Monday, September 28, 2015

Press Release - Sennheiser’s new EK 6042 two-channel camera receiver works with both analog and digital transmitters

Amsterdam, September 15, 2015 – At IBC, Sennheiser unveiled a new slot-in camera receiver that redefines compatibility: the EK 6042 is a true-diversity, two-channel receiver that can work with both analog and digital Sennheiser transmitters across a bandwidth of 184 MHz. It is an ideal partner for Sennheiser’s top-of-the-range Digital 9000 series and can operate with all analog transmitters that feature Sennheiser’s HiDyn plus or HDX companders. The receiver will become available in spring 2016.

“This is a true “one for all” receiver,” said Tobias von Allwörden, product manager, Sennheiser Broadcast & Media. “It works with any Sennheiser series from Digital 9000, 5000 and 3000 down to 2000 and evolution wireless G3, and automatically identifies the transmitter via an IR link.”

The camera receiver chooses its own operating mode depending on the transmitter, and also selects the appropriate bandwidth and frequency in the UHF range between 470 and 654 MHz. As a true diversity receiver with four separate receiver circuits, the EK 6042 is extra-reliable, even in difficult RF environments.

The EK 6042 can be combined with either a 15-pin adaptor to slot directly into Sony cameras, or a 25-pin adaptor for Unislot- and SuperSlot-compatible devices.

For camcorders without an audio receiver slot, a special backpanel adaptor for the EK 6042 is available as an accessory. If the camera does not supply power to the receiver, a “piggyback” power adapter can be attached to this housing and fitted with two hot-swappable BA 61 battery packs.

The EK 6042 camera receiver will become available in spring 2016.

1) A true all-rounder for professional camera sound, the EK 6042 two-channel receiver works with the Sennheiser series 9000, 5000, 3000, 2000 and evolution wireless

2) The receiver’s display and controls

Audio specialist Sennheiser is one of the world’s leading manufacturers of headphones, microphones and wireless transmission systems. Based in Wedemark near Hanover, Germany, Sennheiser operates its own production facilities in Germany, Ireland and the USA and is active in more than 50 countries. With 18 sales subsidiaries and long-established trading partners, the company supplies innovative products and cutting-edge audio solutions that are optimally tailored to its customers’ needs. Sennheiser is a family-owned company that was founded in 1945 and which today has 2,700 employees around the world that share a passion for audio technology. In 2014, the Sennheiser Group had sales totalling €635 million.

Monday, September 21, 2015

Press Release - Reshaping excellence – unique live concert experience and 3D immersive audio recording at Sennheiser event

London, September 16, 2015 – On August 27, audio specialist Sennheiser presented an extraordinary concert at London’s Central Hall Westminster, featuring performances by Grammy award-winning artist Imogen Heap and the Junge Deutsche Philharmonie orchestra conducted by Jonathan Stockhammer. The concert was part of an exclusive event that kicked off Sennheiser’s “Reshaping excellence” campaign, celebrating Sennheiser’s 70-year history of innovation and offering a very first look at the audio specialist’s next milestone audiophile product. The concert – including two world-firsts – was mixed in truly cutting-edge fashion by Tonmeister Gregor Zielinsky to demonstrate the immense potential of 3D immersive audio.

The first part of the concert presented works by John Adams, Felix Mendelssohn Bartholdy, György Ligeti and Philip Glass, performed by the acclaimed Junge Deutsche Philharmonie orchestra. “This is my second time working with the Junge Deutsche Philharmonie and it’s the absolutely most exciting group in the world to work with,” said conductor Jonathan Stockhammer. “There is so much passion in every position that I can let a lot of the work come from the heart and I can let go… and I love that feeling.”

Towards the end of this first section, the orchestra was joined on stage by Imogen Heap, appearing in her only public concert of 2015. Her first song was a unique orchestral arrangement of her hit “Can’t take it in” that had been specially created by Jonathan Stockhammer. This performance would be the debut for an incredible new version played especially for the appreciative audience.

After the intermission, Imogen Heap thrilled her fans with songs and compositions from her inspiring repertoire, MIDI-controlling sound effects, loops and delays (and also her “creatures”) via her self-designed hi-tech gloves, which she had programmed extensively for this event. Jonathan Stockhammer: “To watch her work, to see her develop her pieces – that’s very composer-like. She does so much of the production and the arranging herself, she is really the master of it all. She is so amazingly talented with the programming aspects, the expression comes from her depth of knowledge. She’s like a Debussy of the modern computer and these hand effects.” Backed by musicians from the Junge Deutsche Philharmonie, Imogen also debuted a brand-new composition for the event, “Tiny Human”.

Tackling difficult acoustics – and bringing together different worlds
Sound designer and FOH engineer Oliver Voges described the complexity of the event from an audio perspective: “We are actually bringing three completely different elements together. First there’s the orchestra: they usually play live and are not used to getting amplified. Then we have Imogen and her band – their music and the many MIDI signals and effects need to be amplified of course. And last but not least, there’s the 9.1 immersive audio recording taking place, and such recordings are normally made without any amplification happening at the same time, because you want to reproduce the actual hall and loudspeakers would interfere with the natural acoustics.”

However, the acoustics of the impressive Great Hall actually turned out to be quite challenging, and ultimately the amplification via the PA system was the very thing that ensured a fantastic listening experience for the live audience and “saved” the 9.1 recording. A beautiful, large dome spans The Great Hall, and this feature created unpleasant audio reflections. Oliver Voges: “It was a little bit like a whispering gallery, where you speak very quietly in one corner and hear your words very loud at the other end. This happened here and by chance it happened at the conductor’s position. The biggest problems occurred with the woodwinds, as they project to the top, right into the dome. The reflected sound was much louder and had a total different timing than the direct sound.”

To remedy the situation, Voges had to do a mix with his own room algorithms to mix the depth of the room back in. “I have done an architectural mix in an electronic way. In a classical production you would usually do this with different kinds of mics and different kinds of pre-delays to delay the sound to the main array. But here we had no other choice than to do this electronically. Our goal was to keep the coloration of the sound 100% the same, no matter whether the PA is on or off – and we achieved this.”

Controlled amplification
Oliver Voges introduced a minimal, controlled amplification that corrected the room effects, stacking the orchestra as on a recording while keeping the typical timbre of the instruments, thus recreating the depth of the room and of the instruments. In addition, Jonathan Stockhammer made some minor musical changes to cater for the room, and these joint efforts created a sound that was pleasant for the audience and ideal for the 9.1 recording.

The actual amplification of the orchestra started out at 0.8 dB above the natural level with the first piece by John Adams and was increased during the first half of the concert to about 1.5 dB to set the acoustical scene for Imogen Heap and the orchestra in the last piece before the intermission. Oliver Voges: “By inaudibly increasing the amplification throughout part I, we avoided any acoustical gap, so the whole concert sounded a unified, homogeneous whole. During the rehearsals, we always checked back about the amplification with all parties involved – ‘Is that OK with you? Does it disturb you in any way?’ Basically everything is linked – the orchestra is linked to Imogen, the FOH is linked to monitors and on top of that there’s the link to the recording – we want to have a good show but also a very, very good recording. I think we have come up with a very good solution that does justice to all elements. After two rehearsal days, Gregor came up to me and said: ’Listen, if the PA is on, the recording sounds even better.’ What more could you ask for?”

Dante saves time, cabling… and nerves!
The audio crew used a Dante network for the event. Oliver Voges explained, “As there are two completely different set-ups for this event, we decided from the very beginning that we would have two different crews to handle each. We had a monitor and a front-of-house engineer for Imogen Heap, and we also had monitors and FOH for the orchestra. During rehearsals we found that we had to put out sums from the orchestra to Imogen’s monitor engineer, and so on. There was a lot of linking that was unplanned. Luckily, we had placed the four desks in a Dante network, and within a few seconds I could give anyone an effects return from my desk or a submix from the orchestra. Without Dante patching anything to anywhere, these extras would have taken us another two days and a lot of cabling!”

The 9.1 immersive audio recording
“A 9.1 recording allows me to transport an entire concert hall onto a recording”, explained Grammy award-winning tonmeister Gregor Zielinsky. “Even if I used just the main microphones without any spot mics this would give me a depth of the soundstage which cannot be achieved by standard recording techniques.

“When replaying a 9.1 immersive audio recording, you can move around the room as if moving through the actual concert hall. You will be immersed in the sound of the hall, and changing your listening position would just mean changing your virtual position within the venue but won’t deteriorate the sound – there is no such thing as a sweet spot in 9.1, all spots are great.”

He positioned the main microphones in the eponymous Zielinsky Cube, which includes a height elevation to recreate the spatial impression. For the Zielinsky Cube, a standard AB stereo pair is supplemented by two microphones positioned well above them – these are the front microphones, a center mic is optional. The same set-up is repeated at the rear. The set-up essentially follows the ITU 5.1 loudspeaker arrangement, and adds four upper microphones, with the elevation amounting to half of the stereo width.

“I have done many 3D recordings but never in such a difficult live situation. To avoid interfering with the recording, the PA has a standard left and right set-up with extremely precise positions and specific coverage. We accepted a little gap in the center, where the main microphones for the 9.1 recording are positioned. Actually the slight amplification introduced by the PA ‘aligns’ everything, as it were, and helps us to eliminate unwanted reflections and delays caused by the acoustics of the hall. ”

“In the recording, we have a total of 48 mics for the orchestra, and more than fifty channels for Imogen. In total, we are talking about 128 channels for the recording.” The main microphones were four MKH 800 TWINs used as the front microphones in the Zielinsky Cube. Each MKH 800 TWIN has two capsules with signals that can be accessed separately and used to create any pick-up pattern – remotely and in post. Four MKH 8090 wide cardioids were used as the rear microphones. “I additionally used KM 133s as front main microphones, as this gives me further possibilities for fine-tuning the sound. In such complex situations you need to have many options in order to react quickly, and Sennheiser and Neumann microphones complement each other very well,” explained Gregor Zielinsky.

The spot microphones also were a combination of Sennheiser and Neumann microphones. The strings were captured with Neumann KM 185s and KM 184s, as Zielinsky points out: “The Neumann mics have a distinctive signature sound, and are very effective at capturing more of the trebles, which is great for the string sections in the mix.” The woodwinds were also picked up by Neumann KM 184, as were the harp and celesta. Four Sennheiser MKH 8090s were used to mike the brass section. Sound from the percussion sections was captured by seven Sennheiser MKH 8040, with two MKH 8050 used for the timpani. A Sennheiser e 912 condenser boundary microphone was used for the solo piano, while two Sennheiser Digital 9000 wireless microphones were used for lead vocals and moderation.

A new microphone set-up was then created during the intermission for Imogen Heap’s band and the string quartet and brass players from the Junge Deutsche Philharmonie who joined the band during the performance. A Sennheiser e 912 was used for the piano, an e 902 for the bass drum, and an e 905 for the snare drum. Two Sennheiser MK 8s were used as overheads and a further two for the vibes. Four Neumann KM 185s captured the string quartet, and two KM 184s the brass instruments. Imogen had also brought her “creatures”, a set of percussion instruments which became ‘alive’ via MIDI signals and were picked up with various Sennheiser evolution microphones plus MK 4 and MK 8 large-diaphragm condensers.

In the control room, where the recording desk was manned by Peter Brandt of Remote Recording Network, Neumann KH 120 loudspeakers and KH 810 subwoofers ensured an impressive 3D audio playback. “9.1 immersive audio creates a truly new experience for the listener,” explained Zielinsky. “I like to compare it to the changeover from mono to stereo – it is an equally dramatic improvement in the music. 3D immersive audio is remarkable to experience, but also very simple to set up and record compared to other systems.”

Heralding a new high-end product to come

The 3D immersive audio technology demonstrated by Gregor Zielinsky was one of several cutting-edge developments showcased on the evening: alongside the public concert itself, Sennheiser also provided VIP guests with a first glimpse of a forthcoming milestone high-end product, kicking off the first stage of the unveiling that will be continued with the launch of a dedicated website,

Thursday, September 17, 2015

Press Release - Zotope Announces RX Post Production Suite and RX 5 Audio Editor

Amsterdam, Netherlands (September 9, 2015) - At IBC 2015 (stand 8.D70), iZotope, Inc., a leading audio technology company, is announcing the new RX Post Production Suite containing a comprehensive suite of tools designed specifically to enable professionals to better edit, mix, and deliver their audio, as well as RX 5 Audio Editor, a significant new update to its RX platform.

The new RX Post Production Suite contains products aimed at every stage of the audio post production workflow, with solution-oriented tools for everything from audio repair and editing, to mix enhancement and final delivery. The RX Post Production Suite includes:
  • RX 5 Advanced Audio Editor
  • RX Final Mix
  • RX Loudness Control
  • One-year, All-Access Pass to Groove3 online video courses & training
  • 50 free sound effects (customer's choice) from Pro Sound Effects

The new RX 5 Audio Editor and RX 5 Advanced Audio Editor efficiently repair and enhance common problematic production audio while speeding up workflows that currently require either multiple manual editing passes, or a non-intuitive collection of tools from different vendors.  

RX 5's new Instant Process tool lets editors "paint out" unwanted sonic elements directly on the spectral display with a single mouse gesture. The new Module Chain allows users to define a custom chain of processing (e.g. De-click, De-noise, De-reverb, EQ Match, Leveler, Normalize) and then save that chain as a preset so that multiple processes can be recalled and applied in a single click for repetitive tasks.

For even faster workflows between Pro Tools and RX 5, RX Connect has been enhanced to support individual Pro Tools clips and crossfades with any associated handles so that processed audio returns "in place" to the Pro Tools timeline, maintaining complete editing control.

In RX 5 Advanced, a new De-plosive module has been developed to minimize plosives from letters such as p, t, k, and b, in which strong blasts of air create a massive pressure change at the microphone element, impairing the sound. In addition, the Leveler module has been enhanced with breath and 'ess' (sibilance) detection for increased accuracy when performing faster than real-time leveling. Likewise, new enhancements for the Ambience Match module improve accuracy for creating noise profiles when matching background noise to mask edit points. Ambience Match is now also available as AudioSuite plug-in for constructing consistent ambience beds under constructed sentences and ADR lines directly from within Pro Tools and Media Composer.

"Our users have helped make RX the industry standard in audio post production. This evolution to the RX Post Production Suite is just the start of our continued journey into building the award-winning, workflow-enhancing tools our users dream of as they seek to deliver the best-sounding audio they can under increasingly tight and oppressive deadlines," said Matt Hines, Audio Post Product Manager for iZotope.


Both RX 5 Audio Editor and RX 5 Advanced Audio Editor can be used as a standalone audio editor, as a standalone audio editor connected to your host, or as a plug-in. Supported plug-in formats include AU, VST, VST 3, AAX, RTAS and AudioSuite.

RX Post Production Suite Availability and Pricing

RX Post Production Suite is available for purchase now.

Customers who purchase the RX Post Production Suite during the promotional period will receive RX 4 Advanced immediately, and will be given RX 5 Advanced Audio Editor when it is released.

Special promotional pricing is available through October 21, 2015:
  • New customers may purchase the RX Post Production Suite for $1,299 USD / €1,189 EUR  (reg. $1,499 / €1,369).
  • Customers upgrading to the RX Post Production Suite from previous versions of RX can view upgrade pricing at

RX 5 Audio Editor Availability and Pricing

RX 5 Audio Editor and RX 5 Advanced Audio Editor will be available for purchase in October 2015 for both new customers and upgrading customers.

Going forward from today, customers who purchase RX 4 or RX 4 Advanced will get a free upgrade to their respective version when RX 5 Audio Editor is released. In addition, any customers who have purchased RX 4 or RX 4 Advanced since August 8, 2015, will also a receive a free upgrade to their respective version when it is released.

To celebrate the coming of RX 5 Audio Editor, special promotional pricing is available through October 21, 2015:
  • New customers may purchase RX 4 Advanced for $999 USD / €929 EUR (reg. $1,199 / €1,099)
  • New customers may purchase RX 4 for $299 USD / €285 EUR (reg. $349 / €325) 
Customers upgrading to RX 5 Audio Editor or RX 5 Advanced Audio Editor from previous versions of RX will receive their promotional upgrade offers at product launch. In the meantime, special upgrade pricing can be previewed at

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar- and Emmy-winning film and TV post-production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.

For more information on iZotope products, please visit

Monday, September 7, 2015

Press Release - iZotope Offers Free Mastering Presets Designed by Greg Calbi

Cambridge, MA. iZotope, Inc., a leading audio technology company, has teamed up with Greg Calbi to offer presets designed by the prolific senior mastering engineer. Built for users of Ozone, each preset is designed as a starting point for mastering and crafted to achieve a certain sonic goal.

Greg Calbi has mastered over 7,500 albums and worked with artists including The Ramones, The Talking Heads, Bruce Springsteen, Paul Simon, and Lady Gaga. He uses iZotope's critically acclaimed mastering toolkit Ozone on a daily basis. The presets he has designed for his own projects are now available to all Ozone users to help elevate their mixes to professional-sounding masters. 

Calbi's presets cover such sonic ground as their names suggest: General Clarity, Quick Limiting, Smooth Bass, and Upper Harmonics, as well as several presets for High, Midrange, and Low Detail. 

"The presets serve as a window into where a mix can go, an entrance to something you can manipulate further," he says. "Having Ozone and the availability and the flexibility of the presets makes the job a lot easier."

More tips for success with the Greg Calbi Mastering Presets for Ozone, including audio examples, can be found in iZotope's tutorial. Learn more about Ozone on iZotope's website and learn more about Greg Calbi on iZotope's blog.

Availability Greg Calbi Mastering Presets for Ozone are now available for free on iZotope's website.

Ozone 6 and Ozone 6 Advanced are on sale for $199.00 USD (reg. $249) and $574 USD (reg. $999) through July 30, 2015.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®. For more information on iZotope products, please visit