans while bringing even more credibility to the festival as a whole.”
The Sennheiser Silent Disco began at 2:00 p.m. on each day of the festival. International DJs such as Nobody Beats the Drum, Cont^ct, DJ Sookai and Hype Machine pumped out mixes for 10 hours straight each day before the festival closed at 11:00 p.m. each night. During the evening hours, the silent disco tent was illuminated with strobes, colored lights and a mirrorball, adding a psychedelic visual touch to the audio experience.
Amsterdam-based act Nobody Beats the Drum, longtime users of Sennheiser’s legendary HD-25 DJ headphones, gave headline performances each day and were enthusiastic about the event: “I really like the vibe,” commented Sjam Sjamsoedin, one third of Nobody Beats the Drum. “It is a very intimate style of performance where everyone hears exactly what you are doing. As far as our equipment is concerned, we’ve been using Sennheiser HD 25 headphones for ages and prefer their quality both in the studio and on the road. The one I am using is 11 years old — the entire frequency range holds up and they just don’t distort.”
Sennheiser is in a unique position of being able to provide a complete solution at silent discos such as this, which are becoming more popular at top-level music festivals around the world. “For an event like this, we are able to provide not only premium wireless consumer headphones, but also professional wireless systems that are used by top touring artists around the world,” said Tim Moore, artist relations manager at Sennheiser’s U.S. headquarters. “Both of these products work seamlessly together to offer a complete solution for the Governors Ball NYC, or any other large festival.”
1. Sjam Sjamsoedin of Nobody Beats the Drum works the Sennheiser Silent Disco on the first day of The Governors Ball Music Festival.
2. In the evenings, the Sennheiser Silent Disco was illuminated with a mirror ball, colored lights and strobes, adding a psychedelic visual element to the audio experience.
3. Sjam Sjamsoedin and Jori Collignon of Amsterdam-based DJ act Nobody Beats the Drum are long time users of Sennheiser’s HD 25 headphones.
HOLLYWOOD, June 28, 2012— Multi-touch software developer SmithsonMartin Inc., announced that renowned Israeli trance band Infected Mushroom is using Emulator DVS to enhance the stage performance of the band’s current world tour.
Infected Mushroom has been pushing the edge of electronic psychedelic trance music since the duo emerged on the electronic music scene with its ground-breaking 1999 album, The Gathering. Known for its combination of analogue and digital instruments and vocals in the evolving psy-trance sub-genre, the group recently turned to SmithsonMartin’s Emulator DVS to makes its live show more technically and visually stunning.
The Emulator DVS, which was introduced in November 2011 as the next generation of DJ systems, provides a multi-touch MIDI control interface on a huge transparent screen to artists. For electronic artists, the software and technology offers the ability to customize the multi-touch layout of the screen so it fits to the artist, rather than forcing the artist to conform to it.
“In the beginning, we thought it might just look cool, but it’s actually useful,” said Erez Eisen, one-half of Infected Mushroom. “This is obviously the only product that does and looks something like that.”
With a futuristic stage design by Vita Motus supported by 3D visuals by another company using Emulator, V-Squared Labs, Infected Mushroom found Emulator DVS fit right into the atmosphere they were trying to create while also offering a unique control experience provided by no other system. Reliable and flexible in its design and application delivery, Emulator Modular has transformed electronic music and provided Infected Mushroom with a system that has prompted spectacular reviews from audience members and critics alike.
“It’s open. You can do whatever you need. If you need the basic stuff for DJ-ing, it has presets ready, which is great. If you want to go beyond that and do crazy controlling, you design your own interface. It’s simple with drag-and-drop,” said Eisen, who is planning on adding two more Emulator DVS units to his repertoire for studio recording purposes.
WATCH FULL INTERVIEW HERE: http://youtu.be/jvgGPfXeLGA
In the future, Infected Mushroom plans to expand on its use of the Emulator DVS platform for modular synths and to continue using it to enhance the futuristic multimedia atmosphere of its live shows.
“It’s not just beauty. It’s a really, really powerful tool,” Eisen said. “I learned the tool in two days while I was doing other things. I don’t know how I didn’t have it before.”
San Diego, Calif. – June 28, 2012 — The K-array KR400S ultra-light powered speaker system provided a clear and superb listening experience for faculty, staff, students, friends and family at the San Diego Bernardo Heights Middle School graduation ceremony in mid-June.
Paul Svenson, owner of San Diego-based audio/video specialist PSAudioVideo, consulted with Sennheiser Area Sales Manager John R. Borja to outfit the outdoor ceremony with a single KR400S speaker, as well as Sennheiser ew 100 G3 wireless transmitters and receivers. Svenson ran the microphones directly into a PreSonus digital mixer, which was then connected to the K-array KR 400S.
“In previous years, people on the periphery of the 1,200-person crowd complained about not being able to hear very well, but this year, we received compliments,” said Svenson, who has been the school’s trusted provider of audio solutions for more than a half-dozen graduations in recent years. “I believe this was due to the effective sound dispersion characteristics of the K-array KR400S.”
Svenson adopted the KR400S after using a pair of the speakers to provide audio for an indoor concert for 3,000 people. The compact speakers were able to deliver so much power that Svenson immediately added them to his audio toolbox and now uses them for indoor and outdoor events.
For the graduation, Svenson set up only one KR400S, which he says provided more than enough coverage for entire area — including the 80-foot wide stage, the gallery of graduates, seating for family and friends, and standing room. Svenson said the KR400S not only provided high-quality sound to the entire graduation ceremony, but could also be heard across the parking lot to the local high school.
The KR400s cast a wide dispersion without any appreciable drop-off, giving Svenson a long throw to hit the very back row of people and the standing room only section, which he has not been able to achieve with other speakers.
In addition to the speeches given by graduates and faculty, the graduates and their families were also treated to the vocal harmonies of the school’s 250-singer choir, for which Svenson used three ew 100 G3 Sennheiser wireless microphones on the soloists, among other microphones.
“The K-array KR400S has surprised me time and again for its ability to throw long distances while still maintaining a consistently high sound quality,” Svenson said. “The choir leader was also very impressed with the speaker’s ability to cast a wide dispersion while retaining the sharpness needed in a vocalist microphone.”
Asheville, North Carolina, June 22, 2012— Today Moog Music Inc. announced the release of its newest Moogerfooger Analog Effects Module, the MF-104M Analog Delay. It is the next generation of Moog’s Analog Delay effects pedals and includes significant feature and function upgrades not found in other analog delay units.
The MF-104M features an all-analog signal path with 800ms of all analog delay time, 6 Waveshape LFO, Dedicated Tap Tempo switch assignable to Delay Time or LFO Rate, MIDI control and recall of every function, and Spillover Mode which has been the most popular modification to the MF-104.
The Classic MF-104 was designed by synthesizer pioneer Bob Moog and released in 2000. It utilized a special “Bucket Brigade” delay chip that allowed the effect to remain completely analog. Unfortunately, the supply of these chips was limited and the final MF-104 was sold in 2001. In 2005 there were two limited reissues of the Classic MF-104; the MF-104Z and the extremely rare MF-104SD, of which only 250 were made.
The new MF-104M Analog Delay utilizes the same vintage Bucket Brigade chips found in the Classic MF-104 and faithfully recreates the sound of its coveted predecessors. In addition, the MF-104M includes a number of customer requested feature and function upgrades.
“We’re very excited about this limited release of the MF-104M,” said Moog Music CEO, Mike Adams. “Many of the parts we use to create these amazing delays are completely original and incredibly hard to find. Since this will be the last of its kind, we have gone to great lengths to incorporate features and functions requested by customers over the last 12 years. The MF-104M delivers those rich, creamy, classic delays Moog is renowned for, but also has the ability to modulate the delay time and create effects not found in any other analog delay.“
Like all Moogerfoogers, the MF-104M is housed in a rugged steel chassis with wood sides and utilizes CV/Expression inputs for controlling Time, Rate, Feedback, Amount, and Mix. A Feedback Insert is also available for adding external effects to the delay line.
The MF-104M is available for a limited time at select dealers worldwide now.
Moog Music Website:
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