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Tuesday, May 19, 2009

Additional Sennheiser Inventory Added To Serve Eighth Season Of “Dancing With The Stars”

11 MKH 8000 Series condensers for coverage of the 18-piece orchestra; two Sennheiser crystallized SKM 5200 RF handheld mics for use by the show’s co-host and guest performers

ABC Television’s “Dancing with the Stars” program continues to be a ratings juggernaut, pulling in 22.5 million viewers for the premier episode of the reality show’s eighth season in March, and also this season, the show has made a number of refinements to its complement of Sennheiser equipment, with production mixer Evan Adelman adding 11 MKH 8000 Series condensers for coverage of the 18-piece orchestra.

Further, two of the new Sennheiser crystallized SKM 5200 RF handheld microphones have also been added for use by the show’s co-host and guest performers.

Specifically, Adelman has been utilizing a mix of MKH 8040 cardioid and MKH 8050 super-cardioid condenser mics for the current season.

“I started using them on the woodwinds and on both acoustic and electric guitar. The others are on percussion and drum overheads,” he explains. “They’re really important on the reeds. These people go from flute to piccolo to baritone saxophone and everything in between – sometimes in the same song.”

“They’re very natural,” he adds, “very clean sounding microphones with a natural warmth to them. They just sound a little more real. And when the musician gets close to it, it sounds just as good as when they’re a foot away.”

“One thing I like about them, aside from their sound, is that there are so many accessories available for them. For example, for television we’re supposed to be invisible. You can separate the head from the preamplifier. I did that with the drum overheads and put them on shock mounts, so they’re a little less obtrusive visually.”

Adelman adopted Sennheiser wireless and wired microphones for the show last year. The equipment, supplied by Burbank-based Soundtronics, includes SKM 5200 RF handheld microphones outfitted with MD 5002 and MD 5235 capsules for the co-hosts and guest artists, MKE Platinum lavalier mics and SK 5012 or SK 5212 G2 wireless transmitters for contestants and judges, plus instrument mics and HD 25 headphones for the orchestra members.

For the latest series of the U.S. version of the BBC Worldwide international franchise, which has now been sold to 38 countries, show producers added two crystallized element versions of the SKM 5200 handheld RF vocal mics. “Our host, Samantha Harris, uses one all the time,” says Adelman. “The other is for special guests. Etta James recently used it.”

Sennheiser’s Crystal Customization Service created the special microphones, which are custom decorated with high-quality crystals. “Sennheiser has done a very nice job,” he says. “It worried me, because sometimes these thing can look cheesy and they can be fragile, and these are neither. I don’t know how they attach the crystals, but they’re bulletproof! And they look great.”

According to Adelman, performers visiting the show are always offered SKM 5200 handheld wireless microphones outfitted with MD 5235 heads. Musical guests on the show this season have included Jewel, Big Bad Voodoo Daddy, Boys II Men, Kevin Rudolph, Rascal Flatts and Adele, who brought along her own Neumann KMS 105-S vocal mic, he reports.

Sennheiser USA Website

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Monday, May 18, 2009

Hosa Technology Introduces The Da-Cappo DA12 Hardwired Earset Microphone

Plug and play solution where interchangeable wireless systems are not required

Hosa Technology, distributor of Da-Cappo Micro Microphones in the Americas, has announced the introduction of the Da-Cappo DA12 hardwired earset microphone.

Ideal for use where the interfacing wireless microphone system remains constant, the new DA12 offers the same performance attributes of the original DA12, but with the added convenience of not having to worry about misplacing the cable and adaptor.

The DA12 is specificed as having -45 dB sensitivity that makes it suitable for use with Lectrosonics, Sennheiser Evolution and SK50 Series, and Shure wireless transmitters, and it features a longer, 6-foot carbon Kevlar cable for easy concealment within costumes. A selection of connectors are designed to mate with the aforementioned wireless transmitter systems.

Like the original DA12, the new DA12 hardwired utilizes a water-resistant, European designed 2.5 mm diameter omni-directional capsule that delivers natural sounding, full 20 Hz – 20 kHz frequency response.

The DA12 also offers a hypoallergenic cushion designed to insure long wearing-comfort. This cushion conceals a flexible, sprung-steel mechanism that may easily be adjusted to fit ears of all sizes.

It ships with a lavalier style mic clip to secure the cable to one’s collar behind the head and a zippered leatherette microphone case that conveniently and securely stores the microphone, its cable, and the adaptor. A pop filter is also included.

“The new DA12 hardwired delivers the stunning audio performance of the original DA12 while offering simplified use for those who plan on using the microphone with a single brand of wireless transmitter,” said Jonathan Pusey, Hosa Technology’s National Marketing Manager. “By offering a hardwired version, Da-Cappo makes it that much easier to use this type of microphone as it minimizes the possibility of losing parts required for interfacing with different transmitters. For those customers who plan on using a headworn microphone with a single brand of wireless transmitter, the new DA12 Hardwired is a true plug and play solution.”

The new Da-Cappo DA12 hardwired earset microphone is available now, with pricing for all variants (beige and black) of $530 (U.S. MSRP).

Hosa Technology Website

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Monday, May 11, 2009

Ryan Tedder Records Lead Vocals With New TELEFUNKEN USA Ela M251 Microphone At Ante Up Audio

Ante Up Audio recently added two of the new Ela M251s in addition to other new TELEFUNKEN models including two M16s, two AK47s, an M80 and an RM-5C ribbon microphone

Ryan Tedder, lead singer of One Republic, recently recorded with the new TELEFUNKEN USA Ela M251 condenser microphone at Cleveland’s Ante Up Audio.

Ante Up Audio recently added two of the new Ela M251s in addition to other new TELEFUNKEN models including two M16s, two AK47s, an M80 and an RM-5C ribbon microphone.

“We love these new microphones,” says Michael Seifert, owner and chief engineer of the Cleveland facility. “If you go with the originals, they’re extremely expensive and they’re hit or miss. These new mics are built with the spirit of the past but with the reliability of new materials. With TELEFUNKEN USA you get the best of both worlds”.

Singer/songwriter Ryan Tedder debuted the successful band One Republic in 2007. The first single, “Dreaming Out Loud,” set a North American record for the most radio airplay in one week. In addition to worldwide success with his band, he has penned popular songs for Natasha Bedingfield, Jennifer Lopez, Hilary Duff, and Leona Lewis, among others.

While in Cleveland at Ante Up Audio, Tedder worked on new material for One Republic, as well as tracks for Kelly Clarkson’s new album.

“Ryan is very knowledgeable when it comes to microphones and has worked a lot with vintage Neumanns,” explains Seifert. “He knows what he likes and he pulled me aside to tell me how much he liked the new 251 from TELEFUNKEN. He found it very easy to get some good takes done and also complimented us on our studio, after working in over 40 studios around the world last year.”

Seifert is a multi-platinum award winning producer, engineer, and composer. The Ante Up Audio recording and production complex located in downtown Cleveland, Ohio, houses two studios, one equipped with a vintage 56-channel Neve console and one with a fully-restored SSL 4000 with Total Recall Automation.

A list of clients includes Tori Amos, Bone Thugs-n-Harmony, Francis Ford Coppola, Fountains of Wayne, Chimaira, This Is A Shakedown, Gerald Levert, J. Mascis, Al Fatz, Robert Lockwood Jr., Chuck Mosley (Faith No More), American Greetings, MTV, Warner Brothers, Atlantic, Sony, Interscope, and numerous others.

“I couldn’t be happier with our new mics,” Seifert concludes. “They meet and even exceed the sonic quality and vibe of any vintage tube mic I’ve ever owned or used, and I don’t have to sift through a dozen or more vintage mics to find one that actually sounds like its supposed to.”

TELEFUNKEN USA Website

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Friday, May 08, 2009

Lectrosonics Introduces New HM Plug-On Wireless Transmitter

LCD interface and variable high-pass filter enhance operation

Lectrosonics has announced the introduction of the new HM Plug-on Transmitter, the latest in a long line of plug-on style transmitters developed by the company.

The new HM transmitter provides100 mW of RF power as well as several unique features, including an LCD with a membrane-switch control panel and audio level meter for ease of setting and operation.

It includes a user-selectable high-pass filter, enabling it to be employed for a wider range of applications from ENG (electronic news gathering) to audio system analysis when used as part of the Lectrosnics TM400 system. It is powered by two AA batteries, providing an operating time in excess of 12 hours with lithium cells.

The HM transmitter also employs Lectrosonics’ acclaimed Digital Hybrid Wireless technology for operation in its native, compandor-free hybrid mode, or in compatibility modes for Lectrosonics 200 Series, 100 Series, and IFB products along with receivers from two other manufacturers.

The body of the transmitter is meticulously machined from solid aluminum alloy to aerospace tolerances and finished in Teflon-impregnated nickel plating to ensure the extreme ruggedness and durability required in field production.

The HM also features a quick-locking XLR connector to ensure that the transmitter does not separate from the microphone while in use.

In addition, it incorporates a unique, multi-voltage phantom power feature that enables the transmitter to be used with virtually any microphone, including high-current condenser types—expanding the HM’s usefulness in high-end applications such as motion picture production.

The HM’s RF output circuit uses a one way circulator/isolator that greatly reduces the RF intermodulation produced when multiple transmitters are used in close proximity to one another.

Frequency response is rated at 40 Hz – 20 kHz ±1 dB, -3 dB at 35 Hz, while dynamic range is 125 dB (A). RF output is 100 mW.

Karl Winkler, Lectrosonics’ Director of Business Development, states, “The new HM transmitter is a logical extension to the line of Lectrosonics’ high performance wireless transmitter products. Incorporating our Digital Hybrid Wireless technology for superior audio performance, rugged build quality to ensure optimum performance under the most challenging conditions, and a rich feature set including an LCD display that dramatically enhances operational efficiency, I’m confident the new HM transmitter will receive a warm welcome by audio professionals involved in a wide range of wireless applications.”

Lectrosonics Website

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Tuesday, May 05, 2009

Shure UHF-R Wireless In Support Of “Thriller Live” At London’s Lyric Theatre

The crowded nature of the area made isolating RF for on-stage instruments and vocal artists very difficult.

When the producers of the “Thriller Live” musical arrived at the Lyric Theatre in London, they found themselves faced with the difficult challenge of isolating a wireless radio frequency within the heart of London’s theatre district. The company turned to Shure and the Joint Frequency Management Group (JFMG) to provide the solution.

“The issue we have in such a densely populated area is isolating RF channels that are not already in use,” explained Chris Whybrow, the production’s Sound Designer.  “We basically needed to make sure we weren’t stepping on anyone’s toes.”

The iconic venue is located in London’s West End, surrounded by numerous theatre, musical, and comedy productions. The crowded nature of the area made isolating RF for on-stage instruments and vocal artists very difficult. 

Following a full assessment of his requirements, Whybrow selected a range of UHF-R Wireless Microphone Systems supplied by Shure Distribution UK.

“When we discussed our requirements and the frequency isolation issue with Shure, they were confident they could help,” commented Whybrow. “They have experience working with limited frequency environments and were very helpful in ensuring that the right kit for the job was chosen.”

Whybrow also contacted JFMG regarding frequency usage and to obtain the required license for operation of the equipment.

The installation used several Shure UHF-R systems on the Q5 frequency band, which enabled easy set up of this multi-channel system in a busy RF environment. The performers reproducing the King of Pop’s greatest hits are provided with one of seven UR2/KSM9 microphones, finished in both black and champagne.

The KSM9’s dual-diaphragm design perfectly reproduces vocal performances in the live environment and, coupled with the UR2 transmitter, provide a rugged and lightweight solution with improved RF transmission reliability.

“The combination of the Q5 frequency band and Shure’s wireless technology has given us a very strong RF frequency,” said Whybrow. “We don’t get any interference from other microphones or shows.”

Successful RF transmission was achieved through a combination of UR4D dual wireless receivers and UR1 wireless bodypacks. The compact UR1 bodypacks provide transmission from the stage while still allowing a full range of movement by the performers.

Transmissions are fed to six UR4D dual wireless receivers, each capable of selecting 2,400 frequencies and storing six 60 channel custom frequency groups.

“We were able to successfully use the Q5 frequency band for the show, and in all we have 16 channels running for the production,” added Whybrow.  “We’re also using two UA870WB antennas to enhance wireless reception in the theatre area and two UA845 antenna distributors to amplify the RF signals and properly split them to our six UR4D receivers.”

The Shure wireless systems will remain a permanent installation for the production’s entire extended run in London and will also be used with the European version of the production, which is currently touring the continent.

Shure Website

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Heil Sound Introduces PR 20 UT Dynamic Microphone For Wide Range Of Applications

Offers same specs/performance as the PR 20 but at a more cost-effective price

Heil Sound has introduced the PR 20 UT (Utility) dynamic microphone, a low cost version of the successful PR 20 and intended for live sound, commercial broadcast, and recording applications.

Specifications and performance characteristics are identical to the PR 20: wide frequency range, the ability to handle +140 dB SPL, -35 dB of rear rejection and natural articulation. The difference is a stripped down packaging scheme putting the UT in the price range of any musician, recordist or sound company.

The PR 20 UT microphone is perfect for live vocal and instrument applications as well as a superb microphone for serious recording studios or broadcast use. Retail price is $115. (USD)

Heil Sound President and Founder Bob Heil explains, “The PR 20 is shipped standard with an abundance of accessories including gold, silver and black screw-on grill screens that are interchangeable, and a thick padded carrying case.

“While many customers appreciate and use these items, there is a large group of musicians, sound companies and contractors who need a simple ‘one-take’ PR 20. By streamlining the packaging, we can dramatically lower the price without one single alteration to the microphone itself. It is a PR 20 without the bling.”

Heil Sound Website

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AKG Introduces AMS Series Adjustable Microphones

Length of gooseneck adjustable; user can select between cardioid, omni and hypercardioid patterns

Based acoustically on the AKG Blue Line Series, the newest addition to AKG’s product line-up, the Architectural Microphone Series (AMS) allows users to customize the microphone by easily adjusting the length of the gooseneck module as well as selecting various designs for the shape of the capsule housing unit.

The self-designed microphone can be personalized with any color as well as a shiny gold, chrome or a cool nickel finish for professional settings. In total, the entire microphone series are available in more than 6,840 customizable settings.

Premium studio microphones, like the AMS, are characterized by a very flat frequency response, low self-noise and a consistent polar pattern. Three precision transducers make up the Series, all with different polar patterns, including a cardioid, an omni-directional and a hyper-cardioid.

Beside the three different polar patterns to match different room acoustics, the AMS showcases a diverse range of capabilities, such as flat frequency response for acoustic performance, gold sputtered ultra-low mass diaphragms, switchable bass cut filter and preattenuation pad. The series also offers an extremely high resistance to RF interference for extended versatility.

Adding on to the extraordinary attributes of the AMS, the mics are equipped with a bayonet coupling system with self-cleaning contacts and the Blue Line bayonet coupling system enables the capsules to be easily change.

With the installation of any of the microphones in the AMS, different mounting modules are available, including a wide range of specialized mounting accessories specifically dedicated to making the installation easy and can bring the microphone into place. 

Blended rubber material and high mechanical damping in the shock mounts help to eliminate any mechanical vibrations.

AKG Website
Harman Professional Website

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Monday, May 04, 2009

Shure Extends Rebates For 700 MHz Wireless Systems To December 31, 2009

Offer applies to Shure 700 MHz wireless systems as well as other manufacturers qualifying 700 MHz systems

Shure is extending its rebate program of up to $1,000 for the trade-in of Shure 700 MHz frequency band (698-806 MHz) wireless systems and for any other manufacturers’ qualifying 700 MHz frequency band wireless systems and their related components until the end of the calendar year (December 31, 2009).

“Due to the current economic crisis, there are some dealers who have not been able to take advantage of this program yet, and we want to do what we can to help them,” said Mark Humrichouser, General Manager of Shure’s Americas Business Unit.  “In addition, the response to the rebate program has been overwhelmingly positive so far, which is also why we’re extending the rebate until the end of the year.”

Customers may submit their rebate forms with the purchase of the following new replacement products: UHF-R, ULX, MX690/SLX4L, PSM 700 (H3, L2 bands), and PGX.

“Despite the fact that a final decision from the FCC is still pending, we want our customers to know that we’re here to help,” added Humrichouser.

For a complete summary of the terms and conditions of this rebate program, to learn which products are eligible , and to obtain a rebate form, customers should visit the Shure website at http://www.shure.com/rebate.

For information about rebates or trade-ins for in-warranty Shure wireless systems, call 800-25-SHURE (800-257-4873).

Shure Website

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The Osbournes Find Sennheiser Quite Functional For Their New Dysfunctional Show

“The Osbournes were all wearing Sennheiser SK 5212 wireless transmitters and Platinum lav mics, but most of the time they were on SKM 5200 handhelds." - Production Mixer Evan Adelman

The Osbournes – Sharon, Kelly, Jack, Ozzy and assorted favorite dogs – are returning to television soon with a variety show on FOX that features audience interaction, candid camera-type skits, music, and even a pair of “mini Osbournes,” two British child actors who impersonate Sharon and Ozzy complete with off-color language.

Six episodes of “Osbournes: Reloaded,” which will air later in the year, have already been shot at CBS Television City in Hollywood, where production mixer Evan Adelman did his best to capture the mayhem with a combination of Sennheiser wireless handheld and lavalier microphones.

“The Osbournes were all wearing Sennheiser SK 5212 wireless transmitters and Platinum lav mics,” reports Adelman. “But most of the time they were on SKM 5200 handhelds, with the omni heads that I like to use, the ME 5005.”

In addition, he says, “They were all wearing G2 receivers and their own molds for their IFBs. That’s the first time I’ve had that happen. Normally the talent uses standard IFB receivers, which work in a different frequency range with not as wide of an audio bandwidth, since they’re designed strictly for communications.

“But of course the Osbournes are all performers, so they’re used to hearing full fidelity with their in-ear molds. We initially gave them this communications equipment and they said, ‘This sounds terrible, can we use what we usually use?’ It made sense to me!”

Adelman reports that, “Because of the environment and how loud the audience was, and because the stage was enormous, the hand mics were used almost all the time – as much I could get them to, anyway! There was a jib on each side that could swing over the audience, so I was only able to mic about a third of the audience.

“But when the Osbournes would go into the audience with these omni hand mics I could hear pretty much everything that was going on. You could hear people react – not on mic, but slightly off. That was appropriate because they weren’t on mic. They were five or six feet away. It created a natural sound that matched the picture much more accurately than a directional mic would have.”

“Osbournes: Reloaded” is produced by Fremantle Media North America with executive producer James Sunderland, a veteran of British variety shows, the main influence on the show. When the show was first announced, trade journal TV Week described it as “a combination of the popular Spanish-language series ‘Sabado Gigante,’ ‘Saturday Night Takeaway’ and the German game-show format ‘Wetten, dass?’ (Wanna Bet?).”

Ozzy Osbourne put it more succinctly at a press conference previewing the show in January: “We are a very dysfunctional family, doing a very dysfunctional show.”

Sennheiser USA Website

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Friday, May 01, 2009

Shure Mics & Wireless Systems Have Strong Presence At Jamaica Jazz & Blues Festival

"Everything functioned flawlessly. Our input lists were all Shure from snare mics to vocals. We had a number of options available for each act, which worked out nicely for our performers, who all were longtime Shure users for the most part." - Sound Engineer Raphael Alkins

Cloudy skies and occasional drizzle did little to dampen spirits at this year’s Jamaica Jazz and Blues Festival, as legions of music lovers descended on Rose Hall, a historic, 7,000-acre north coast plantation, to see and hear performers ranging from Lionel Richie and British sensation Estelle to the legendary O’Jays and Reggae superstar Maxi Priest.

With nine acts scheduled for the first night and seven each thereafter over the course of the festival’s three days, production manager Robert Stewart reached out to veteran sound engineer Raphael “Raffie” Alkins to take the festival to a different level and help solve the logistical dilemma of managing so many performances in such a short span of time.

“This was an easy one,” Alkins notes, recalling the hectic days on the laid-back island leading up to the event. “I showed the team a flow chart I designed for the show and how to make it happen. The most important part of a plan in these kinds of applications is the microphones. If you have the right quantity at your disposal, you can pre-mic everything for each act ahead of time and have it ready to go.

“Then when the show starts, you literally roll the acts in-and-out almost like they’re going through a revolving door. As one comes on, the other before it has been moved to the side on rolling risers, and that stage is being struck.”

Alkins, who honed his quick-change skills doing shows like the GRAMMYs, Latin GRAMMYs, Latin Billboards, and Latin Video Music Awards, came to the event knowing he’d never be able to find the sheer number of microphones he’d need for the job in Jamaica.

Turning stateside to Tom Krajecki of Shure, who he had met before at a number of awards shows, he ultimately amassed a sizable mic locker shipped to the site from Shure headquarters in Niles, Illinois, and from the manufacturer’s Nashville office.

While the actual performance space onstage at Rose Hall measured only 60 feet 40 feet, Alkins and his crew were fortunate enough to have sizable real estate at his disposal in the wings. It was in this space that the sound team constructed pre-miced drum and keyboard risers on wheels that could be swept onstage, plugged-in, and ready-to-go in a moment’s time.

“Everything functioned flawlessly,” he relates. “Our input lists were all-Shure from snare mics to vocals. We had a number of options available for each act, which worked out nicely for our performers, who all were longtime Shure users for the most part.

“Bands like the O’Jays, who have been using the SM Series for years, had a chance to try newer gear from the KSM line—something they’ve never done before. They appreciated the opportunity. Likewise, members of the local crew were exposed to techniques not commonly employed on the island. It was a learning experience for a lot of people on a lot of different levels.”

Lionel Richie took the stage on the second night with a KSM9. Shure UHF-R wireless was used on all other backing and lead vocals throughout the festival, with a variety of capsules. Working in an environment lacking the support of FCC rules and regulations, Alkins found that his UHF-R systems were nonetheless more than up to the task.

“These Shure systems were so solid that nothing could get in here even if it tried,” he reports. “This is the wireless of choice. There are never any dropouts.  Performance is as solid as a rock. Even within this current economic climate, Shure made the commitments necessary to make it all happen.”

Also known for his work with Ricky Martin over the last 11 years, Alkins additionally tours with a number of other top artists. Now sponsored by the Jamaica Tourist Board, which funneled $500,000 into the annual event this year, the 2009 Jamaica Jazz and Blues Festival attracted 10,000 people each night, 67percent of that number being visitors to the island.

A cross-cultural collection of Jamaicans and Americans, including Fitztheo Brown, Dwight Bancey, FOH mixer Omatali Beckett, monitor mixer Lorin White, and system tech Neil Rosenstock formed the sound crew working on the project.

Shure Website

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Lectrosonics Digital Hybrid Wireless System Benefits American Conservatory Theater Productions

"The frequency and dynamic response are phenomenal, and we had zero RF problems, no dropouts, and no ‘fizzie’ intermod noises." - Jeremy J. Lee, sound designer

To ensure optimum audio quality while keeping the technology in a “supporting” role, the American Conservatory Theater (A.C.T.) of San Francisco, recently invested in new wireless technology from Lectrosonics.

Jeremy J. Lee, a New York- based freelance sound designer who frequently specifies sound system designs for the theatrical community everywhere from the regional theaters to both on and off Broadway, was called in to oversee the audio aspects of the American Conservatory Theater’s January 2009 presentation of John Guare’s Rich and Famous that was directed by John Rando.

Because Lee generally uses the existing house sound system and configures it as required for the production, he was pleased to discover that A.C.T. had just taken delivery of a new Lectrosonics wireless system, which consists of a Venue Series receiver stocked with six VRS receiver modules and six SMDa Super-Miniature UHF beltpack transmitters.

The six-channel system employs Lectrosonics’ Digital Hybrid Wireless Technology that uses a proprietary algorithm to encode 24-bit digital audio information with no compression and low distortion into an analog format that can be transmitted in a robust manner over an analog FM wireless link. Lee also utilized IAS software by Professional Wireless Systems for frequency coordination and system monitoring.

“We wanted the actors to sound fantastic,” said Lee.“The Venue/SMDa system, along with the DPA 4061 mics that we used, are the best I’ve heard in a wireless system. The frequency and dynamic response are phenomenal, and we had zero RF problems, no dropouts, and no ‘fizzie’ intermod noises.”

“I didn’t have to get surgical on the high end EQ of the system to try and restore articulation,” Lee continues, “as is common with other RF systems that cost a lot more. Likewise, the IAS software makes setup and system monitoring as effortless as one could possibly hope for. The next time I have a chance to spec an RF system; my first choice is going to be Lectrosonics’ Digital Hybrid Wireless.”

Lectrosonics Website
Professional Wireless Systems IAS Software Information

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Wednesday, April 22, 2009

System of a Down Frontman Serj Tankian Using Shure Wireless For Vocal, Guitar & Personal Monitoring

Tankian notes that he has used and still uses a lot of Shure mics

System of a Down frontman Serj Tankian recently took the stage with the Auckland Philharmonic Orchestra (APO) to reinterpret his first solo album, “Elect the Dead”, a pairing that presented the arrangements quite differently from those heard on the record.

Performing live, Tankian has swept the clutter of cables out of his life, choosing Shure wireless products for everything from his guitar and vocals to in-ear personal monitors.

“I like to move around a lot onstage, so being wireless is extremely important,” he explains. “I’ve got it on my in-ears, and making that transition was amazing. As a singer, you can’t hear a certain frequency of your own voice onstage, especially with a really loud band. System was deafening. The Who might have the loudest stage volume, but I think we came in a close second or third.

“Using Shure PSM 600s helped me define the instruments and hear my own voice better in my mix, so even if I sang low I could still hear myself within that whole huge stage volume swelling up all around.”

Beyond his PSM 600 system, Tankian notes that he has used and still uses a lot of Shure mics, ranging from the venerable SM58 and SM57 on up to the KSM9. KSM44s are a favorite too, and saw use on “Elect the Dead” on his guitar cabinets.

With growing numbers of aspiring musicians looking to Tankian as a role model and for inspiration, the artist feels that “As far as performances go, I always say you have to be yourself onstage, and you have to project that sense of self beyond your physical surroundings into a bigger space. You have to make people feel something that’s true to you and them as well. You have to have that connection, and that’s what a performance is.”

Currently, Tankian is at work on a second solo album due out later this year.

Shure Website

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Tuesday, April 21, 2009

Real World Gear: The Latest Wireless Microphone Systems

Chances are that you might just be hanging on for a while to see how it all pans out, but if you need to purchase now, our tour offers the "where and what do you look for"

As most of us should know by now, the Federal Communications Commission (FCC) has made its initial recommendations of the use of wireless microphone and communications systems alongside that of TV Band Devices and other spectrum users.

The original proposed date of February 18, 2009, still has some implications, albeit put back to June 12, 2009, if and when that decision makes its way from the Senate through the House of Representatives.

In the meantime, parts of the U.S. have already “switched off” as it were, and more are planned in a rolling scale.

Of course, this leaves the whole subject somewhat in a modicum of limbo. And should you be considering purchasing new wireless product, the chances are that you might just be hanging on for a while to see how it all pans out. There again, you might be forced to purchase now, and if so, where and what do you look for?

Certainly the areas around TV Channels 63 (764 - 770 MHz) and 64 (771 to 776 MHz) plus Channels 68 and 69 (794 – 806 MHz) are now out of bounds and are to be used for Public Safety.

As for the rest of the so-called “700 MHz” band (698 – 806 MHz), the situation is somewhat easier from a new purchase point of view, in that the majority of manufacturers do not now support that band.

Of course, second-hand equipment operating in that band is available, and as the FCC has not made a final decision as yet, and indeed has so far failed in it’s effort to sell the “Block D” 700 MHz band for a cool $1.3 billion reserve, the jury is still out.

To sweeten the pill, many manufacturers are offering attractive deals, trade-ins or retunes for existing product. It’s worth contacting your manufacturer to find out what’s available.

In the meantime, this month’s Real World Gear takes a look at what’s available out there at the moment, and to play the legal game, none of the product listed here operates in the 700 MHz band, or the Public Safety channels.

There are also a couple of digital options listed alongside existing analog equipment.

This is an interesting area in that these systems incorporate digital audio transmission and thus claim to remove the effects normally associated with analog compander circuitry. Intermodulation issues are also said to be greatly reduced, allowing more users within the same band.

As always, the our tour of wireless products does not intend to include all makes and models of wireless systems available. Instead, the goal is to represent the most likely (generally top-shelf) systems that are currently used for live sound reinforcement and touring by professionals working today.

The choice, as always, is up to you. Take our Photo Gallery tour of the latest wireless microphone systems.

Andy Wood is European Editor for Live Sound International magazine.

More Real World Gear On PSW:
Medium Format Line Arrays
The Latest Digital Consoles
Current Floor Monitors
Electret Measurement Microphones
Subwoofers Large & Small
Power Amplifiers

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Wireless & Wired Microphones Out In Force For Academy of Country Music Awards

Sennheiser and Shure products utilized by a who's who of A-list country performers

Both Shure and Sennheiser microphones were utilized in abundance at the recent 44th Annual Academy of Country Music (ACM) Awards show, which was broadcast on CBS from the MGM Grand Garden Arena in Las Vegas.

ATK Audiotek provided production for the show, with monitor mixer Michael Parker working alongside Robert Brogden, who handled all of the wireless personal monitor assignments for 16 stereo mixes and 32 receiver packs.

Artists utilizing Sennheiser wireless and wired microphones included Miley Cyrus, Blake Shelton and Reba McEntire – who also hosted the show – as well as presenters such as magician David Copperfield and U.S.M.C. Lt. Andrew Kinard. In addition, award winners Sugarland, Jake Owen and the Zac Brown Band all utilized Sennheiser.

Meanwhile, artists performing with Shure included Heidi Newfield, Toby Keith, George Strait, Lee Ann Womack, Keith Urban, Montgomery Gentry, and Carrie Underwood. Other Shure highlights featured Trace Atkins accompanied by the West Point Glee Club and Rascal Flatts closing the evening.

More details:

- Comprised of some of Nashville’s best studio musicians, the house band included Brent Mason on electric guitar, Glenn Worf on bass, Paul Franklin on steel guitar, Eddie Bayers on drums, and Steve Gibson on acoustic guitar. Shure hardwired mics figured prominently in the performances in the form of KSM32s on overheads, Beta 98s on toms, and SM57s on snare and guitar amps. Newcomer Jamey Johnson sang on a hardwired SM58, the same choice of John Rich.

- Many featured performers on the three-hour show also made use of Sennheiser’s G2 wireless monitor technology. McEntire opened the show on a wireless Sennheiser SKM 565 G2 vocal mic paired with an EM 550 G2 receiver, taking to the stage later in the telecast to perform her new single, “Strange.”

- McEntire was also outfitted with Sennheiser G2 wireless personal monitors, as were the majority of the artists performing on the show, including Brooks & Dunn, Heidi Newfield, Toby Keith, George Straight, Taylor Swift, Lee Ann Womack, Keith Urban, Miranda Lambert, John Rich, Miley Cyrus, Carrie Underwood, Sugarland and Rascal Flatts.

- The show opened with Brooks and Dunn, Taylor Swift, Rascal Flatts, and other A-list artists using Shure UR/SM58 wireless to sing a medley of hits.

- Sugarland joined the show-opening medley to perform part of “It Happens” using Sennheiser SKM 5200 RF handhelds fitted with MD 5235 capsules in combination with EM 3532 receivers, and made a second appearance later in the evening for a rendition of “What I’d Give.” The pair picked up the award for Top Vocal Duo, and McEntire also presented lead vocalist Jennifer Nettles with a Crystal Milestone Award. The honor was in recognition of Nettles being the first woman to be credited as the sole songwriter on the ACM’s song of the year, since Donna Fargo in 1972, for 2007’s “Stay.”

- Shure endorser Heidi Newfield and her Shure UR/SM58 mic took the stage shortly thereafter, as did Toby Keith singing into a Shure UR/KSM9 wireless handheld mic. Falling back into the gravitational pull of the Shure UR/SM58 like iron shavings orbiting a powerful magnet, George Strait, Lee Ann Womack, Keith Urban, and Shure endorser Montgomery Gentry each took their turn in the spotlight, as did Carrie Underwood, who sported additional dazzle by bringing her custom-studded UR/SM58.

- Miley Cyrus made her ACM Awards show debut with “The Climb,” sporting a handheld Sennheiser SKM 5200 with MD 5235 capsule with a unique custom white, metallic and chrome finish.

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- The show’s UR/SM58 highlight, however, came when Trace Atkins relied on the mic to sing “Till the Last Shot’s Fired” accompanied by the West Point Glee Club in support of Wounded Warrior Project, who were also captured by UR/SM58s. Rascal Flatts closed the evening with “Here Comes Goodbye,” done with UR/SM58s.

- Sennheiser artists Lady Antebellum, who have been touring with a stage full of Sennheiser equipment, also appeared on the telecast, performing “I Run To You.” Co-lead vocalists Hillary Scott and Charles Kelley regularly use the Sennheiser SKM 5200 wireless handheld, with Scott using an MD 5235 capsule, while Kelley favors the Neumann KK 105 S capsule. A Sennheiser EM 3532 receiver was paired with the two wireless microphones on the show. Background singer and multi-instrumentalist Dave Haywood was on a 935 capsule on a hardwired mic. At last year’s show the threesome picked up the ACM Award for Top New Duo or Group.

- The Sennheiser SKM 5200/MD 5235 combination was also put to use by Blake Shelton for his performance of his hit single, “She Wouldn’t Be Gone,” from a stage in the audience. Magician David Copperfield used the wireless mic and capsule pairing as he produced Taylor Swift from an apparently empty box for her performance on the show.

- Introducing Trace Adkins with the West Point Glee Club, while also announcing the ACM’s charitable Lifting Lives Foundation, U.S.M.C. Lt. Andrew Kinard also wielded an Sennheiser SKM 5200 RF handheld with MD 5235 capsule.

Sennheiser USA Website
Shure Website

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Monday, April 20, 2009

Sennheiser Introduces New Entry Level 2000 Series Wireless Microphone & IEM Systems

The series includes handheld and body-pack transmitters with single or twin receivers, and for monitoring, professional users can combine the diversity receivers of the series with single or twin monitor transmitters

Sennheiser is introducing the 2000 Series, a professional, entry-level wireless microphone system, at the 2009 NAB show in Las Vegas.

The series includes handheld and body-pack transmitters with single or twin receivers, and for monitoring, professional users can combine the diversity receivers of the series with single or twin monitor transmitters.

“The outstanding features of the 2000 Series are a high level of frequency flexibility and multi-channel capability with professional control via the Wireless Systems Manager software delivering a well-thought-out menu structure and superb audio quality,” explained Dawn Birr, product manager for professional wireless systems.

“In addition, the 2000 Series is backwards compatible with all generations of evolution wireless products and the familiar professional accessories of our 3000 and 5000 Series – including clip-on microphones, antennas, boosters and combiners.”

The 2000 Series makes setting up multi-channel systems fast and simple. Depending on the UHF range, the units have a switching bandwidth of up to 72 MHz in the US, in which up to 64 compatible frequency presets are available for microphones and up to 32 for monitoring systems.

The rack-mount units can transmit their frequency data, name, sensitivity, low cut, etc. to the corresponding portable transmitters or receivers via an infrared interface.

An antenna loop-through socket and an integrated active splitter allow up to eight rack receivers to be daisy-chained quickly and easily. The systems can be conveniently monitored and controlled by a PC, and for this purpose all rack-mount transmitters and receivers are equipped with an Ethernet socket.

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The Wireless Systems Manager provides a comprehensive range of functions and is currently the only software available on the market that can monitor and control semi-professional and professional microphone and monitoring systems of different generations at the same time.

In order to focus either on maximum operational reliability for multi-channel applications or on a greater range, depending on the application, the transmitter output power can be switched between 10, 30, 50 and 100mW.

The wide audio frequency response (25 Hz or 80 Hz to 20,000 Hz) and a sensitivity that is adjustable within a wide range also put the 2000 Series at the top of the list when it comes to audio transmission quality.

For the SKM 2000 handheld transmitter – in the Sennheiser design with its characteristic “fin” – all capsules from the popular evolution series can be used. From this coming July onward, the microphone head of the e 965 true condenser microphone will also be available for the handheld transmitter.

The body-pack transmitter is equipped with a special three-pole plug and can therefore be used with all professional clip-on microphones from Sennheiser’s range.

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The audio frequency response of the body-pack transmitter extends down as far as 25 Hz (line) to ensure full sound also from the bass guitar. The instrument cable is fitted with Neutrik’s silentPLUG.

As a special extra, the receiver has a built-in guitar tuner, eliminating the need for an additional tuner. And the preferences of ‘wired’ guitarists have not been forgotten either.

“For many guitarists, the cable provides part of the characteristic sound of their instrument, as the capacitance of the cable has an influence on the sound,” explained Birr. “Therefore, this effect can be emulated in four settings in the receiver menu to generate the preferred guitar sound.”

The monitoring system features a compact diversity receiver with metal housing. In addition to mono and stereo settings, the EK 2000 IEM also has the familiar Focus mode that allows users to set their personal mix of their own voice or instrument and the band.

At the monitor transmitters with their five-band graphic equalizer, the audio signal can be looped through to further transmitters, which means that the band signal has to be picked up only once at the mixing console before being made available to all band members.

All portable transmitters and receivers can be powered either by standard batteries or by rechargeable accupacks, and have external charging contacts (with the exception of the plug-on transmitter).

When switched off, the portable units have a very low power consumption, which means that the accupacks remain charged even during long periods without use.

The handheld transmitter, body-pack transmitter, and receiver of the 2000 Series will be available in May and the monitoring system in June. The MMK 965-1 microphone head of the evolution e 965 true condenser microphone will be launched in July.

Sennheiser USA Website

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