« Chaque micro installé sur scène est un Sennheiser », confirme Chris Lantz ingénieur du son, travaillant avec Seal et son groupe depuis les dix-huit derniers mois. La production utilise un set complet de micros et de ear-monitors Sennheiser, aussi bien aux USA qu’en Europe, plus une installation de base dans un flycase pour les événements promotionnels.

Seal chante dans un micro main HF Sennheiser SKM 5200 avec une capsule Neumann KK 105-S. « Pour lui, c’est vraiment le top », rapporte Lantz. « Il apprécie le niveau de sortie élevé et la chaleur du son, évitant toute dureté dans le médium. De plus, cette capsule restitue parfaitement sa dynamique. Il est heureux avec ce micro… Il l’aime vraiment. »

Le micro de Seal est associé à un récepteur EM 3732. « J’aime la facilité de recherche des fréquences par balayage », dit Lantz. Côté choeurs, ce sont quatre micros filaires e 935 qui sont utilisés.

Le kit batterie est couvert de microphones série evolution. « Nous avons un e 602 sur la grosse caisse. Précédemment, nous utilisions un modèle concurrent jusqu’au jour où je suis allé à un spectacle où j’ai entendu le e 602. C’est probablement l’un des meilleurs micros que j’ai employé pour la grosse caisse », déclare Lantz. Le Sennheiser e 905 est utilisé placé au dessus et en dessous de la caisse claire, une paire de e 614 sont placés en overhead, les cymbales étant captées par des e 914.

Sur la scène, trois des quatre musiciens disposent de ear-monitors HF Sennheiser G2. «Seul le batteur est équipé d’un retour filaire », note Lantz. « En plus de Seal, le guitariste et le bassiste/clavier sont sur ear-monitors. Un des techniciens utilise aussi un système ear-monitor. Seulement deux haut-parleurs monitor sont utilisés, ce sont des « subs » pour le batteur et le bassiste/clavier, ce qui aide l’ingénieur de façade John Robbins pour son mix », dit Lantz. Des micros additionnels à condensateur e 914 sont placés pour l’ambiance salle qui est envoyée dans les ear-monitors des musiciens.

Il ajoute, « pour Seal, j’utilise à la fois des ear-monitors HF en 500 MHz et en 600 MHz, au cas où des problèmes se présenteraient. Selon l’environnement HF local, les 500 sont mieux… parfois ce sont les 600. » Lantz commande et surveille à distance les équipements HF grâce au système NET 1 Sennheiser.

Bien que Lantz possède une longue expérience et ait été un l’un des premiers à adopter les retours HF, il affirme que son job « est un apprentissage constant ». Il ajoute : « L’appui que Sennheiser nous a donné est inestimable. » Il a notamment reçu une formation sur la tournée, a visité les locaux de Sennheiser dans le Connecticut et a accompli un stage à la Sennheiser Sound Academy. « Vous apprenez les bonnes façons de faire. En héritant de l’expérience de gens qui travaillent avec ces équipements au quotidien, votre job devient par la suite beaucoup plus facile. »

> Onlineshop pour Sennheiser

The music is being written and performed by local artists from all around the country, and the team are covering a lot of ground to record them all – making compact and powerful equipment a necessity.

Focusrite supported the project by supplying a Saffire Pro 10 I/O. Project co-producer Joe Herrmann commented “we also used the Saffire pro in Sierra Leone, and we’re very glad to be able to use it again. It gives us a nice sound, and its great to use on the move. We have it in a rack, and can transport it to our different recording locations very easily, and set it up in seconds.” This year, Focusrite expanded their support, also supplying a Liquid Mix to complement the unit already owned by the project’s other producer, Mark Nunn – thus enabling the team to run parallel systems. “Normally I oversee programming sessions while Joe’s recording vocals,” said Mark: “it’s twice as efficient now, thanks to the support we’ve received, and because of these clean, simple setups and the incredible talent of the people we’re working with, we’re ahead of schedule on this trip already.”
Joe goes on to describe the full rig: “We use the Liquid Mix in a chain with a TC Powercore, plus G-Tech hard drives, with the Saffire pro connected directly to a Apple MacBook Pro 2.8 GHz running Logic Pro 8. In Sierra Leone we were worried about complicated chaining, but it was OK in the end and now we’re much more confident. We’re still very flexible… this week we built our vocal booth in an outhouse at the bottom of somebody’s garden in Lilongwe!”

It is hoped that this album will be played and distributed widely, having a positive effect on HIV knowledge in Malawi, where adult HIV prevalence is around 12%. Women are disproportionately affected here – around 60% of Malawian adults with HIV are female. In 2002, the country suffered its worst food crisis for over 50 years, with HIV recognised as one of the factors that contributed most significantly to the famine. A report suggested that 70% of hospital deaths at the time were AIDS-related. The HIV epidemic has also severely affected Malawian children: at the end of 2007, an estimated 91,000 children in Malawi were living with HIV, and over half a million had been orphaned by AIDS.
Mark Nunn, co-producer of the album, said: “The project has been very popular so far – the response from artists has been inspirational and everybody is working voluntarily – the atmosphere around this project is very positive. We have basic funding in place for three years, and we’ll be repeating this work here in 2010 and again in 2011, with the addition of video and animation to add a visual aspect to what we’re creating from next year. We’re also doing another, shorter project in the Democratic Republic of Congo in August/September 09. At the moment we are trying to secure further funding and sponsorship – whether financial or kind, like how Focusrite helped us by providing the Saffire PRO – to repeat it in other countries where there is similar work taking place on HIV education.”

To listen to the songs from the Sierra Leone project, visit:

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According to Kramer, “The original recording during the festival was pretty scary in the sense that there was no communication between the stage and myself in what was essentially a tractor-trailer,” Kramer said. “We had to mix everything on the fly, so the first song in each set was basically an experiment in identifying where everything was in the mix.”

Thanks to modern recording technology, Kramer has been able to restore and improve the quality of the recordings from those historic three days. “Interestingly, with the technology that is afforded us today, one can now repair things that were irreparable even 15 years ago,” Kramer said. “It’s great, because where a lot of things weren’t working in those first songs, we’ve salvaged a lot of great performances and literally raised tracks from the grave.” The project includes unreleased performances of Creedence Clearwater Revival, the Band, Santana, the Grateful Dead and other iconic acts.

For the project, Kramer utilized a 5.1 surround system comprised of JBL LSR6300 series studio monitors during his mix sessions. “For the longest time, I have been looking for a set of monitors that I can feel comfortable with, at high volumes as well as low volumes, because I do a lot of my mixing at low volume,” Kramer said. “Anybody can turn a speaker up. But when the volume comes down and the relative quality and definition does not change as you pull the monitor fader down, that is a very key element in what I’m doing. I want to hear the detail, and I can hear tremendous detail in these JBL monitors. I think JBL is really doing it right these days.”

In addition to the detail, the neutral and even coverage of the LSR monitors has also proven advantageous for Kramer. “I love the LSR monitors because they’re so smooth and the top end doesn’t take my head off,” Kramer said. “I can sit in the studio all day long, for 12 or 14 hours, and my ears don’t fatigue.

“I needed to get this to sound as good as it possibly could,” Kramer added. “When people are listening to this on a 5.1 system in their living rooms, I want it to feel like they’re dead center in the middle of the crowd, they can smell the smoke, feel the mud and get the vibe.”

Eddie Kramer with his JBL LSR Studio Monitors

“We’re very excited about the release of these high-performance keyboards,” said Michael Lee, E-MU Systems Marketing Manager. “The key beds feel great and the sound set is really outstanding, containing all the essential instruments a working keyboard player needs.”

Both instruments feature a 64MB sound set containing a complete range of classic keyboard instruments such as: Grand Pianos, Electric Pianos, B3s, Clavinets, Solina-Moog-OB-Prophet-Juno-TB synthesizer leads and basses, as well a General MIDI sound set. Sounds can be modified during performance using six controller knobs, pitch and mod wheels and the octave transpose buttons.

The LONGboard and SHORTboard are based on the new E-MU 8030 platform, which performs super high quality pitch interpolation for 128 voices, as well as generating 256 envelope generators, 128 LFOs, 128 low-pass filters (12dB/octave with resonance), 128 DCAs and 32-bit effects processing.

PIPEline wireless audio transmission is also included, and under battery power, allows completely cordless operation up to 49 feet away. PIPEline is E-MU’s new wireless stereo transceiver system designed for musicians.

LONGboard 61 and SHORTboard 49 will ship in Spring 2009.
Prices to be announced.

• Features:
• Full-size professional keys with aftertouch. The LONGboard 61 and SHORTboard 49 are expressive performance
• instruments with high-quality synth-action keybeds.
• E-MU 8030-based sound-engine with 128-voice polyphony
• 64 MB Premium keyboard and General MIDI (GM) compatible sound banks
• 32-bit Reverb and Chorus effects
• Built-in PIPELine wireless transmitter
• User-definable split keyboard (for playing two sounds at once)
• Six synthesizer controller knobs (double as MIDI controllers)
• Programmable data slider MIDI controller
• Pitch and Mod Wheels
• Octave transpose buttons
• MIDI Input/Output jacks (Can be used as a computer MIDI interface; MIDI output doubles as MIDI Thru)
• Dual 1/4″ headphone jacks
• Can be bus-powered via USB, DC powered, or battery powered

For more information, visit: www.emu.com

Shop for ProAudio: www.kopfhoerer.ch

History
The TEC Awards, presented by the Mix Foundation for Excellence in Audio, was established in 1985 to honor outstanding achievement in the professional audio production and product innovation.

 
Nominations
Nominations are made by a panel of more than 100 audio industry professionals.

Voting
Members of professional audio and sound production organizations, including the Audio Engineering Society (AES), the Producers/Engineers Wing of the Recording Academy (SPARS), and the Game Audio Network Guild (GANG) will determine the winners via online balloting beginning August 10th. Click here to determine your eligibility and cast your vote.

And the winner is…
The winners of the 25th Annual TEC Awards will be announced at a ceremony to be held Friday evening October 9, at the 127th AES Convention. The Convention is being held at the Jacob Javits Convention Center in New York City.

The new Soundcraft effects mixers use the same AudioDNA® processor featured in many of the Digitech® and Lexicon® outboard products including the highly respected Lexicon MX500. With over 35 years experience, the Lexicon name is synonymous with the best reverb and processing in the business, providing the finest quality effects ever found in a console at this price level. The consoles also boast a user settings store function, 3 parameter controls, tap tempo and 32 effects presets.

The first new mixer in the range is the Soundcraft FX16ii™. Already established as an immensely popular console, the Spirit FX16 has been offering professional audio solutions to musicians since 1997. Ten years on, Soundcraft has brought the FX16 into line with its professional range using the latest 24-bit digital Lexicon effects processor and a new control surface layout. All the FX consoles are versatile but the FX16ii will be particularly popular with recording musicians thanks to its 26 inputs, 16 direct outputs, 4 stereo returns and rotating connector pod which allows cables to be connected conveniently behind the rack to save space.

Second is the Soundcraft EFX™, a Soundcraft EPM mixer with built-in Lexicon effects. Representing the smallest console in the Soundcraft multi-purpose range the EFX offers a professional solution in a smaller frame-size, available in 8 and 12 channel variants. Featuring the highly regarded GB30 mic preamps (designed by Graham Blyth for the popular Soundcraft GB series), one aux send and one FX send on each channel, the EFX is equipped to deliver the famous Soundcraft sound in a multitude of applications.

Lastly the Soundcraft MFX™, a Soundcraft MPM with built-in Lexicon effects. The MFX is the most versatile of the Multi-Purpose range with two group busses, two aux sends, one FX send on each channel and two stereo input channels, all offered in 3 frame-sizes – 8, 12 and 20 inputs. The combination of a wide range of features and world leading Lexicon effects makes the Soundcraft MFX the perfect solution for many venues including theatres, small music venues, restaurants and houses of worship.

The Soundcraft FX range use the latest PCB surface mount technology which means that more features can be fitted into a rugged, compact frame. All the consoles can be rack-mounted through optional rack kits.

>> Soundcraft Mixer with FX

Lexicon®, a Harman International Company (NYSE-HAR), today introduced its new I·ONIX U22, Lexicon i-Onix U42S, and U82S USB Desktop Recording Interfaces. The I·ONIX Series offers the highest quality hardware and software to provide the user with exceptional recordings. Each model provides all the necessary tools to transform a computer into a professional 24-bit digital recording studio including the USB 2.0 desktop recording interface, Steinberg® Cubase LE4® multi-track PC and Mac® recording software, Toontrack® EZdrummer® Lite virtual instrument software, and the new Lexicon Pantheon™ II VST/AU reverb plug-in.

Brilliantly designed, the I·ONIX Desktop Recording Series sit in the perfect location when using a DAW, between your keyboard and monitor. Now all the monitor and input level controls are at your fingertips. The I·ONIX Series are meticulously crafted from the highest quality components to ensure superior recordings that live up to Lexicon’s standards of performance. Each desktop recording interface features newly designed dbx® microphone preamps on all analog inputs. The preamps are driven by a high-voltage supply to guarantee stability and provide superior recordings across a wide dynamic range. Performance driven A/D-D/A converters ensure pristine 24-bit/96kHz audio quality.

Speaking about the introduction of the new I∙ONIX Desktop Recording Interfaces, Director of Marketing for Lexicon Randy Garrett stated, “Lexicon is committed to bringing the same quality equipment to casual and aspiring musicians that it has provided to professionals for years. In-depth research into home and project studio recording provided the inspiration for the unique, ergonomic shape of the new I∙ONIX Series. In addition, the no compromise design guarantees outstanding audio performance.”

The Lexicon name is synonymous with the world’s best reverb. The Pantheon II VST/AU plug-in offers six reverb types with 16 adjustable parameters, and 35 factory presets that range from Vocal to Live Sound and Special Effects. The exquisitely rich, full reverbs make it easy to add dimension and depth to any track.

Each of the three models allows for a different level of recording capability. The U22 can record two channels simultaneously and includes two analog combi-jack mic/line inputs, two TRS balanced line outputs, a Hi-Z instrument input, a ¼” high-power headphone output, and MIDI I/O. The U42S records four analog and two digital channels simultaneously, and the U82S can record eight analog and two digital channels. In addition, the U42S and U82S include four and eight analog combi-jack mic/line inputs respectively, S/PDIF I/O, two instrument inputs, and two ¼” headphone outputs. Dedicated knobs and meters provide quick and easy access to input and output levels and locking combi-jacks make sure that a connection is not lost in the middle of a performance.

The I∙ONIX Desktop Recording Interfaces all include:

• USB 2.0 connection to the DAW, up to 480Mbps
• 44.1 to 96 kHz sample rates, 24-bit resolution
• Two, Four, or Eight analog ¼” and XLR combi-jack mic/line inputs
• Two analog TRS (Stereo Main) outputs
• dbx high-voltage, ultra-low noise mic preamps on all analog inputs
• 48V phantom power for each input pair
• Input signal metering via 8 LED’s per channel
• Signal mixing and stereo bus signal metering
• Up to two 1/4” high output headphone connections
• Up to two Hi-Z instrument inputs
• Zero latency Direct/Playback monitoring
• Low latency ASIO drivers
• Pantheon II VST/AU reverb plug-in
• Steinberg Cubase LE4 and Toontrack EZdrummer Lite software packages
• Supports Windows® and Mac® platforms

Lexicon is a unit of Harman International Industries, Incorporated (www.harman.com ). Harman International designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”

Buy Lexicon online:

>> Lexicon i onix u42s
Lexicon I-ONIX U22

SAN FRANCISCO, California – Representing the next generation of its groundbreaking and industry-standard EON® series portable loudspeakers, today JBL is introducing the EON500 series. The unveiling of the EON500 series self-powered and lightweight speakers immediately raises the bar in the category of molded powered loudspeakers in all aspects, from industrial design to sonic performance, integrated utility and portability.

“Since its introduction in 1995, the EON series has led the way in terms of versatility, performance and value, as evidenced by the sale of nearly one million EON speakers to date,” said Simon Jones, Director of Marketing, Portable PA, JBL Professional. “Thanks to the acute attention to detail in the design engineering of EON, the highest level of quality is delivered to the end user. JBL has developed the new EON500 series loudspeakers with this same dedication to performance and reliability, while increasing portability, through an even lighter system and designed ergonomics. It has more performance, it’s lighter and it’s even easier to move around.”

There are three models in the new EON product range. Each of the full-range EON500 series compact, lightweight models features an on-board mini-mixer with loop-thru or mix-out capability, allowing for greater control of the loudspeaker’s output. The EON500 series loudspeakers also offer selectable EQ, multiple suspension points, soft-grip handle and a full screened backed grille for extra component protection.

The EON500 series loudspeakers feature a combination of JBL’s patented engineered components, enabling a smaller enclosure and lighter weight than competitive models. When combined with the products’ ease of handling, the EON500 series loudspeakers are ideal solutions for everyone from mobile DJs and musicians to systems integrators.

The unmatched reliability of the EON500 series loudspeakers is the result of JBL’s integrated design of the woofer, amplifier, wave guide and thermal management of all components. Additionally, all electroacoustic components have been specifically engineered for the EON system. Because the features and manufacturability of the system have also been developed in unison, the highly refined production process contributes to the reliability of the products.

The EON515 and EON510 are both 2-way powered speaker systems, offering mic and line level inputs, as well as selectable system EQ, giving users a “loudness” type control and the ability to roll off the low frequency for maximum performance with a subwoofer or when used as a floor monitor. Both models feature one XLR/ quarter-inch combo connector and additional quarter-inch inputs providing input flexibility and the ability to mix multiple sources. Each loudspeaker features one XLR output where the output signal is selectable, either the whole mix may be looped to another speaker (or sent to a mixing console), or simply the primary input for traditional “daisy-chaining.”

The EON515 is a 15-inch 2-way loudspeaker system offering a total of 450/900 watts (continuous/burst) power. All power in the EON515 is derived from latest Crown® Class–D technology; it’s highly efficient, compact and incredibly lightweight—less than 33 pounds (15 kilograms). The EON515 offers a 15-inch Differential Drive® woofer, a compact high-performance compression driver with a 1-inch exit and neodymium motor on a 100° x 60° wave guide.

The ultra-compact EON510 10-inch 2-way loudspeaker system offers a total of 280/560 watts (continuous/burst) power, weighing only 17 pounds (7.7 kilograms). The EON510 offers a 10-inch Differential Drive woofer, a compact high-performance compression driver with a 1-inch exit and neodymium motor on a 100- x 60-degree wave guide.

The EON518S subwoofer features a single 18-inch Differential Drive woofer in a vented enclosure, powered by a 500/1000 watts (continuous/burst) amplifier. It features a pole mount cup for sub/satellite applications, level control, dual inputs, a stereo crossover network, peak limiter and polarity reverse switch. It also has a speaker level input increasing connectivity, flexibility and system configuration options.

“Once described as ‘the ultimate workhorse, utility loudspeaker,’ the success of the EON line is based on its broad appeal, ranging from simple PA applications to professional sound reinforcement, making it extremely useful for DJs, musicians, major rental companies, schools, churches and institutions alike,” Jones added. “As with the existing EON lineup, utility will continue to drive the success of the new EON models, which truly represent the next generation in portable loudspeakers.”

Links

>> JBL EON 515 bei kopfhoerer.ch

“MOTU’s UltraLite packs a lot of punch for its size, in terms of both features and audio quality.”

“The UltraLite’s audio quality is great, and its mic pres are more than adequate and provide lots of headroom and gain. Details like +4 dB operation and the ability to easily route mixed audio back to the computer make the UltraLite a pro-quality device in a budget-priced package.”

“With a computer and digital-audio-sequencing application, the UltraLite is really in its element. It’s a front end that’s useful and cool. You can even name your inputs. The combination of MOTU’s well-designed hardware and compatible software sets a high standard for compact FireWire setups. Details like +4 dB operation and the option to easily route mixed audio back to the computer make the UltraLite a pro-quality device in a budget-priced package.”
“The combination of MOTU’s well-designed hardware and compatible software sets a high standard for compact FireWire setups.”

“The system sounds great and is expandable. With AudioDesk and CueMix Console included, it offers almost every feature a computer-based recordist could need, and throws in SMPTE, talkback, and four stereo buses. With MOTU’s software, the system operates seamlessly, and the clear, well-written manual provides detailed instructions for use with other Core Audio software and with Windows software, including ASIO (Steinberg Cubase and Nuendo), WDM (Cakewalk Sonar), and GSIF (Tascam GigaStudio) applications. The UltraLite package is a great choice if you’re looking for a pro-quality compact FireWire recording system, and the included software makes it especially attractive.”

> buy online Motu Ultralite MK III

dbx® Professional Products, a Salt Lake City-based manufacturer of professional signal processing products and a division of Harman International, introduces two new direct injection boxes into the product line. Representing a new category of product offering for dbx, the dB10 Passive Direct Box and dB12 Active Direct Box build on the dbx heritage, consistently offering customers innovative and dependable professional signal processing solutions. The aggressive styling of their solid, road-worthy, cast-metal chassis is a departure from the usual utilitarian look of most direct boxes.

The dB10 Passive Direct Box includes all the basic features you would expect from a work horse direct box – _” input and parallel “thru” jacks, transformer isolation, balanced XLR output, and ground lift switch – but provides additional value not found in budget direct boxes. Its 3-position pad switch easily accommodates instrument, line level and speaker level signals, while further versatility is added with its selectable polarity invert and high-cut filtering functions. Premium chrome toggle switches and a gold-plated Neutrik® XLR output jack, as well as a first-class custom dbx mu-metal-shielded isolation transformer, ensure the highest-quality signal path. All switches are recessed to provide protection from accidental operation or damage.

The dB12 Active Direct Box includes all the features of the dB10, but in an active version. Driven by phantom power supplied by a mixing console’s mic input, the dB12’s active circuitry operates from 20V to 48V. A green power LED is included to show status of the phantom power source. The dB12’s high input impedance and low-noise buffered active circuitry faithfully preserve the tone and signal characteristics of the instrument source. It also includes a custom dbx mu-metal-shielded isolation transformer, tailored to complement the active circuitry and provide a clean balanced output signal.

dbx dB 12 - DI Box

dbx dB 10 - DI-Box

In addition to their rugged design, a unique feature of these direct boxes is the heavy-duty molded rubber skid pad which not only provides a solid, non-skid surface, but is contoured to mate with the tiered surface of the chassis top, making stable stacking of multiple boxes possible for a cleaner, compact arrangement.

The dbx dB10 Passive and dB12 Active Direct Boxes are available in March at an estimated street price of $99.95 and $129.95 respectively.

Link:
- dbx
- buy dbx online