Monday, November 26, 2012

DPA Captures The Drama Of The Tango

Accordionist Richard Galliano relies on DPA’s d:vote 4099 Instrument Microphones to deliver the true acoustics sound of his live tribute to ‘King of Tango’ Astor Paizolla

Richard Galliano, a musician widely regarded as the world’s greatest living accordionist, is currently touring the world with a quintet of musicians to celebrate the life and works of his mentor, Astor Piazolla.

In order to deliver the true acoustic feel of Piazolla’s acclaimed tango music, the tour’s sound engineer Rémi Bourcereau has chosen eight DPA d:vote 4099 Instrument Microphones, which he is using for Galliano’s accordion and bandoneón and also for the violins, viola, double bass and cello played by Galliano’s quintet.

For the piano, Bourcereau is using two DPA 2011C twin diaphragm cardioid microphones, which are positioned on a stereo bar. All of these microphones were bought from DPA’s French distributor Audio².

“I first used DPA microphones a year ago on a different tour and was delighted with the results they gave me,” Bourcereau explains. “For this tour, we wanted the audience to feel as acoustically close to the instruments as possible and that is why I chose DPA. In close miking conditions they deliver a very natural sound, which is exactly what this type of music requires.”

Richard Galliano, who was born in 1950 of Italian/French parentage, was taught to play the accordion by his father when he was just four years old. In 1983 his musical talent was recognized by Argentine tango composer and bandoneón player Astor Piazolla, a man whose ability to integrate classical, modern and jazz music influences had elevated tango music to concert hall status and earned him the title of the ‘King of Tango’.

Piazolla invited Galliano to be the bandoneón soloist at the Comédie Française where his original music was being used to accompany William Shakespeare’s comedy A Midsummer Night’s Dream. This was the starting point of their decade-long friendship that lasted until Piazzolla passed away in 1992.

Galliano’s current tour, which is designed to mark the 20th anniversary of Piazolla’s death, has already taken him to numerous concert halls in the USA, Canada, South America and Europe. Most recently he has been in China where he performed a number of concerts in Guangzhou, Changsha, Shanghai, Wuhan, Xi’an, Beijing and Shenzhen.

“We have attached the DPA d:vote 4099s to Richard’s accordion and bandoneón using magnetic piano holders with scratch tape wrapped around the clips for added security,” Rémi Bourcereau says. “Richard is really enjoying the sound he is getting from the DPA microphones and, because they are now his regular microphones, he is finding that he can always get the dynamic that he wants.”

The other musicians in the quintet also appreciate the audio quality delivered by their DPA microphones – and the fact that having the same microphone in every venue means they know exactly how they are going to sound and don’t face any nasty surprises.

“The d:vote 4099s are very easy for the musicians to use because they simply clip onto their instruments – something that is really helpful when you are on tour,” Bourcereau says. “From my point of view, I’m really happy with the sound the DPA microphones are delivering, especially with the strings. The d:vote 4099s have a good sounding off axis response and this brings a lot of acoustic coherence on strings.”

Richard Galliano’s Piazolla tribute tour will continue into 2013, taking in more European dates. DPA microphones are now a permanent feature of this tour, ensuring the highest possible audio quality in every venue.

DPA Microphones

Posted by Keith Clark on 11/26 at 11:39 AM
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Monday, November 19, 2012

Shure Announces Finalists Of Ninth Annual Fantastic Scholastic Recording Competition

Ten academic institutions compete for more than $10,000 in Shure gear

Shure Incorporated today announced the ten university and college institutions that have been randomly selected to move onto the final round of its ninth annual Fantastic Scholastic Recording Competition.

In its ninth consecutive year, Shure’s recording contest gives students across the country the unique opportunity to have access to the same legendary, high-quality Shure equipment used by professional musicians and engineers.

This year’s finalists include the following schools:

Anderson University, Anderson, IN
Appalachian State University Hayes School of Music, Boone, NC
Belmont University, Nashville, TN
Berklee College of Music, Boston, MA
Ex’pression College for Digital Arts, Emeryville, CA
Peabody Institute of the John Hopkins University, Baltimore, MD
Purchase College, Purchase, NY
University of Miami Frost School of Music, Coral Gables, FL
University of North Alabama, Florence, AL
University of South Carolina, Columbia, SC

For the next three months, students from the selected schools will practice and record original composition projects using a microphone locker provided by Shure. The contents of this locker includes two KSM313, two KSM32, two KSM44A, one KSM42, two KSM141, four SM57, two SM27, one Beta 52A, one Beta 57A, one Beta 91A, three Beta 98AMP, two Beta 181/S each with an additional Omni capsule, one SM7B, one VP88, and one A27M. This year, schools will also receive six pairs of SRH440 headphones, which can be kept following the competition period. Musical content is created at the discretion of team members, but must include no less than one vocal track.

All finalists will submit their original music pieces before a judge’s panel comprised of renowned musicians and seasoned industry professionals. Projects will be evaluated based on overall fidelity, clarity, sonic balance, and creativity in selection and placement of the microphones. At the conclusion of the judging process, Shure will announce the grand prize, runner-up, and honorable mention winners. The grand prize winner will receive an assortment of KSM, SM, and Beta products, valued at more than $10,000. Additionally, students from the top three finalist teams will receive prizes ranging from a KSM42 microphone, valued at $999, to SRH840 headphones, valued at $250.

“We’re proud to continue this competition to help foster the creativity of the student teams, and give them an opportunity to use the same equipment being used by some of today’s top recording engineers,” said Terri Hartman, Director of Marketing Communications for the Shure Americas Business Unit. “We wish all of the finalists the best of luck and are eager to hear about their experiences.”

Winners of the Fantastic Scholastic Recording competition will all be announced on or about April 29, 2013.

Shure Incorporated {extended}

Posted by Keith Clark on 11/19 at 11:42 AM

Wednesday, November 14, 2012

Sennheiser Offering Rebate Program For Wireless And Wired Microphones

Applies to evolution Wireless G3 and XS Wireless, and select wired microphones

Sennheiser is offering end-user rebates on evolution Wireless G3, XS Wireless and select wired microphones, valid on all systems purchased from an authorized U.S. Sennheiser dealer between November 1, 2012 and December 31, 2012.

During the promotion, customers can take advantage of the following rebates on Sennheiser wireless systems:

—XS and G3 LE: $25 rebate
—ew 100 (excluding EW 100 ENG): $50 rebate
—ew 300 and EW 100 ENG: $75 rebate
—ew 500: $100 rebate
Sennheiser is also offering rebates on the following wired microphones:

—e609, e614 and e835: $10 rebate
—e906, e914, e935 and MD 421: $20 rebate
—e965, Neumann KMS 104, Neumann KMS 105: $30 rebate
To receive a rebate on eligible products, customers will need to mail the following to Sennheiser following their purchase:

—A completed rebate form, which can be downloaded from the Sennheiser website at http://www.sennheiserusa.com/micrebate
—The original UPC code (no photocopies will be accepted)
—A copy of the sales receipt, dated between November 1, 2012 and December 31, 2012, from an authorized Sennheiser dealer for a product listed above.

All rebates must be postmarked no later than January 31, 2013.


Posted by Keith Clark on 11/14 at 10:59 AM
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Shure Wireless Systems Called Upon For “Country Music’s Biggest Night”

Artists and engineers rely on UHF-R and PSM1000 systems for 46th CMA Awards

Shure wireless and personal monitor systems were utilized for a range of live performances by country music’s top artists at the recent 46th annual Country Music Association (CMA) Awards show held at the Bridgestone Arena in Nashville and airing live on ABC-TV.

This year, monitor engineers Jason Spence and Tom Pesa relied on Shure PSM 1000 personal stereo monitor systems for most of the live performances.

“The PSM 1000 system has become one of my cornerstones for providing a solid mix to the performers on this show,” says Spence. “Delivering clean, dynamic audio with rock solid RF has never been better.”

Specifically, Spence and Pesa used 16 channels of PSM 1000 with more than 50 receivers.

In addition, Shure endorsers Little Big Town (Jimi Westbrook, Kimberly Schlapman, Karen Fairchild, and Phillip Sweet), who won Vocal Group of the Year (their first CMA Award win), performed “Pontoon” using Shure UR2/SM58.

Several other Shure endorsers also performed using UHF-R wireless systems with SM58 transmitters, including Dierks Bentley, Luke Bryan, Brad Paisley, and Vince Gill. The Band Perry also performed, although they opted for UR2/KSM9.

Most of the other performances also used Shure UHF-R wireless and PSM 1000 systems, including those by Hunter Hayes (UR2/SM58), Faith Hill (UR2/SM58), Taylor Swift (UR2/Beta 58), Eli Young Band (UR2/SM58), Brantley Gilbert (UR2/SM58), Keith Urban (UR2/SM58), Kenny Chesney (UR2/KSM9HS), Willie Nelson (UR2/SM58), and Kelly Clarkson (UR2/SM58).

“It’s no surprise to me that a majority of the artists on this show are relying on Shure UHF-R wireless systems with the SM58 capsule for their performances,” states audio producer Paul Sandweiss before the broadcast. “The RF stability and sound quality continue to be the benchmark.”

In all, the 16 channels of UHF-R and all of the PSM 1000 systems were used during the evening’s performances, provided by ATK Audiotek.


Posted by Keith Clark on 11/14 at 09:54 AM
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Aladdin The Musical Opens With DPA

The combination of exceptional sound quality and discrete wearability makes DPA the microphones of choice for both cast and orchestra

Denmark’s Fredericia Theatre is using an extensive selection of DPA microphones to capture the audio for a very special musical production of the Disney classic Aladdin.

All of the cast members are using DPA d:fine Headset Microphones, which were chosen for their discrete size, comfort and exceptional sound quality.

DPA microphones also feature heavily in the orchestra pit, where a combination of DPA d:vote™ 4099 Instrument Microphones, 2011C twin diaphragm cardioid microphones and 4015C wide cardioid microphones are handling the audio requirements.

The Fredericia Theatre’s Aladdin production, which premiered on October 4th 2012, is a significant endorsement of the theatre’s ability to produce exceptional musicals. After hearing glowing reviews from a number of US directors who had worked at the Fredericia, the Disney Group chose the theatre as its only European partner for this brand new musical.

Søren Møller, Artistic and Executive Director of the Fredericia Theatre, says: “We are thrilled that our theatre is one of only five in the world that Disney has asked to partner with – and the only one in Europe. At the Fredericia, we are committed to the development of new musical theatre and the presentation of Danish and European premieres.

“Our focus is very much on nurturing talent to support our productions and for the last 12 years we have been working closely with the Danish Musical Academy, a school for musical performers that now delivers approximately 80% of our cast members. We also take technical innovation very seriously and like to partner with equipment manufacturers so that we can push the boundaries in terms of what can be achieved.

“DPA fits this brief perfectly because its products offer very high quality audio and its headset microphones are so discrete that they don’t deter from the casts’ performance.”

For the Aladdin production Lars Frederiksen, director of DPA’s Danish dealer Alfa Audio, supplied 40 dual-ear, omni directional d:fine Headset Microphones – 20 with long booms and 20 with mid-length booms.

Tim Andreasen, the theatre’s sound director, says: “I wanted to get as close to the sound source as possible, which is why we didn’t go for the really short boom. By having a selection of long and mid-length booms we could pick exactly the right length for each cast member so that the microphones were on the side of their faces where they didn’t show, but were still very close to their mouths.

“From an audio perspective they sound great and are so discrete that they blend in perfectly. I also love being able to change a microphone without having to detach its cable. This is a really useful feature when you are doing a live performance and don’t want to disturb the actor too much.”

At the request of the theatre, DPA also supplied one of the d:fine microphones in a special blue color so that it blends in with the genie’s theatrical make-up.

“I was really delighted that DPA went the extra mile to create a blue microphone for our genie,” Andreasen adds. “It blends in perfectly with his color and is hardly visible to the audience, which was the effect we wanted to achieve. All of our other d:fines are brown and when I first saw them I thought they might be too dark, but when the cast have their make up on and have their hair done, the mics suddenly disappear. Brown is actually a great color for this production.”

The production also uses four DPA 4061 omnidirectional miniature microphones to capture the sound of Aladdin and the genie’s feet when they are tap dancing.

“During their tap dancing scenes we place one microphone in each leg of their trousers and fix them with tape so the microphones are just sticking out below the hem,” Andreasen explains. “We have tried this before and find it works much better than placing mics on the floor.”

For the orchestra, Andreasen selected a package of DPA microphones that includes 16 d:vote 4099 instrument microphones, 2011C twin diaphragm cardioid microphones and 4015C wide cardioid microphones.

“The 2011C microphones are used for the horns and reed instruments, as well as for overhead micing,” he says. “I chose this model because it delivers exceptional sound quality and because I particularly like it’s off axis response. These groups of instruments are placed close together and the ‘bleed’ from the different microphones sounds really good – you feel that you are very close to the sound source even if you are actually a bit further away.

“For percussion I am using three DPA 4015C microphones that are carefully spaced around the instruments so that the overall sound feels very intimate.”

Andreasen adds that he is also using DPA d:vote 4099 instrument microphones for specific instruments that really benefit from close micing, most notably the drums, strings, bass and woodwinds.

“It is hard to balance a bunch of different instruments without close micing everything but the DPA microphones we have chosen and the positions in which we have placed them has resulted in a fantastic overall sound,” he says. “DPA have always been my favorite microphones for theatre work and for this production they are perfect. We carry out some EQ-ing, although nothing at the low end. Our approach to EQ is to only use it where we want to make a particular part of the sound stand out in the mix.”

The Fredericia Theatre’s production of Aladdin has been so well received by audiences and reviewers that the run has been extended until November 25th. DPA is delighted to have played a part in this unique European musical success.

DPA Microphones

Posted by Keith Clark on 11/14 at 07:26 AM
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Monday, November 12, 2012

Audio-Technica Provides Microphone Solutions At 2012 CMA Awards

More than 200 A-T mics for Country Music's Biggest Night

Audio-Technica is celebrating its 19th year of supporting the Country Music Association (CMA) Awards by providing an extensive selection of vocal and instrument microphones for its annual awards show.

The 46th Annual CMA Awards aired live in 5.1-channel surround sound on Thursday, November 1, 2012, on the ABC Television Network from the Bridgestone Arena in Nashville, and featured over 200 Audio-Technica microphones, including an array of hard-wired mics and Artist Elite 5000 Series UHF wireless systems. .

The CMA Awards presentation is recognized as Country Music’s Biggest Night and represents the pinnacle of achievement for those involved in country music.

The team responsible for the audio at this year’s CMA’s again included a who’s who of broadcast audio. The audio was supervised by award-winning audio producers Tom Davis and Paul Sandweiss; ATK/Audiotek provided the sound system with FOH (front-of-house) mixers Patrick Baltzell and Rick Shimer; the broadcast music mix was handled by New Jersey/California-based M3’s (Music Mix Mobile’s) John Harris and Jay Vicari. Stage monitoring was handled by Tom Pesa and Jason Spence.

Audio-Technica’s Artist Elite 5000 Series UHF wireless system with the AEW-T6100 hypercardioid dynamic handheld microphone/Transmitter was used for lead vocals by A-T endorser Jason Aldean, who opened the show performing “The Only Way I Know.” Aldean later returned in the show to perform his hit “Take A Little Ride.”

The backline mic complement of A-T wired microphones included the AT4080 phantom-powered bidirectional ribbon microphone on guitars; AT4050 multi-pattern condenser microphone on guitars and bass; AT4040 cardioid condenser microphone on overheads; AE2500 dual-element cardioid instrument microphone on kick drum; AE5100 cardioid condenser instrument microphone on hi-hat and ride cymbals; AE5400 cardioid condenser microphone on rotary speaker top and AT4050 on rotary speaker bottom; ATM650 dynamic instrument microphone on snare; and ATM350 cardioid condenser clip-on microphone on toms and fiddle/violin.

Tom Davis states, “Audio-Technica has been a longtime go-to microphone for the CMA Awards, based on their reliability and performance. Their ability to deliver clean, clear, consistent audio makes them exactly what I need when choosing microphones for this awards show.”


Posted by Keith Clark on 11/12 at 05:35 PM
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Wednesday, November 07, 2012

Shure Axient Wireless Drives Audio For Volkswagen At 2012 International Auto Shows

Serves as high-performance wireless engine for shows in Beijing and Paris

The new Shure Axient system proved to be the high-performance wireless engine behind Volkswagen’s 2012 trade show presence, providing flawless audio across the exhibit floors at the 2012 Beijing International Automobile Exhibition and The 2012 Paris Motor Show.

Volkswagen contracted Swiss rental company Winkler Multi Media Events to manage any potential interference issues posed by the challenging spectrum environments at the shows.

The first event in Beijing required the system’s design team to create a wireless blueprint that would deliver uncompromised audio performance at Volkswagen’s exhibit showcase — despite 230,000 meters of crowded exhibition area, 8,000 attendees, and more than 2,000 exhibitors.

Axient emerged as the solution, according to Sebastian Hornung, head of audio engineering of Winkler Multi Media Events, who cited the system’s Spectrum Management tools in Shure’s Wireless Workbench software, Frequency Diversity, and Interference Detection and Avoidance as key factors for maximizing reliability during these exhibitions.

Hornung explains, “Axient solves the interference problems and allows secure and safe wireless transmission. The system affords our team an unparalleled level of control and flexibility that helps us navigate complicated RF environments with a stable and reliable signal.”

In Beijing, Winkler relied on the AXT400 dual channel receiver to produce 11 channels, five of which benefited from Axient’s Frequency Diversity function that enables full-bandwidth audio from a single source on two separate frequencies to produce clean, uninterrupted performances.

The automotive industry is not exempt from the normal demands of a live trade show.

“A major challenge in these settings is the increasing number of time constraints on show setup. Additionally, spokespersons often arrive at the stand within a couple of minutes of the show’s start time, removing any opportunity for our team to conduct a sound check with presenters onsite,” Hornung says. “This is where Axient’s Remote Control lends a huge advantage, as gains can be set and frequencies changed remotely in real time.

“Prior to using Axient, we always had to swap transmitters, which would interrupt sound check in an already time-limited situation, and now we have the Remote Control function to accommodate on-the-fly adjustments,” adds Hornung.

Following the successful show in Beijing, Winkler again selected Axient to use at Volkswagen’s exhibit during the recent Paris Motor Show. There, the Axient systems configuration included three channels on Frequency Diversity with beltpacks, along with 12 channels operating in single mode.

“Two major shows were executed without a hitch, and, more importantly, we didn’t have to worry about spectrum or interference issues. This wasn’t always the case in the past and Axient’s robust feature set gets the credit for combating hostile wireless environments, thus eliminating the headaches typically synonymous with live exhibitions,” comments Hornung.

Axient systems will also support Volkswagen’s presence at North America’s upcoming Detroit Auto Show in January 2013.

Go here for more information about Axient.


Posted by Keith Clark on 11/07 at 04:07 PM
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Tuesday, November 06, 2012

Performers Using Sennheiser Score Big At 46th Annual CMA Awards

Roster of Sennheiser users performing included Blake Shelton, Miranda Lambert, Lady Antebellum and Zac Brown Band

During the 46th Annual Country Music Association (CMA) Awards last Thursday, Sennheiser users including Blake Shelton, Miranda Lambert, Lady Antebellum and the Zac Brown Band were at the fore, delivering performances through Sennheiser transmitters, capsules and wireless systems.

Shelton took home the coveted “Entertainer of the Year” and “Male Vocalist of the Year” awards and also took part in a “Lifetime Achievement Award” performance honoring Willie Nelson along with Lady Antebellum. Lambert was also recognized with “Female Vocalist of the Year.”

“Song of the Year” also went to Shelton and Lambert - the first married couple to ever win the award. The duo wrote the song in memory of Shelton’s brother, who passed away many years ago.

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

RF Consultant James Stoffo reports that 12 Sennheiser EM 3732-II receivers were used for the show, along with Sennheiser SKM 5200 and SKM 2000 wireless transmitters.

Shelton, Lady Antebellum and the Zac Brown Band all chose an SKM 5200 transmitter and a Sennheiser MD 5235 dynamic capsule combination to help their vocals cut through the often-loud stage volumes, whereas Lambert opted for a customized pink SKM 2000 and Sennheiser MMD 935-1 capsule combo. Throughout the evening, hosts also used a SKM 5200 paired with a MD 5235 capsule.

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

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

This broad range of microphones included:

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

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


Posted by Keith Clark on 11/06 at 02:09 PM
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Behringer Releases Q Series Mixers With Klark Teknik FX & Wireless Technology

Configurations ranging from five to 24 inputs

Behringer has announced the availability of new XENYX Q Series USB mixers.

With configurations ranging from five to 24 inputs, the new Q Series mixers offer Behringer’s XENYX microphone preamps for ultra-low noise, high headroom operation.

Neo-classic “British” EQs allow gentle or even drastic sound shaping for any input signal.

Select models feature switchable phantom power plus dedicated “wireless-ready” integration for Behringer’s upcoming ULM Series digital wireless microphones.

Q Series mixers also offer built-in USB/audio interfaces, “one-knob” mono channel compressors and Klark Teknik FX engines ensure.

In addition, Behringer offers a downloadable library of free recording and editing software, allowing any Mac or PC computer to serve as an audio workstation. 

Q Series Features:

—10 phantom-powered XENYX Mic Preamps comparable to stand-alone preamps

—8 compressors with “one-knob” functionality and control LED

—Klark Teknik FX processor with LCD display, dual-parameters, tap function and storable user parameter settings

—Channel inserts and direct outputs on each mono channel plus main mix inserts for flexible connection of outboard equipment

—Four aux sends per channel: two pre/post fader switchable for monitoring/FX applications, two post fader (for internal FX or as external send)

—Clip LEDs, mute, main mix and subgroup routing switches, solo and PFL functions on all channels

—Four subgroups with separate outputs for added routing flexibility; four multi-functional stereo aux returns with flexible routing

—Control room/phones outputs with multi-input source matrix; rec inputs assignable to main mix or control room/phones outputs

—Long-wearing 60-mm logarithmic-taper faders and sealed rotary controls

—Switching power supply for maximum flexibility (100 - 240 V~)

All models are covered by the company’s three-year limited warranty.


The MUSIC Group

Posted by Keith Clark on 11/06 at 11:06 AM
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Saturday, November 03, 2012

Audio-Technica Microphones, Wireless Systems Provide Big Support At 2012 CMA Awards

Celebrated 19th year of support by supplying more than 200 mics

Audio-Technica celebrated its 19th year of supporting the Country Music Association (CMA) Awards by providing an extensive selection of vocal and instrument microphones for its annual awards show.

The 46th Annual CMA Awards aired live in 5.1-channel surround sound last week on ABC from the Bridgestone Arena in Nashville, and included more than 200 Audio-Technica microphones, including an array of hard-wired mics and Artist Elite 5000 Series UHF wireless systems.

The team responsible for the audio at this year’s CMA’s again included a who’s who of broadcast audio. The audio was supervised by award-winning audio producers Tom Davis and Paul Sandweiss; ATK/Audiotek provided the sound system with FOH (front-of-house) mixers Patrick Baltzell and Rick Shimer; the broadcast music mix was handled by New Jersey/California-based M3’s (Music Mix Mobile’s) John Harris and Jay Vicari. Stage monitoring was handled by Tom Pesa and Jason Spence.

Audio-Technica’s Artist Elite 5000 Series UHF wireless system with the AEW-T6100 hypercardioid dynamic handheld microphone/transmitter was used for lead vocals by A-T endorser Jason Aldean, who opened the show performing “The Only Way I Know.” Aldean later returned in the show to perform his hit “Take A Little Ride.”

The backline mic complement of included AT4080 phantom-powered bidirectional ribbon microphones on guitars; AT4050 multi-pattern condenser microphones on guitars and bass; AT4040 cardioid condenser microphone on overheads; AE2500 dual-element cardioid instrument microphones on kick drum; AE5100 cardioid condenser instrument microphones on hi-hat and ride cymbals; AE5400 cardioid condenser microphones on rotary speaker top and AT4050 on rotary speaker bottom (used by Gregg Allman with the Zac Brown Band); ATM650 dynamic instrument microphones on snare; and ATM350 cardioid condenser clip-on microphones on toms and fiddle/violin.

Davis states, “Audio-Technica has been a longtime go-to microphone for the CMA Awards, based on their reliability and performance. Their ability to deliver clean, clear, consistent audio makes them exactly what I need when choosing microphones for this awards show.”


Posted by Keith Clark on 11/03 at 10:01 AM
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Wednesday, October 31, 2012

Audio-Technica Debuts System 10 Digital Wireless System

Operates in the 2.4 GHz range

Audio-Technica has introduced the System 10 Digital, a new digital wireless microphone/instrument system.

System 10 Digital operates in the 2.4 GHz range, making it immune to TV and DTV interference. Up to eight channels may be used together without frequency coordination problems or group selection issues

The new system also offers instantaneous channel selection, sync and set-up. Receivers and transmitters offer an easy-to-read digital ID display.

System 10 offers three levels of diversity: frequency, time, and space.

Frequency diversity sends the signal on two dynamically allocated frequencies for interference-free communication.

Time diversity sends the signal in multiple time slots to maximize immunity to multipath interference.

Finally, space diversity uses two antennas on each transmitter and receiver to maximize signal integrity.

The System 10 includes the ATW-R1100 single-channel receiver offering volume control as well as AF Peak and Pair indicator lights, joined by either a UniPak bodypack or handheld transmitter. 

Multiple system configurations are available, with bodypack transmitters designed for use with lavalier, headworn and instrument microphones, as well as electric guitars.

System 10 products and pricing (MSRP):

ATW-1101 UniPak transmittter: $489.95
ATW-1101/G Guitar system: $524.95
ATW-1101/H Headworn microphone: $614.95
ATW-1101/H92 Miniature headworn microphone:$664.95
ATW-1101/L Lavalier microphone: $614.95
ATW-1102 handheld microphone: $524.95

Audio-Technica System 10 packages will be available in November 2012. For more information, please visit


Posted by Keith Clark on 10/31 at 09:42 AM
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Monday, October 29, 2012

TELEFUNKEN Introduces New M81-WH Wireless Microphone Capsule At AES 2012

TELEFUNKEN Electroakustic is introducing the new M81-WH wireless capsule head at AES 2012 in San Francisco. Designed for use with the Shure brand wireless microphone transmitters, the M81-WH features the same physical and sonic characteristics as the M81 Universal Dynamic.

TELEFUNKEN Electroakustic of South Windsor, CT is introducing the new M81-WH wireless capsule head at AES 2012 in San Francisco. Designed for use with the Shure brand wireless microphone transmitters, the M81-WH features the same physical and sonic characteristics as the M81 Universal Dynamic.

In comparison with the M80-WH, the TELEFUNKEN M81-WH retains the same minimal proximity effect, superior feedback rejection, and articulate mid-range, however, the top end is pulled back a bit, yielding a flatter overall frequency response.

This combination results in a microphone with a wealth of body and clarity, making it a great tool for taming brighter vocals.

Over the past few years, the performance of TELEFUNKEN’s M80-WH has been likened to that of a condenser microphone and has become a staple for vocal applications, especially in the world of touring and live performance. The new M81-WH delivers that same high-level of performance, just with a different sonic fingerprint.

TELEFUNKEN Electroakustic

Posted by Keith Clark on 10/29 at 01:39 PM

Friday, October 26, 2012

Opera Looks To Lectrosonics For Wireless Infrastructure

Sound quality, RF agility, and compact form factor crucial aspects for space-themed project

The International Space Orchestra is the world’s first orchestra of space scientists. Blending space exploration with musical performance; the International Space Orchestra’s members are individuals drawn from NASA Ames Research Center, SETI (Search for Extra-terrestrial Intelligence), Singularity University, and the International Space University.

The world premiere of Ground Control: An Opera in Space— a staged concert inspired by mission control rooms—was performed live by the International Space Orchestra on September 13th.

Produced by the Nelly Ben Hayoun Studio with the kind support of Phoebe Greenwood, a documentary film titled International Space Orchestra: Making Of, will debut in November. In each case, Lectrosonics wireless microphone technology was an integral component to the success of these projects.

Sound designer and mix engineer Alan Chang served as the A1 Supervising Sound Mixer for the projects. Due to the complexities and the size of the cast on these projects, Chang used a large assortment of Lectrosonics wireless microphone technology.

His arsenal included three fully-stocked Lectrosonics Venue receiver systems that were outfitted with a combination of VRS and VRT receiver modules. Augmenting the twenty-four channels afforded by the Venue mainframes, he also used three Lectrosonics UCR411a compact receivers. Feeding these receivers was a contingent of twelve Lectrosonics LMa beltpack transmitters, five UM400a beltpack transmitters, two UM200C beltpack transmitters, one SMQV super-miniature beltpack transmitter, one SMa super-miniature beltpack transmitter, one UT400 handheld transmitter, one HM plug-on transmitter, and one UH400TM plug-on transmitter.

“Most of the transmitters were worn by the choir members as well as several key musicians and all were outfitted with Sanken COS-11D ultra-miniature omnidirectional lavaliere microphones,” Chang reports. “The handheld and plug-on transmitters were used for the Q&A talk series that included several of NASA Ames’ finest engineers and scientists.

“One of the most important pieces of wireless equipment we used was the UH400TM because of the convenience of deploying it out in the audience and staging areas for speaker and room responses. 

“The ease of moving a wireless transmitter provided us tremendous freedom and time—without having to stretch stacks of microphone cables around the venue.”

Chang was equally enthusiastic about the Lectrosonics Venue receivers systems and their ability to pack as many as six channels into a 1 RU rackmountable form factor.

“We needed to keep the entire package as neat and tidy as possible,” he explained, “so the ability to have six channels in a single rackspace was a huge benefit in addition to the low-profile RF Diversity Fin Antenna from RF Venue.  Completing our wireless setup was a Lectrosonics T4 IFB transmitter and four R1a IFB receivers that we used for the camera links.”

When discussing those attributes of the Lectrosonics wireless equipment that were most important for this project, Chang was quick to point to several features.

“Sound quality comes first when deciding on what wireless equipment to use, and among all major wireless companies, Lectrosonics has a big advantage. Their Digital Hybrid Wireless technology sounds far more natural than any wireless systems using compandors.

“Equally important is the equipment’s ease of use. We had the gear set up on several different frequency blocks and configuring everything is a very straight forward process—so that in itself is a big time saver.

“And the fact that the gear is incredibly reliable and that transmitters like the SMQV are so incredibly small are the icing on the cake.”

Reflecting on the success of both the project and his use of the Lectrosonics wireless equipment, Chang offered these parting thoughts, “With twenty-one choir members dressed and acting as mission control staffers plus several key musicians all miked up—and let’s not forget the Q&A exchange with the audience—there was a lot to keep track of.

“Now figure in the fact that we sent IFB’s and camera hops to all camera operators during the performance. This was a big wireless setup and everything worked out really well for us. As Neil Armstrong would have said in 1969, ‘One small step for man, one giant leap for Lectrosonics.’ We couldn’t be happier with the outcome!”

Posted by Keith Clark on 10/26 at 10:38 AM
Live SoundRecordingNewsConcertDigitalMicrophoneWirelessAudioPermalink

Thursday, October 25, 2012

Professional Wireless Systems Frequency Coordination Rocks Out 2012 Austin City Limits Festival

On-Site Expert Team Ensures Solid RF Coverage for Annual Three-Day Event

Professional Wireless Systems (PWS) was backstage when the 11th annual Austin City Limits Music Festival took place in the eclectic city’s Zilker Park earlier this month.

PWS set up and coordinated the performers’ wireless microphones, along with other communication elements, for the three-day music spectacular.

Responsible for managing 350 frequencies per day across eight stages for artists and the media, PWS’ four-person crew worked closely with the festival’s producer, C3 Presents, to ensure all wireless microphones, in-ear monitors and show communications were properly coordinated and operating flawlessly.

“When dealing with a festival of this size, and with so many artists and media bringing their own equipment, pre-planning is essential,” says Jimmy Van Winkle, general manager, PWS. “We do our homework ahead of time so that when we arrive at the location, we know what we are walking into and are prepared for it.

“You always have to expect last-minute challenges, but our team of experts has worked hard to earn the reputation we have and does a fantastic job.”

In order to ensure proper frequency coordination, PWS sent out coordination forms to stage managers and media representatives attending the event. These forms detail the frequencies and model numbers of the microphones, in-ear monitors and communications devices that will be in use at the festival, to help eliminate the potential for signal interference.

Once on site, PWS also actively searches for users who haven’t submitted their RF needs ahead of time, providing them with available frequencies.

In addition to managing frequency coordination, PWS lent two of its Domed Helical Antennas to the music festival.

Launched in late 2011, the PWS Domed Helical Antenna boasts the highly successful circular polarization configuration, pioneered by the company’s original Helical, but with the unit sealed within a unique new compact “domed” design.

Thanks in part to its unique characteristics and ability to offer extreme flexibility of use, the PWS Domed Helical Antenna has become the industry standard for multi-channel wireless microphone, in-ear and intercom systems. With an inherent boost in gain, greater bandwidth and dropout-free polarization, it truly outshines the performance of traditional antenna designs. Inconspicuous and robust, it is ideal when the requirements of aesthetics and function can’t be compromised. It also holds up to considerable road-related abuse.

Founded in 2001, The Austin City Limits (ACL) Music Festival is a yearly American music event that brings together more than 130 acts from all over the world to play rock, indie, country, folk, electronic and more on eight stages. It hosts more than 200,000 people and has featured a diverse range of bands. This year, it presented such artists as The Black Keys, Neil Young and Crazy Horse, Jack White, Red Hot Chili Peppers, Weezer and The Roots.

Professional Wireless Systems (PWS)

Posted by Keith Clark on 10/25 at 10:34 AM
Live SoundNewsConcertMicrophoneMonitoringStageWirelessAudioPermalink

Wednesday, October 24, 2012

Revolabs Introduces Hybrid HD Microphones & XLR Adapter

Designed specifically for Revolabs HD wireless audio systems

Revolabs has announced the release of new Hybrid HD microphones and XLR adapter, designed for conferencing installations requiring a powered audio solution.

Constantly powered and located around the conference table, the wired Hybrid microphones and XLR adapters provide optimized audio pick up during meetings.

For meetings where wireless operation is required, the microphones can easily be removed from the power source and placed where required around the table.

“Responding to feedback from our key integration partners and customers, we are pleased to announce the Hybrid HD microphones and XLR adapter for applications requiring little or no user intervention,” says Marc Cremer, COO at Revolabs. “The Revolabs Hybrid HD products combine the best of both wired and wireless microphones into one versatile solution. And no matter how long a meeting may last, users never have to worry about a microphone losing power.”

Offering plug-and-play functionality, Hybrid HD microphones and XLR adapter simplifies the administration and installation of audio systems in any room. Power is available at conference room tables, and the wireless audio connection insures that installers do not have to run new microphone cable.

Powered yet functioning wirelessly, Hybrid HD products also provide ease of use for unfamiliar users, alleviating the need for any setup prior to the beginning of a meeting or the need to return microphones to a charger tray after the meeting has concluded.

Designed specifically for Revolabs HD wireless audio systems, the Hybrid HD microphones and XLR adapter utilize “Designed for Speech” HD audio technology to provide crystal-clear audio.

Integrated RF Armor technology makes audio impervious to GSM noise from cell phones, avoiding unwanted audio interference. To keep meetings private, the microphones also offer secure 128-bit encryption technology.

Hybrid HD microphones are available in omnidirectional and directional tabletop versions, and come complete with a power supply.

The Hybrid HD XLR adapter provides audio coverage for any dynamic gooseneck microphone (sold separately) with an XLR connection. This allows for the easy installation of gooseneck microphones in any room without having to run audio wires.

To reduce the number of power outlets required for the Hybrid HD solutions, Revolabs offers users the ability to power four microphones with one power supply with its Hybrid 4 Multi Microphone Power Adapter Kit, sold separately.


Posted by Keith Clark on 10/24 at 05:11 AM
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