Monday, February 23, 2015

Press Release- Prof. Dr. Jörg Sennheiser hands over chairmanship — Dr. Frank Heinricht to chair the Sennheiser supervisory board from 2015

Press Release :  Having recently turned 70 years old, Prof. Dr. Jörg Sennheiser is handing over the chair of the supervisory board of Sennheiser electronic GmbH & Co. KG to Dr. Frank Heinricht, as of January 1st, 2015. Since joining the family-owned company in 1976, Dr Sennheiser’s contribution has been instrumental to the company’s success and has paved the way for a future-proof set-up of the audio company.

Frank Heinricht has been Chairman of the Board of Management of Schott AG since 2013 and became a member of the supervisory board of Sennheiser electronic GmbH & Co. KG five years ago.

“Dr. Heinricht has a profound technical expertise and brings experience in managing large family-owned companies to his new role. We are very happy that he is taking over as chairman of the supervisory board of the Sennheiser Group,” said Daniel and Andreas Sennheiser, CEOs and shareholders of Sennheiser electronic GmbH & Co. KG.

Commitment to independence
In withdrawing as chairman of the supervisory board, Jörg Sennheiser is placing the management of the company fully into the hands of the third Sennheiser generation. His sons Daniel and Andreas Sennheiser have been running Sennheiser electronic GmbH und Co. KG as CEOs since July 2013.

Commenting on the changeover in the supervisory board, Jörg Sennheiser added, “My goal has always been to pass a healthy, thriving company on to the next generation.” The Sennheiser family has laid down the principles of this long-term sustainable policy in a Family Charter. This not only defines core company values such as fairness and trust, the charter also includes the commitment to maintain Sennheiser as a family business. “The company’s independence is our most precious asset,” said Jörg Sennheiser. “The family is committed to pursuing its strategy without any influence from third parties, a strategy that focuses on absolute customer orientation, technical innovation and first-class quality. This is an aim I have always pursued, and it is the basis of the decades of success that we have enjoyed and will enjoy in the future.”

The road to becoming a world brand
Jörg Sennheiser became Sennheiser’s director of technology in 1976 before taking over management of the family business as executive shareholder in 1982. During his time at the helm, Sennheiser developed to an internationally successful brand. This involved setting up new manufacturing facilities in Ireland and the USA, while at the same time expanding production in Germany. In addition, Sennheiser internationalised its sales organisation during this time. As a result of this sustained growth strategy, Sennheiser today has over 2,500 employees across the globe and is active in more than 60 countries.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the internet at

Monday, February 16, 2015

Press Release - DPA Microphones Goes on the Road with Bombay Bicycle Club

Press Release : Earlier in December 2014, indie rock luminaries Bombay Bicycle Club became the very last band to play London’s legendary Earl’s Court venue, which is soon to be demolished. The band took to the stage as part of an epic world tour, which not only highlighted the success of their So Long, See You Tomorrow album but also allowed them to use DPA Microphones extensively on the road for the first time.

If delivering the last-ever gig at Earl’s Court wasn’t enough of an honor, Bombay Bicycle Club also happily accepted a special guest when Pink Floyd’s Dave Gilmour joined them on stage. Gilmour first played steel lap guitar on the band’s song “Rinse Me Down,” before giving an emotional rendition of “Wish You Were Here,” backed by Bombay Bicycle Club. As with all of the performances that night – and during the entire tour – DPA microphones were on-hand to ensure exceptional audio quality.

Jon Burton, the previous front-of-house engineer, brought the DPA d:facto Vocal Microphone to our attention while he was reviewing equipment for one of the pro audio magazines,” says Tour Manager Steven Down, who has been working with the band for five years.Jack Steadman (lead vocals) was the first to try it during the warm up tour we did at the start of this campaign, and he was very impressed with the clarity compared to the dynamic mics we had been using previously. Shortly after, we obtained a capsule to use on our existing wireless system for Liz Lawrence, who does a lot of backing vocals in the show. More recently, we started using d:dicate™ 2011C Twin Diaphragm Cardioid units on the kick and snare and some d:vote™ 4099 Instrument Microphones on the toms, all with great results.

Downs adds that the Bombay Bicycle Club show moves from songs with loud distorted guitars and heavy drums to quiet and intimate piano and vocal solos. “I think the dynamic range and the frequency response of the d:facto really allows Jack to perform with confidence in all situations,” he says.

Steadman himself is certainly a fan of the d:facto Vocal Microphone. “The wonderfully clear, bright sound of the mic means I dont have to mess around endlessly with EQ to get the results I want,” he says.

Also happily not messing around with EQ too much is Simon Lutkin, freelance sound engineer and production manager who first took over monitors for the band during their Different Kind of Fix tour in 2012. We have drums, bass, guitars, keys, percussion, backing vocals and a brass section onstage during the show — it can get pretty busy,” he says of the current set-up. “Currently, the show is around 40 channels, but both Tom [Wiggans,FoH] and myself try to keep the channel count down as much as we can. A lot of the shows we do are festivals and rolling in with too much can be a problem for broadcast and patch.”

Everyone has in-ear mics, but Lutkin also uses wedges on the downstage edge and side-fills to add feeling. Add to that up to nine people at any one set, and the stage can get pretty full.

With that many lines on stage, any help I can get through technology is great,” Lutkin says. “I use scenes for each song to make small changes automatically through the show so I can keep my eye on the band. The d:facto Vocal Microphone really helps control the ambience for the main singers. Compared to other mics, as well as having a pretty tight pickup pattern, the overall tone of the spill is much nicer to listen to. You are always up against bleed from other sources in a live scenario, but with this set of mics the spill is much more pleasant-sounding and therefore can be a help rather than a hindrance.”

All of the band’s DPA mics were supplied by Sound Network, the company’s U.K. distributor. Alongside the d:facto, the tour configuration sees Lutkin use DPA’s d:dicate 2011C mics on both kick and snare because they are small enough to be deployed exactly where he wants them and light enough to stay in place without putting any pressure on the stand or clamp. d:vote 4099 Instrument Microphones are also in use for rack, floor, crash, ride and the brass section.

To maintain consistency, the group carries all the mics and IEMs with them internationally, simply hiring in consoles locally (a DiGico SD7 for FOH and Midas Pro2c for monitors), thus ensuring that the signal path from source to output is the same each day.

In a live scenario, you can’t always place mics exactly where you want for a variety of reasons, so having a set of mics that work well wherever you put them is a real positive,” concludes Lutkin. “All the DPA mics we use on Bombay, like all the ones I have used in the past, never fail to impress day-after-day. Since populating the stage with DPA microphones, it has really made a difference to the quality of the overall sound of the show.”

Wednesday, February 11, 2015

Press Release: AES Announces Avid CEO Louis Hernandez Jr. as Keynote Speaker at 57th International Conference on the Future of Audio Entertainment Technology

AES Announces Avid CEO Louis Hernandez Jr. as Keynote Speaker at 57th International Conference on the Future of Audio Entertainment Technology

The AES announced that Avid Chairman, President, and Chief Executive Officer Louis Hernandez Jr. will give the keynote speech at the 57th International Conference, taking place in Hollywood, California, March 6-8, 2015. The Conference, being held at the world-famous TCL Chinese 6 Theatres on Hollywood Boulevard, will feature some of the best and brightest in the world of engineering for entertainment production, as the AES holds its first-ever dedicated event on The Future of Audio Entertainment Technology. Hernandez will present his keynote address on March 6, at 8:00 AM.
In his role at Avid – an award-winning, provider of industry-standard audio and video technology used to help creative and media professionals – Hernandez served both as lead Director and member of the Board of Directors for five years before taking on his current role as Chairman, President, and Chief Executive Officer, giving him a unique presence in the industries that directly serve the Sound-for-Picture and Media audience. Hernandez also oversees Avid’s strategic investments in product innovation, solutions, and services that help content creators and media organizations better connect with and inspire their audiences. Avid’s sustaining membership and participation in the AES – combined with Hernandez’s focus and passion for advancing technology initiatives that specifically enable the active collaboration and connection between individuals, teams, and businesses – will offer a unique perspective for the AES 57th Conference keynote address.
“We are very excited to be able to bring Mr. Hernandez on as our keynote speaker for the 57th Conference,” stated AES Executive Director Bob Moses. “To have such an industry leader address our attendees goes hand-in-hand with the top-notch program that Brian McCarty and Sean Olive have put together. Our shared goals and common interests in the advancement of those that engineer and produce today’s entertainment, in all forms, speaks volumes about a bright future ahead. We thank Mr. Hernandez and Avid for their sustaining membership and participation with the AES, and are looking forward to this first-ever AES engagement with Hollywood.”

Monday, February 9, 2015

GRAMMY 2015 Technical Award Recap

Last night the 57th annual GRAMMY awards were televised. It was the usual pomp and circumstance that accompanies the music industry's biggest award ceremony.

As usual, they forget to mention a lot of the technical GRAMMY awards. So here is the list. Congratulations to all of the people behind the scenes that make the music come alive. Remember, without them, you would not hear Sam Smith in a very interesting manner.

Elliot Scheiner, surround mix engineer; Bob Ludwig, surround mastering engineer;Beyoncé Knowles, surround producer (Beyoncé)
Label: Columbia Records

Vaughan Williams: Dona Nobis Pacem; Symphony No. 4; The Lark Ascending
Michael Bishop, engineer; Michael Bishop, mastering engineer (Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra & Chorus)
Label: ASO Media

Morning Phase
Tom Elmhirst, David Greenbaum, Florian Lagatta, Cole Marsden Greif-Neill, Robbie Nelson, Darrell Thorp, Cassidy Turbin & Joe Visciano, engineers; Bob Ludwig, mastering engineer (Beck)
Label: Capitol Records

Max Martin
  • Bang Bang (Jessie J, Ariana Grande & Nicki Minaj) (S) 
  • Break Free (Ariana Grande Featuring Zedd) (S) 
  • Dark Horse (Katy Perry Featuring Juicy J) (S) 
  • Problem (Ariana Grande Featuring Iggy Azalea) (S) 
  • Shake It Off (Taylor Swift) (S) 
  • Unconditionally (Katy Perry) (S) 

73. Producer of the Year, Classical
Judith Sherman

  • Beethoven: Cello & Piano Complete (Fischer Duo) 
  • Brahms By Heart (Chiara String Quartet) 
  • Composing America (Lark Quartet) 
  • Divergence (Plattform K + K Vienna) 
  • The Good Song (Thomas Meglioranza) 
  • Mozart & Brahms: Clarinet Quintets (Anthony McGill & Pacifica Quartet) 
  • Snapshot (American Brass Quintet) 
  • Two X Four (Jaime Laredo, Jennifer Koh, Vinay Parameswaran & Curtis 20/21 Ensemble) 
  • Wagner Without Words (Ll_r Williams) 

The Book Thief
John Williams, composer (John Williams)
Track from: The Book Thief Original Motion Picture Soundtrack
Label: Sony Classical, Fox Music; Publisher: Fox Film Music Corp.

Kristen Anderson-Lopez, Robert Lopez, Tom MacDougall & Chris Montan, compilation producers
Label: Walt Disney Records

66. Best Album Notes
Offering: Live At Temple University
Ashley Kahn, album notes writer (John Coltrane)
Label: Resonance/Impulse

Lightning Bolt
Jeff Ament, Don Pendleton, Joe Spix & Jerome Turner, art directors (Pearl Jam)
Label: Republic Records

Press Release - DPA Microphones Helps Cats On Trees

Press Release : Live sound engineer Verlaine Levis used to think that DPA microphones were only suited to classical music and never imagined that their microphones were also great for pop rock tours. Since using a selection of DPA mics on the current Cats On Trees tour, Levis is the first to admit that his initial perception was entirely wrong.

“When DPA’s French distributor Audio² gave me the opportunity to try the company’s microphones with Cats On Trees, I was happy to accept the challenge,” Levis says. “It didn’t take long to discover that these great microphones have beefy pickups and are perfectly suited to rock and pop acts. We’re now using three d:facto™ Vocal Microphones, as well as a d:dicate™ ST2011C Stereo Pair with 2011C Compact Cardioids and a number of d:vote™ 4099 Instrument Microphones for drums and violins.”

Levis, who began his career with French sound company Audio-Lum, started working as a live sound engineer in 2001 and has toured with the likes of Sidilarsen, Claude Sicre, Bombs 2 Bal, Zebda, Magyd Cherfi and Mouss and Hakim. He is also building a strong reputation as a recording engineer, having been asked by a number of artists to assist with studio sessions.

Cats On Trees, a French duo consisting of Nina Goern and Yohan Hennequin, specialize in ambient indie pop and have released one self-titled album along with several singles, including “Sirens Call,” which reached No. 3 in the French charts in 2013. The band is now halfway through a European tour that will see them play nearly 200 dates in various countries, including France, Germany, England and Spain.

“The tour is awesome and they are playing to virtually full houses every time,” Levis says. “Since September, they have been performing with a string quartet, but because we have such a busy touring schedule, there hasn’t been much time for residency work or to prepare the mix. Therefore, the show is being built as we go along.”

Levis runs the front-of-house sound, the mix for the in-ear monitors and the shipment of sequences since he mixes upstream. “With the help of our lighting person, we have set up a network between sound, light and stage,” he explains. “He controls the lights and video via a MIDI controller, but I am the master of the Mac, which manages the sequences and the network. Feeling comfortable is of ultimate importance to the artist, so I try hard to achieve that. With this duo, it is very difficult to create a show that is the same every time because they are constantly changing things.”

The progressive evolution of the show was a key reason Levis decided to switch to DPA microphones. He had previously used DPA’s omnidirectional microphones to record voice ensembles and orchestras in churches, so he knew that the mics could faithfully recreate the acoustics of a venue. After speaking to Audio², he tried out various mic combinations until he found ones that worked for him.

“I had a very clear idea of how each instrument should sound,” he explains. “I wanted to bring several omnidirectional microphones on tour so that I could capture the natural color of the instruments, but because of the on-stage proximity of the drums and piano, this was not possible. As it stands, only the ambient microphones are omnidirectional.”

Levis eventually opted for DPA d:vote 4099 Instrument Microphones for the drum kit and was immediately impressed by the sound, which he feels is ‘very powerful and very natural.’ “These microphones really pick up extreme levels - they are great,” he says. “We now have DPA d:vote 4099s on the bass drum, snare, toms and violin. I even had them under the cymbals this summer. I am most impressed with the way they capture the sound of the bass drum. I position the mic at the entrance of the drum and slightly inside it. Although the capsule is very small, it still delivers the most amazingly deep, accurate bass.”

Levis is also using DPA d:facto Vocal Microphones, which have solved the feedback issues he was having with other mics. The band has three on stage – one for Yohan on drums and two for Nina as she sings in two different locations.

“For Yohan, the issue was his drum kit,” Levis says. “I was afraid his vocal mic would pick up a lot of extraneous sounds, but what I achieved with d:facto was a clarity to his voice that no other mic would have given me. I just had to think carefully about the positioning of his microphone to avoid rear rejection. Furthermore, the d:facto has a very high gain and its gain before feedback is incomparable.”

“As for Nina, well, to be honest, it was she who chose d:facto – not me,” he continues. “We’d tried a number of different mics, but it was d:facto that she really liked. I never impose a microphone on a singer and I even made her do a blind test because I wanted to be sure she was 100 percent comfortable with the way her voice sounded. She immediately noticed the difference and now doesn’t want to sing with any other microphone.”

The fact that DPA microphones deliver a very precise sound has given Levis’ mixes more accuracy and finesse. The mics have also made everyone more demanding when it comes to sound quality, especially when it comes to tuning drum kits.

“For me, the DPA microphones can be summarized in two words: natural and punchy,” Levis concludes. “What’s more, they are very rugged. I've broken three microphones so far on this tour, but not a single one of them has been a DPA.”

Monday, February 2, 2015

S*perBowl Halftime Show 2015. How 2004 gave birth to the hipster movement.

Every year I try to do a post about the half time show for the superbowl. Here are my thoughts.

I am very very glad that the superbowl halftime shows are again featuring pop acts. After the "wardrobe malfunction", I felt that the shows really lost touch with the "something for everybody" theme for the superbowl.

Since 2004 was the year of the halftime show problem, we will use that as a middle point to show who played them 10 years before and after.

So what is the commonality? Ricky Kirshner! Thank you for saving the superbowl halftime show!

Before 2004, the most pop acts were those produced by radio station conglomerates and MTV. After that, the NFL wanted to have a more "wholesome" halftime show to avoid any negative PR. However, what happened was that for 7 years after, mediocre performances by non-relevant, non current performers ruined the hype of the superbowl show for an entire generation of people. 

So what did this do? Exposed people to older bands right in the prime of their musical listening lives. I contend this gave birth to the "hipster". The young 20 something who has a beard, wears flannel and listens to the Beatles and the Who non stop while shunning pop music. 

NFL, you have some mighty power to influence culture. We traded in our frosted perms, bellbottoms and tanktops of N*Sync
and got neckbeards, skinny pants and flannel. 

Let's see what the next 10 years brings us...Here is the list. 












  • Performer(s): The Who, Funkus Maximus
  • Producer: White Cherry Entertainment

Press Release- iZ RADAR STUDIO: RADAR and Pro Tools in One Box

Press Release:
iZ RADAR STUDIO: RADAR and Pro Tools in One Box

Track and mix with a single, integrated, best-in-class audio appliance
New Westminster, BC (January 15, 2015) - iZ Technology Corporation announces
RADAR studio (patent pending), the culmination of 25 years of audio engineering excellence. In addition to its best-in-class sonics, unparalleled build quality, and brilliant simplicity, RADAR studio now runs DAW software, natively. Shipping with Pro Tools* and Harrison Mixbus, RADAR studio creates an entirely new category of digital audio recording technology: the integrated audio appliance.

"Recording is a daunting task. Music producers must research and choose computers, software, audio and sync interfaces, hard drives, and unwieldy digital interface cabling and integrate them all into their studio," says Barry Henderson, President of iZ Technology Corporation. "RADAR studio is a turnkey solution that makes recording as easy as turning on the power and hitting the record button. The best hardware and your favorite software now seamlessly work together in one box to deliver the highest sound quality. Easy."

RADAR systems are the premier choice for multi-track recording and playback in some of the finest recording studios, scoring stages, theatres, and post-production houses around the world. Legendary musicians and producers record on RADAR because of its cutting-edge technology, rock-solid reliability, customization capability and, of course, the sound quality it delivers. Now, music producers can run their favorite DAW software and plug-ins inside RADAR studio for the best of both worlds.

RADAR studio Key Features:

  • Breathtaking Sound - near-zero jitter, pristine signal path and the latest converter technology
  • Runs Pro Tools - track, mix and automate, using all plug-ins and features of native  DAW software
  • Simplicity - just arm tracks and hit record. Focus on the music
  • Workflow - integrate iZ Session Controller and MeterBridge for a traditional studio feel
  • Customizable -configurable I/O, drive bays, external media, DSP cards, and peripherals
  • Reliability - rock-solid, time tested performance; avoid endless techno-tweaking and mid-session reboots
  • World-renowned Support - comes with 10 years of free customer support.
iZ Technology Corporation will debut RADAR studio at the annual NAMM Show in Anaheim, California on January 22 in HALL A, booth 6890 and host appearances and Q&A with the following:

Alex Krispin (Engineer for Daniel Lanois) - Thursday, 1/22 at 11am & 2pm.
Nick Peck (Head Editor, Disney Worldwide Publishing) - Friday, 1/23 at 11am & 2pm.
Tony Shepperd (Engineer/Mixer/Producer) - Saturday, 1/24 at 11am & 2pm.

Pricing & Availability:
RADAR studio is available now at an introductory price of $4,995 for a limited time. Pro Tools HD 11 is pre-installed (*user provides license key). Visit for product and ordering information.
About iZ Technology Corporation:
iZ Technology Corporation, a Canadian owned and operated company, has been developing visionary music and audio products for 25 years. Their renowned RADAR line of multi-track audio recorders and the unparalleled ADA A/D & D/A audio converters have helped thousands of customers realize their goals by delivering excellence and innovation in recording products of the highest quality. iZ is known for their uncompromising commitment to sound quality, rock solid reliability, extreme ease of use, and outstanding technical support.