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
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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
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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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Thursday, October 18, 2012

Audio-Technica Mics Continue To Capture Sound For Presidential Debate Series At October 16 Town Hall

A-T mics chosen for all four debates (three presidential, one vice presidential)

Audio-Technica supplied microphones used for both candidates, the moderator and audience participants at the third debate in the 2012 presidential campaign on October 16 at Hofstra University in Hempstead, NY.

Larry Estrin of Best Audio, Studio City, CA, who serves as audio and production communications director for the Commission on Presidential Debates (CPD), chose A-T for each of the four debates in the series.

Products used included A-T’s 5000 Series wireless with AEW-T5400a condenser handheld transmitters and AEW-R5200 receivers for President Barack Obama and Governor Mitt Romney (allowing the candidates to freely roam while answering the evening’s questions), while AT898cW subminiature cardioid condenser lavalier microphones with AEW-T1000a bodypacks (doubled for redundancy) were provided for moderator Candy Crowley.

In addition, AE6100 hypercardioid dynamic handheld (wired) microphones, connected to an Audio-Technica AT-MX351a SmartMixer 5-channel mixer, were supplied for audience members asking questions of the candidates. A-T BP4071 Line + Gradient condenser microphones captured room ambience.

Candidate backup mics, required for redundancy, were additional AT898cW units with AEW-T1000 bodypacks and AEW-R5200 receivers.


Posted by Keith Clark on 10/18 at 04:24 PM
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Lectrosonics Digital Hybrid Wireless Chosen To Upgrade Audio Quality At Finland Theatre

A total of 22 channels of wireless for a variety of productions

Designed by Alvar Aalto and built in 1982, the Jyväskylä City Theatre, in Jyväskylä, Finland, is the largest venue of its type in this city of roughly 132,000 people, and as such, it is home to a broad assortment of cultural activities, including concerts, musical theatre, and opera.

The venue recently sought to upgrade its audio presentation, choosing to do so with Lectrosonics wireless microphone systems incorporating the company’s Digital Hybrid Wireless technology. Noretron Broadcast Ltd of Kirkkonummi, Finland, handled the sales and installation of the theatre’s new wireless system, a process headed by company owner Timo Vilmi.

“The Jyväskylä City Theatre has two rooms, with the main stage having seating for 551 people and the secondary room being far more intimate in character—with seating for 98 people,” Vilmi explains. “As the premiere facility of its kind in this region, we wanted to ensure the best possible audio quality and the highest level of reliability. Mika Filpus, the theatre’s chief sound engineer, evaluated several brands and, based upon his findings, ultimately selected Lectrosonics.”

Specifically, the Noretron Broadcast team deployed 22 Lectrosonics SMDB/E01 super miniature beltpack transmitters and two HH/E01 handheld transmitters. On the receiver side of the equation, there are four Lectrosonics WRMWB Venue Series/E01 receiver mainframes—with all but one of the 6-channel systems fully stocked with VRT receiver modules for a total of 22 channels.

Lectrosonics ALP650 skeletal design Log Periodic Dipole Array antennas augment the system, as do RM remotes, which enable audio technicians to modify audio input gain, RF operating frequency, lock/unlock the front panel controls, and enable/disable Sleep Mode on the SMDB/E01 transmitters.

“Audio quality was the first and foremost concern,” states Vilmi, “and this is precisely why the Lectrosonics gear was chosen. Lectrosonics’ Digital Hybrid Wireless technology sounds exceptional and exhibits none of the sonic artifacts one typically encounters with systems using a compandor. The SMDB/E01 transmitters are extremely small and, as a result, are easy to hide among wardrobe, so they’re a great choice for theatrical applications—and with the RM remote, an audio tech can make changes to the transmitter without interfering with the talent’s wardrobe. Combine these factors with first-rate build quality and it’s easy to see why Lectrosonics excels in this type of environment.”

The first event to avail itself of the new Lectrosonics wireless microphone system was the Finnish musical Myrskyluodon Maija. “The show opened September 9th and was very well received,” Vilmi states. “The combination of the Lectrosonics wireless equipment with the DPA 4061 lavaliere and d:fine earset mics makes a terrific setup.”


Posted by Keith Clark on 10/18 at 10:36 AM
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Tuesday, October 16, 2012

Shure Introduces New Rechargeable Battery Accessories

Compatible with several Shure wireless system components

Shure Incorporated has introduced new rechargeable accessories: the SBC210 portable charger and SBC-DC bodypack power insert.

Coupling solid reliability with improved efficiency, the new solutions offers intelligent power management for extended usage times and battery life.

The SBC210 has a compact, rugged design and is available in a convenient desktop unit. Built with a rapid charging function, the portable accessory can charge two SB900 batteries to 50 percent capacity within one hour.

A full charge for both batteries can be achieved within three hours. SB900 batteries are compatible with the Shure P9RA and P10R wireless bodypack receivers, the ULX-D digital wireless handheld transmitters, and the UR5 portable diversity receiver.

Compatible with SB900-powered devices, the SBC-DC bodypack power Insert connects to a PS41 power supply for consistent and continuous operation without batteries. The SBC-DC can be used with P9RA and P10R wireless bodypack receivers, the ULXD1 wireless bodypack transmitter, and the UR5 portable diversity receiver.

In designing the SBC210 and SBC-DC, Shure built on the benefits of the company’s existing rechargeable products. All Shure rechargeable products have precision metering, enabling users to track remaining battery life on the transmitter and receiver displays in hours and minutes—accurate within 15 minutes—for increased reliability and more definitive monitoring.

Additionally, they combine Lithium-ion chemistry with Shure battery circuitry, resulting in zero memory effect. Batteries can be recharged at any time, and a complete discharge is never necessary.

“Our research showed that, historically, rechargeable products didn’t necessarily have the best reputation among audio professionals because of their perceived lack of reliability.  We were determined to change that with these new accessories,” said Stephen Kohler, director of product marketing, Shure Americas Business Unit. “Because Shure’s new solutions provide a highly accurate display of remaining battery life in hours and minutes, users can now have the high level of confidence that they did not have before.”

Pricing and Availability:

SBC-DC DC power insert for SB900-compatible bodypack—$118

SBC210-US dual portable rechargeable battery charger—$289

SBC200-US dual docking charger with power supply—$274

SBC200 dual docking charger (power supply not included)—$200

SBC800-US eight-bay battery charger—$548

SB900 Lithium-Ion rechargeable battery—$118

SB900-8 eight pack of Lithium-Ion rechargeable batteries—$820


Posted by Keith Clark on 10/16 at 03:42 PM
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Monday, October 15, 2012

AKG Provides Global Rockstar Song Contest With Studio And Live Sound Prize Packages

Fans will choose winners and recipients of multiple AKG prize packages

AKG has partnered with the Global Rockstar Online Song Contest to provide fan-voted favorites a package of AKG microphones and wireless systems. 

From October through November, independent rock artists from 196 countries can upload their videos to the Global Rockstar Contest, where fans will choose winners and recipients of multiple AKG prize packages.

In establishing the contest, Global Rockstar creators Christof Straub and Ronny Steibl were searching for a way to showcase music they believed had more potential for international recognition. 

“As music producers and songwriters we know how important it is for artists to get maximum international visibility. Global Rockstar guarantees this to our winners and will continue to shine the light on lesser-known artists around the globe,” the founders state.

On January 1, 2013, the votes will be tallied and combined with input from an expert musical jury on wildcard placement. The first place AKG live set contains a C214, a C451 condenser, four D40 dynamic mics, a D112 kickdrum mic and two handheld D7’s. 

The alternate first prize studio set includes a Perception 820 Tube, C414, two sets of K702 and K240 headphones and a C451.

Global Rockstar also provides AKG prize sets for second and third place.

“AKG is proud to be a part of a program, supporting musicians of all levels of professionalism, with a reach as wide as Global Rockstar,” said Philipp Sonnleitner, product marketing manager, AKG.  “With quality and reliability underscoring AKG’s mission to provide the best equipment to artists, the first, second and third prize winners from the Global Rockstar contest will be able to take a sonic step up in their recordings and live performances.  We wish all participants good luck as their peers vote for the best original songs in the world.”

Global Rockstar Online Song Contest

Posted by Keith Clark on 10/15 at 03:49 PM
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Friday, October 12, 2012

Audio-Technica Microphones Capture Sound For Vice Presidential Debate

A-T mics for both candidates and moderator, and also to capture room ambience

Audio-Technica microphones were utilized for both candidates as well as the moderator at the 2012 Vice Presidential debate on October 11 at Centre College in Danville, KY.

Products used included A-T’s Engineered Sound ES935ML6 MicroLine condenser gooseneck microphones on vice president Joe Biden and Republican vice presidential nominee Rep. Paul Ryan.

Two AT898cW Subminiature cardioid condenser lavalier microphones with 5000 Series wireless were used for moderator Martha Raddatz, while BP4071 Line + Gradient condenser mics were used to capture room ambience. 

Backup mics at the event included AT898cW wireless lavaliers and AEW-T5400 handheld transmitters with 5000 Series wireless for the candidates, and AT898 wired lavalier mics for Raddatz.

Larry Estrin of Best Audio in Studio City, CA, serves as audio and production communications director for the Commission on Presidential Debates (CPD) and has chosen to use Audio-Technica microphones at these landmark events.



Posted by Keith Clark on 10/12 at 03:53 PM
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Lectrosonics Wireless with “Beverly Hills Nannies” Reunion Show

Keeping up with the action meant having a substantial number of wireless microphone systems that offered the sound quality, flexibility, and dropout free performance necessary to capture it all. That’s precisely why LA-based Production Sound Mixer Scott Jason Farr, CAS, relied on an assortment of transmitters and receivers from Rio Rancho, NM-based Lectrosonics.

In early September, ABC Family Television (in conjunction with Evolution Media) aired Beverly Hills Nannies: Nannies Tell All, a reunion of the popular reality show that focuses on a group of young nannies working for the higher-class wealthy in the world’s most unreal neighborhood.

Keeping up with the action meant having a substantial number of wireless microphone systems that offered the sound quality, flexibility, and dropout free performance necessary to capture it all. That’s precisely why LA-based Production Sound Mixer Scott Jason Farr, CAS, relied on an assortment of transmitters and receivers from Lectrosonics.

Farr has provided Production Sound Mixing services since 1996 and he has an impressive list of credits and travel under his belt. Recent projects include commercials for Cadillac (STS and XTS), the Super Bowl 2012 commercial for the Samsung Galaxy Note, and Season Two promos for the TV sitcom Wilfred on FX Network.

For Beverly Hills Nannies: Nannies Tell All, Farr’s Lectrosonics arsenal included 2 HH handheld transmitters outfitted with Shure Beta 87A capsules, 10 SMV super miniature beltpack transmitters with Sanken COS-11 lavaliere microphones, and 8 SMQV dual battery super miniature beltpack transmitters with Sanken COS-11’s.

In the receiver department, he used 16 Lectrosonics UCR411a compact receivers and 4 VRMWB Venue receiver mainframes with VRT receiver modules. All equipment employs Lectrosonics acclaimed Digital Hybrid Wireless technology.

Farr discussed the challenges of the project, “This show required a minimum of 18 systems—16 body mics, 2 handhelds, and backups. The vendor, Bexel ASG (Audio Specialties Group) and Audio consultant Jess Contreras really came through on this job,” explains Farr. “It was very important that we have the flexibility to go from the backstage dressing rooms to the on stage area and have the mics work with both the main stage system and the ENG crews following all the ‘behind the scenes’ action with two roving reporters for the show’s website.

“In addition to production-grade audio quality, this required dropout-free performance and the RF agility necessary to make quick frequency adjustments, should we find ourselves competing for open frequencies. The Lectrosonics gear excelled on all counts.”

In addition to the equipment Farr supplements for various projects, he owns 12 Lectrosonics MM400c beltpack transmitters, an HM plug-on transmitter for wireless boom, a T4 and UM400a IFB transmitter with two R1a IFB beltpack receivers for boom operator feeds, eight UCR411a compact receivers for his sound bag, two SRa dual slot ENG receivers with two UM400a transmitters for wireless feeds to ENG cameras, a D4 4-channel wireless system for wireless console feeds, and a Venue system fully stocked with VRT receiver modules along with three SNA600’s and an ALP620 for his cart.

With all this gear and the nature of his work, quality customer and technical support services are essential. In this regard, Farr knows he can always count on Lectrosonics.

“I recently had all of my Lectrosonics equipment serviced including upgrading the hardware and firmware to match the current shipping versions,” Farr reports. “Some of my UCR411a’s are almost nine years old. Lectrosonics continues to provide support and develop firmware which includes new features.

“That’s pretty amazing considering other brands typically drop support after a few years—all of which reinforces my brand loyalty. My Lectrosonics gear does all my heavy lifting because I know I can always count on it.”

Before turning his attention back to preparation for an upcoming project, Farr offered these parting thoughts, “I’ve been using Lectrosonics equipment since roughly 1997 when I started with four UCR210D diversity receivers in a Quadbox and four UM250 transmitters. The systems performed flawlessly although I started replacing them in March of 2004 with the UCR411a’s.

“I think the UCR210D was one of the best receivers ever made. I get lots of positive feedback from my clients and crew for providing great sound recordings in difficult conditions. It is such a rarity for anything to go wrong that, if it does, it’s normally something completely out of my control. It’s this type of performance and reliability that keeps me firmly in the Lectrosonics camp.”


Posted by Keith Clark on 10/12 at 10:57 AM
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