Neumann Press Releases http://hummingbirdmedia.com/clients/neumann Kirby Mon, 25 Sep 2017 16:23:08 -0400 THE U 87 RHODIUM EDITION - NEUMANN CELEBRATES 50 YEARS OF THE LEGENDARY MICROPHONE WITH THE ULTIMATE LIMITED EDITION http://hummingbirdmedia.com/clients/neumann/press-releases/the-u-87-rhodium-edition-neumann-celebrates-50-years-of-the-legendary-microphone-with-the-ultimate-limited-edition http://hummingbirdmedia.com/clients/neumann/press-releases/the-u-87-rhodium-edition-neumann-celebrates-50-years-of-the-legendary-microphone-with-the-ultimate-limited-edition Fri, 15 Sep 2017 00:00:00 -0400 There is an elite category of products that exist outside of the march of time – transcending their moment to become timeless icons. In the world of recording, the Neumann U 87 is one such legend. For 50 years this professional studio microphone has been setting standards in the field of audio recording. Now, Neumann celebrates the anniversary of this studio legend with the U 87 Rhodium Edition – a spectacular creation that gives the beautiful U 87 an extra special look to celebrate its timeless achievement.

The U 87 has gained its cherished status thanks to the incredible universality and versatility that has made it a vital part of recording for a half century. Wolfgang Fraissinet, President of Neumann.Berlin, explains that this is why something very special was needed to mark the 50-year anniversary – a rhodium-plated edition of the acclaimed U 87: “This extraordinary combination is the ideal way to celebrate the 50th birthday of the U 87. The exclusivity and beauty of rhodium powerfully expresses the timeless quality of this microphone. The Rhodium Edition truly embodies the high standards of Neumann.”

Alongside its technical accomplishments, the mythic status of the U 87 is as much about the fabric of memories and history woven around the microphone itself. Almost all the great names in the music industry have recorded with the U 87. This peerless history influenced the choice of rhodium. Far rarer than gold, it reflects light more than any other metal, which is why it is used for the mirrors of high-performance telescopes that study the farthest reaches of the universe. This transcendent quality sets it above other precious metals.

Exclusive, limited and made to order
Neumann is offering the U 87 Rhodium Edition only once, made to order and limited to only 500 units worldwide. Each of the meticulously crafted microphones is individually numbered with a certificate of authenticity hand signed by Wolfgang Fraissinet, President, Neumann.Berlin.

Every U 87 Rhodium Edition is supplied with a Neumann aluminum case and a special Rhodium Edition EA 87 elastic suspension. A pair of black gloves is also included for keeping the limited-edition microphone in pristine condition.

The U 87 Rhodium Edition is exclusively available via select dealers with orders starting from September 2017. To learn more and to enquire as to availability, please visit the special microsite celebrating 50 years of the U 87, which provides an up-to-date list of dealers with available special editions. www.neumann.com/50YEARS-U87

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Neumann U 67 Microphone Selected As 2017 TECnology Hall of Fame Inductee http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-u-67-microphone-selected-as-2017-tecnology-hall-of-fame-inductee http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-u-67-microphone-selected-as-2017-tecnology-hall-of-fame-inductee Thu, 26 Jan 2017 00:00:00 -0500 Studio specialist Neumann.Berlin announced that its classic U 67 microphone was inducted into the Technical Excellence and Creativity (TEC) foundation’s TECnology Hall of Fame for 2017. Wolfgang Fraissinet, president, Georg Neumann GmbH, was on hand to accept the award on January 21st during the NAMM show in Anaheim, California.

The Neumann U 67 tube microphone has been elected to the TECnology Hall of Fame

The Neumann U 67 tube microphone has been elected to the TECnology Hall of Fame

First launched in 1960 as a replacement for the U 47, the three-pattern U 67 tube mic was designed for close miking of vocals in studio applications. The mic was an immediate success with engineers the world over and has since proven to be a powerful studio workhorse, used at top studios on a broad range of sound sources.

“We are honored that the TECnology Hall of Fame has chosen to acknowledge the remarkable feat of engineering that is the U 67 microphone,” says Fraissinet. “Over the last 50 years, its excellence has been best demonstrated by its ubiquity in studios around the world and its use on countless recordings. The U 67 is a fine representation of Neumman’s commitment to innovation and superior performance — a commitment that continues to this day.”

Founded in 2004 by George Petersen and presented since 2015 by the NAMM MUSEUM of Making Music, the TECnology Hall of Fame honors and recognizes audio products and innovations that have made a significant contribution to the advancement of audio technology.

The Neumann U 67 featured numerous technological advances, including switchable polar patterns and bass roll-off

The Neumann U 67 featured numerous technological advances, including switchable polar patterns and bass roll-off

Steeped in History
At the end of the 1950s, German electronics firm Telefunken announced the end of production of the VF 14 M steel tube used in Neumann’s beloved U 47 microphone. With but one last production run before a key component of their classic mic was gone forever, Neumann knew they needed to design a suitable successor if the company wished to retain its lead as the premier manufacturer of studio vocal microphones. The result would be the culmination of 30+ years of condenser microphone development by Neumann: the U 67.

The U 67, designed by Neumann’s Dr. Ing. Gerhart Boré, combined classic Neumann sound quality with some of the latest innovations in microphone technology, a response to the rapidly changing needs of the recording studio. Having already incorporated switchable polar patterns into their KM 56 miniature microphone, Neumann wanted to bring this functionality to the new U 67. This resulted in the development of the new K 67 capsule, a dual capsule with two separate back electrodes that featured omni-directional, cardioid and figure-eight polar patterns. The capsule was also designed to deliver a flat frequency response between 40 Hz and 15 kHz, bringing unprecedented detail and realism to any sound source.

The Neumann U 67 was designed to disassemble without tools for easy maintenance

The Neumann U 67 was designed to disassemble without tools for easy maintenance

In the late 1950s, many vocalists began singing close up on microphones to achieve a fuller sound. While the technique helped create a desirable vocal characteristic, it could also introduce an excessive low-end boost due to the proximity effect. To manage this, the U 67 incorporated a new low-frequency attenuation switch, enabling signal roll-off beginning at 100 Hz. This gave engineers an additional tool to use in achieving a rich but balanced sound. Additionally, a steep high-order low-cut below 40 Hz was built into the mic to eliminate unwanted sub-frequencies before they reached the tube amplification stage, averting low-frequency overload.

The finishing touch was a new elegantly tapered body with modular components that could be easily disassembled without tools for tube replacement and maintenance. It utilized the widely available EF 86 tube to make upkeep of the microphone easy for owners anywhere in the world, ensuring a long life even in hard-working studio applications.

The U 67 was an immediate success, garnering accolades for its unprecedented functionality, versatility, and sound quality, and earning a place in the mic lockers of top studios around the world. It quickly picked up the mantle of the discontinued U 47, with several thousand sold during its first five years of production. Its variable polar patterns, flexible low-end attenuation, and flat frequency response made the U 67 usable on such a wide range of applications that it became affectionately known as “the workhorse.” In 1967, many of the advances made in this classic microphone would go on to inform Neumann’s next classic: a solid-state microphone called the U 87.

For more information on the TECnology Hall of Fame, please visit: https://www.tecawards.org/tecnology-hall-of-fame

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Making the unknown calculable - How the Neumann KH 80 DSP raises the standard of monitor sound http://hummingbirdmedia.com/clients/neumann/press-releases/making-the-unknown-calculable-how-the-neumann-kh-80-dsp-raises-the-standard-of-monitor-sound http://hummingbirdmedia.com/clients/neumann/press-releases/making-the-unknown-calculable-how-the-neumann-kh-80-dsp-raises-the-standard-of-monitor-sound Thu, 19 Jan 2017 00:00:00 -0500 With the KH 80 DSP, Neumann.Berlin launches its first studio monitor with digital signal processing. “Our DSP engine is an in-house development that primarily takes a formerly unknown variable and makes it calculable: the room. Expect clear, high-precision sound wherever you are monitoring,” explains Wolfgang Fraissinet, President of Neumann.

The brand-new Neumann KH 80 DSP two-way near-field studio monitor makes the room calculable

The brand-new Neumann KH 80 DSP two-way near-field studio monitor makes the room calculable

Thanks to the upcoming “Neumann.Control” software, in the future the new KH 80 DSP two-way near-field studio monitor will be able to fully calibrate itself to the room. This can be performed either automatically - Precision Alignment - with some simple questions - Guided Alignment, or adjusted with complete flexibility using the built in 8-band fully parametric equalizer - Manual Alignment.

The rear panel of the KH 80 DSP

The rear panel of the KH 80 DSP

“In the KH series we have always been obsessed with the details when it comes to the calculation and modeling of the drivers, waveguide and cabinet,” emphasizes Fraissinet. The result is a frequency response with such neutrality that it defines a whole new reference class – and at a price that was previously unthinkable for a Neumann Studio Monitor. Using mathematical models, the two drivers were calculated to a degree of depth, “which is unusual even for our industry,” explains Fraissinet. Nonlinear distortion is thus minimized from the very beginning. The MMD™ Waveguide, or Mathematically Modelled Dispersion™, optimizes the frequency response on- and off-axis, and enables more movement within the listening area and more consistency even in the most varied acoustic environments.

The KH 80 DSP is designed as an ideal monitor solution for recording, mixing and mastering in project, music, broadcasting and post-production studios.

Detail of the KH 80 DSP rear panel showing the operating controls of the monitor loudspeaker

Detail of the KH 80 DSP rear panel showing the operating controls of the monitor loudspeaker

Every mechanical and electronic element – from the driver to the amplification – is handpicked and harmonized in accordance with Neumann standards. The DSP engine also ensures a linear frequency response with a FIR filter. This makes sure that in every environment all frequencies are precisely timed.

Key specifications include:
Drivers: 4” and 1”
Amplifiers: 120 + 70 W
Frequency response: 57 Hz … 21 kHz, +/-3 dB
Maximum SPL: 108.8 dB
Dimensions: 233 x 154 x 194 mm
Volume: 7 liters
Weight: 3.4 kg - 7 lbs 8 oz
Input: XLR/Jack

The KH 80 DSP will be available from February 2017.
Neumann.Control will be available from Q2 2017.

Visit Sennheiser and Neumann in Hall A, Booth 6577.

We kindly invite you to our press conference on Thursday, January 19th at 1 p.m. at the booth.

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Neumann Monitors Help Translate Manteca’s The Twelfth of Never to Immersive Surround Format http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-monitors-help-translate-manteca-s-the-twelfth-of-never-to-immersive-surround-format http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-monitors-help-translate-manteca-s-the-twelfth-of-never-to-immersive-surround-format Tue, 03 Jan 2017 00:00:00 -0500 After 37 years together, jazz fusion luminaries Manteca have firmly established themselves as seminal proprietors of the genre. But even after all this time, co-founder Matt Zimbel and his crew are not finished innovating. Their twelfth full-length effort, fittingly titled The Twelfth of Never, features deep grooves, delicately interlocking melodies, and virtuosic musicianship by the band’s nine principle players.

From left to right: Matt Zimbel of Manteca; Producer Jeff Wolpert; Colleen Allen of Manteca; Ben Escobedo; Justin Auld, sales, Sennheiser; Doug Wilde of Manteca; Doug Spears, Manager ProAV Sales, Canada, Sennheiser; Anthony Montano, Broadcast Audio Operations, Bellmedia; Michael Nunan, Senior Manager, Broadcast Audio Operations, Bellmedia; Norman Verrall, sales manager, HHB Canada; Charlie Cooley of Manteca. Photo credit, Terry Edelman

From left to right: Matt Zimbel of Manteca; Producer Jeff Wolpert; Colleen Allen of Manteca; Ben Escobedo; Justin Auld, sales, Sennheiser; Doug Wilde of Manteca; Doug Spears, Manager ProAV Sales, Canada, Sennheiser; Anthony Montano, Broadcast Audio Operations, Bellmedia; Michael Nunan, Senior Manager, Broadcast Audio Operations, Bellmedia; Norman Verrall, sales manager, HHB Canada; Charlie Cooley of Manteca. Photo credit, Terry Edelman

While a traditional stereo recording of the album was released at the end of September, an offhand discussion between Zimbel, who also works as a television producer, and Bell Media surround sound mix experts Michael Nunan and Anthony Montano led to a plan to take the record to a whole new level: one that incorporates height. Utilizing a cutting-edge 12.2 mix room featuring Neumann monitors, the team was able to realize the album pristinely in an exciting 3D space.

Wave of the Future
The Atmos format is not new to Nunan or Montana, and despite knowing that the format has rarely been used for a stand-alone music recording, they were excited about the prospect. “Anthony and I have already been working in the Dolby Atmos format for over a year now, trying to learn how it will work for TV applications, and had become increasingly interested in how the format could be applied to non-cinema applications, especially music,” says Nunan, Bellmedia’s Senior Manager, Broadcast Operations, Audio. “Anthony told me about Atmos outside the truck one day while we were working on the Pan Am games and I was really intrigued,” says Zimbel.

Matt Zimbel of jazz fusion band Manteca stands with Neumann monitors at Revolution Recording in Toronto. The band’s latest record, The Twelfth of Never was treated to special 12.2 high order surround mix on Neumann’s KH series monitors. Photo credit, Terry Edelman

Matt Zimbel of jazz fusion band Manteca stands with Neumann monitors at Revolution Recording in Toronto. The band’s latest record, The Twelfth of Never was treated to special 12.2 high order surround mix on Neumann’s KH series monitors. Photo credit, Terry Edelman

When Zimbel told Montano and Nunan about Manteca’s new album, they knew it would be an ideal first foray into mixing a music recording in an enhanced surround format. “The Twelfth of Never is an extraordinary album with fantastic players, great songs, and arrangements that are well-suited to this kind of space,” Nunan says. “These arrangements are quite dense with a lot of moving parts. The possibility to get inside the music in this three-dimensional space is a major evolution of the craft of music production.”

Neumann KH series monitors were placed in a 12.2 high order surround configuration in Revolution Recording’s Studio A for playback of Manteca’s latest album The Twelfth of Never. Photo credit: Terry Edelman

Neumann KH series monitors were placed in a 12.2 high order surround configuration in Revolution Recording’s Studio A for playback of Manteca’s latest album The Twelfth of Never. Photo credit: Terry Edelman

A Strong Foundation
The record was initially recorded and mixed in stereo by Jeff Wolpert at the sprawling Revolution Recording studio in Toronto. Nunan and Montano started with individual tracks for each instrument that included Wolpert’s processing and adjustments. “We wanted to utilize the basic tonality that Jeff had crafted for the record and work from there,” Nunan says. Nunan and Montano took those tracks to Bellmedia Studios in Toronto, home of one of very few non-cinema mix rooms in the country fully equipped for high-order surround.

Michael Nunan, Senior Manager, Broadcast Audio Operations, Bellmedia, has extensive experience working with Neumann monitors in high order surround mixing applications. Photo credit, Terry Edelman

Michael Nunan, Senior Manager, Broadcast Audio Operations, Bellmedia, has extensive experience working with Neumann monitors in high order surround mixing applications. Photo credit, Terry Edelman

“Neumann monitors are used throughout Bellmedia Studios because of their excellent sound quality, flat frequency response, and compact size,” he continues “All of those factors made them an easy choice for our enhanced surround mix room.” The mix room features 12 KH 120 monitors complemented by a pair of KH 810 subwoofers. “It is imperative that we have accurate imaging as we explore these new formats, and the Neumann monitors provide that.”

Nunan and Montano hewed close to Wolpert’s core sounds from his stereo mix. “The kick drum sound was the same one Jeff had in his final mix, for example, which we would diverge from only if we needed to account for what happened in the space we were creating.” Some of their enhancements included utilizing special surround reverb and delay effects that were rendered to fill the 3D space.

Neumann KH series monitors were used in creating a 12.2 mix of Manteca’s The Twelfth of Never and were also selected for the first public playback of the mix held at Toronto’s Revolution Recording. Photo credit, Terry Edelman

Neumann KH series monitors were used in creating a 12.2 mix of Manteca’s The Twelfth of Never and were also selected for the first public playback of the mix held at Toronto’s Revolution Recording. Photo credit, Terry Edelman

Wolpert and Zimbel remained involved throughout the process to ensure fidelity to the original sonic vision of The Twelfth of Never. Wolpert notes how pleased he was with the performance of the Neumann monitors in translating his original mix to high-order surround. “To make this happen you need extraordinarily accurate monitoring,” he says. “We were very fortunate to have Neumann monitors for this process. As you can imagine, imaging is super important and that is something at which these speakers excel. Without precision of placement there would be no ability to precisely create the virtual atmosphere we were after. They really are extraordinary.”

Hello World
With this very unique mix of Manteca’s latest work complete and approved by Zimbel and the band, it was time to decide how best to present the cutting edge material to the world despite the dearth of non-cinema venues equipped for high-order surround playback. “We didn’t feel that a movie theater was the right place to debut this, so we decided to bring it back to where it all began: to Revolution Recording’s Studio A live room,” says Zimbel. The audience would be divided into two listening sessions and include friends and collaborators of the band as well as industry luminaries and a few lucky Jazz FM Toronto donors. To achieve the balanced sound the team had relied on during the mix stage, they reached out to Sennheiser’s Doug Spears, Manager ProAV Sales, Canada, who was able to coordinate the delivery of a 14-speaker Atmos-ready sound system for the occasion. The system featured Neumann’s KH 420, KH 310, and KH 120 monitors and KH 810 subwoofers, arrayed in a 7.1 configuration at ear level with an additional 5.1 array above the listening positioning to add the crucial height dimension, each encircling the 50 chairs gathered in the immense live room.

Listeners at Toronto’s Revolution Recording were rapt by the playback of a special 12.2 mix of jazz fusion band Manteca’s latest album, The Twelfth of Never. The mix was executed on Neumann monitors and play back in Revolution’s Studio A on Neumann monitors at a private reception. Photo credit, Terry Edelman

Listeners at Toronto’s Revolution Recording were rapt by the playback of a special 12.2 mix of jazz fusion band Manteca’s latest album, The Twelfth of Never. The mix was executed on Neumann monitors and play back in Revolution’s Studio A on Neumann monitors at a private reception. Photo credit, Terry Edelman

Another Dimension
“For most of you, this will be the first time you hear something that you feel does justice to the term “surround sound,” Nunan said as the audience for the first listening session gathered in their seats. After Zimbel, Wolpert, Nunan, and Montano gave some background on the process of creating this unique experience, Nunan pressed play and the audience was entranced. “Incredible,” said one guest as enthusiastic applause erupted after playback completed.

While the method of delivery for a commercially distributed version of the high order surround mix of The Twelfth of Never is uncertain, Nunan hopes that continuing advances in surround reproduction technology will make a compatible system more widely available in the form of a pair of normal headphones. “When we created the mix, we did so by placing audio objects in a virtual space, which the computer then renders to the specific speaker orientation we have available upon playback,” Nunan explain. “This means we can always re-render our mix to a new speaker format as standards evolve. Some day we hope this will include a binaural convolution that allows us to deliver the effect on conventional headphones. These are yet more reasons why it was critical that our Neumann monitors afford us the clarity and honesty that ensures that our mixes will translate for years to come.”

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Engineer Kevin Madigan trusts Neumann monitors with Crosby, Stills and Nash on the road and in the studio http://hummingbirdmedia.com/clients/neumann/press-releases/engineer-kevin-madigan-trusts-neumann-monitors-with-crosby-stills-and-nash-on-the-road-and-in-the-studio http://hummingbirdmedia.com/clients/neumann/press-releases/engineer-kevin-madigan-trusts-neumann-monitors-with-crosby-stills-and-nash-on-the-road-and-in-the-studio Fri, 22 Jan 2016 00:00:00 -0500 Kevin Madigan is an accomplished audio engineer and acoustics consultant, deftly straddling the worlds of live sound and studio recording. Having relocated to Los Angeles from his native Dublin, Ireland about ten years ago, he has amassed an impressive roster of clients including Crosby, Stills and Nash (CS&N), Smashing Pumpkins, David Gilmour and many others. Recently, he began using the Neumann KH 120, KH 310 monitors and KH 810 sub ­ both at FOH in his live work, and in the studio.

Kevin Madigan at Studio B at the Village Recorder, Santa Monica, USA

Kevin Madigan at Studio B at the Village Recorder, Santa Monica, USA

Madigan’s introduction to Neumann monitoring solutions came as he was handling FOH duties for CS&N while on tour, when he acquired a pair of KH 120 nearfield loudspeakers: “Having quality studio monitors on hand has become more and more important for us for what we do in live work,” he explains. “Since it is so much easier to achieve high-quality digital recordings, more of what we do in live venues is crossing over into traditional studio work.”

Neumann KH 120s: immediate gratification
According to Madigan, fans increasingly crave high-quality recordings immediately after the performances they attend: “Many artists now offer downloads of show recordings for fans to purchase at the merch table following each performance. So I have to have a reliable monitoring solution to evaluate the recordings before I upload the final mixes,” he says. “My Neumann KH 120s are perfect for this application ­ they sound great, are easy to transport and have a roadworthy construction.”

To capture the live audio, Madigan is multi-track recording via a 24/96kHz MADI stream with a separate stereo mix bus from his SD7 DiGiCo console. “I leave the KH 120s up during the show so if I want to solo up something, I can check with either headphones or on the monitors,” he says. “Then I will generally come back the next day early in the morning and run through the previous night’s show to make sure everything is balanced properly. Then when everything is good, I will upload the stream.”

A pair of Neumann KH 120s at the FOH position, Royal Albert Hall, London, UK

A pair of Neumann KH 120s at the FOH position, Royal Albert Hall, London, UK

Neumann KH 310: mixing for the masters
Madigan’s engineering work tends to move between both live and studio worlds, depending on the work cycle of his clients. Once a long tour is wrapping up, it is a safe bet that he will find himself behind the console in one of LA’s top recording environments, tracking and mixing the next major release. After wrapping up the CS&N tour, Madigan was enlisted to record Graham Nash’s latest release This Path Tonight alongside producer Shane Fontayne, which is set for release on April 15th on Nash’s Blue Castle label. The new album which contains 10 original compositions ­ is Mr. Nash’s first solo record of new music in fourteen years.

After having an extremely positive experience with the Neumann KH 120s on the road and subsequently being introduced to Neumann’s KH 310 midfield monitors at a pre-NAMM event last year during a Sennheiser ‘Immersive Audio’ exhibit, Madigan wanted to try the KH 310s on some mixes for the new album: “We’d been tracking and mixing for a while by that point and I’m very familiar with how things sound in Studio B and D at the Village Recorder,” he recalls. “One day, I came in a little early and set up the 310s next to my previous monitors and started listening. They impressed me straight away and I got back to mixing working with both sets of monitors. After extensive switching back and forth between the two pairs, and listening to mixes in other environments, the switching eventually stopped and I ended up sticking with the 310s.”

Kevin Madigan relies on the Neumann KH 120s at the Amphitheatre of Lyon, France

Kevin Madigan relies on the Neumann KH 120s at the Amphitheatre of Lyon, France

Trust your (tonal) instincts
Madigan says that the KH 310s were able to do what the other monitors could not. “We had similarly sized high-quality mid-field monitors we were using at the time, and I just felt that the KH 310s had a better low frequency extension and were more accurate there too – and this was before I added the KH 810 Sub,” he recalls. “That low end was quite impressive in a non-ported design. They’re very easy to work with for long days and nights in the studio and the mixes on them translated very well into several other listening environments and systems where we were comparing them.” The ultimate proving ground was when Madigan brought the masters to Bernie Grundman for mastering. “Bernie was very pleased with the mixes and said, ‘I don’t know what you are using for monitors, but I really like them.’”

The KH 310s enable Madigan to trust his tonal instincts: “With the inherent accuracy of the KH 310s, we are enabled to make the right decisions about tonal qualities. The onus is on us as engineers to do the best possible job we can as sound engineers, because more and more, people are listening on high-quality, polished playback systems. These monitors give us the ability to see the complete sonic picture, so to speak.”

Now, Madigan’s favorite monitors are the Neumann KH 120 for live recording, and the KH 310s for studio recording and mixing. “I would not be without them and will bring them with me wherever I am working,” he concludes. “Also, I am now considering doing some ‘immersive’ mixes of back catalog material with the KH 310s ­ so I may need many more of these in the near future.”

Download in French

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Apogee and Neumann announce attractive home recording bundle http://hummingbirdmedia.com/clients/neumann/press-releases/apogee-and-neumann-announce-attractive-home-recording-bundle http://hummingbirdmedia.com/clients/neumann/press-releases/apogee-and-neumann-announce-attractive-home-recording-bundle Fri, 22 Jan 2016 00:00:00 -0500 Following the launch of the Sennheiser / Apogee ClipMic digital and MKE 2 digital mobile recording solutions in 2015, 2016 will see the launch of an attractive bundle for the ambitious home recordist. Studio specialists Neumann.Berlin will combine their TLM 102 large-diaphragm microphone – complete with elastic suspension – with Apogee Duet, the most popular portable audio interface for Mac and iPad. This special bundle will exclusively be available in the USA, Canada, Germany and the UK from April 2016. It can be ordered via the Neumann website www.neumann.com/homestudio.

The Neumann TLM 102 and Apogee Duet bundle is an ideal choice for any home recordist looking for a versatile large-diaphragm microphone combined with the most popular portable audio interface for Mac or iPad

The Neumann TLM 102 and Apogee Duet bundle is an ideal choice for any home recordist looking for a versatile large-diaphragm microphone combined with the most popular portable audio interface for Mac or iPad

“We are extremely happy that the cooperation with Apogee now extends into the home recording field and also includes the Neumann brand,” said Wolfgang Fraissinet, Director Audio Recording at Sennheiser and President Marketing and Finance of Neumann.Berlin. “This bundle will be the go-to solution for the serious home recordist.”

The microphone: the Neumann TLM 102 large-diaphragm condenser
Designed for vocals and instruments, the TLM 102 is the perfect entry into Neumann’s world of true condenser microphones, offering a very harmonic, natural and detailed sound reproduction with a slight treble boost to give recordings the silky elegance that is so typical of large-diaphragm microphones. The gentle boost in the 8 to 12 kilohertz region also provides an organic separation between vocals and, for example, an acoustic guitar – a feature which is especially important for singer/songwriters. The bass reproduction is full and well rounded out even down to the lowest frequencies.

The TLM 102 is a ‘good-natured’ microphone that is easy to use and handle. It masters extremely high sound pressure levels of up to 144 dB with elegance, and has an integrated pop shield to smoothly record critical sibilants and plosives. Its transformerless output stage makes it insensitive to electromagnetic fields and minimizes any transmission losses. Due to its compact size, it can be easily positioned even if there is not much space.

For the bundle, the TLM 102 comes complete with an EA 4 elastic suspension, all the user needs to add is a standard microphone cable and stand.

The audio interface: Apogee Duet
Featuring Apogee’s legendary AD/DA conversion technology, Duet is the industry standard for professional portable audio recording on Mac and iPad, offering the ultimate in sound quality and elegant design. Duet offers two analogue combo inputs (XLR and ¼”) with world-class mic preamps and selectable 48V phantom power for the connection of microphones, instruments or professional line-level devices. On the output side, Duet provides two analogue 1/4” balanced outputs via the I/O port for connection to speakers or outboard equipment plus a separate, independently controlled 1/4” stereo headphone output. Via separately available Lightning and 30-pin cables, Duet can make a direct connection to iOS devices (iPhone, iPad or iPod touch).

Apogee Duet offers outstanding ease of use and intuitive operation. Its seamless integration with either iOS or Mac offers a smooth workflow and pleasant recording experience.

Visit the joint Sennheiser and Neumann stand in Hall A, Booth 6577.
Visit the Apogee stand in Hall A, Booth 6500.

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Neumann in the Home Studio http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-in-the-home-studio http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-in-the-home-studio Thu, 21 Jan 2016 00:00:00 -0500 Neumann.Berlin has launched a new website that is dedicated to home studio recording. True to its motto “The studio is where you are”, the new microsite http://www.neumann.com/homestudio caters to those musicians who want to make their own recordings at home, at band rehearsals or while on the road.

The microsite <http://www.neumann.com/homestudio> offers a wealth of useful recording tips, product information and straightforward tutorial videos

The microsite offers a wealth of useful recording tips, product information and straightforward tutorial videos

The studio specialist, which is based in Berlin, Germany, is responding to the fundamental changes that have taken place in the studio scene and among its user community. Nowadays, recording is much more than just a necessary step for releasing an album. It has instead become an integral part of the creative process itself. An ever-increasing number of musicians, from hobbyists to world famous stars, use high class recording equipment both at home and while on the road for songwriting, demos, pre-production and even track releases.

Wolfgang Fraissinet, President of Neumann and Director Audio Recording at Sennheiser

Wolfgang Fraissinet, President of Neumann and Director Audio Recording at Sennheiser

“Neumann has always been and will always be the brand of choice for recording professionals” commented Wolfgang Fraissinet, President of Neumann.Berlin. “With our new Home Studio microsite, we are demonstrating that Neumann is both highly competent and highly relevant for sound enthusiasts and musicians who make their own recordings. In recent years we have created a number of affordable products, such as the large diaphragm condenser microphone TLM 102, which make the Neumann sound available to home users. With Neumann in the Home Studio, our goal is to help our new customers get the very best out of their microphones.”

Part of the new microsite is the Neumann Home Studio Academy which features a number of straightforward tutorials, including audio samples that help beginners to get started and provide advanced users with useful background information in order to refine their recording techniques. The Neumann Home Studio Academy will be continually updated and expanded upon. It also contains video tutorials that provide step-by-step solutions to typical challenges that one faces in the home studio, such as recording vocals and acoustic guitar in untreated rooms. The videos of the Neumann Home Studio Academy are presented by the Belgian musician and filmmaker Geert Verdickt.

The Neumann Home Studio microsite also contains detailed information on a selection of Neumann products that are of particular interest to musicians. These include the large diaphragm condenser microphones TLM 102 and TLM 103, the small diaphragm condenser KM 184, as well as the KMS line of stage microphones. An integrated online store allows users to order these products directly and they include a premium package with exciting add-ons and a 10-year warranty certificate from Neumann.

Testimonials from renowned users underline the status that these competitively priced Neumann products continue to have in the professional field. Furthermore, every user now has the opportunity to become part of the community and be featured on Neumann in the Home Studio by posting his or her picture on Instagram using the hashtag #myNeumann.

The new website Neumann in the Home Studio automatically adapts to the needs of its visitors and is fully responsive, hence ensuring an optimal experience on mobile devices and desktop computers alike.

Download in French

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Neumann captures The Peace That Deafens http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-captures-the-peace-that-deafens http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-captures-the-peace-that-deafens Fri, 18 Dec 2015 00:00:00 -0500 Singer, songwriter and producer Ola Onabule has just released his eighth album, It’s The Peace That Deafens, which fuses African, jazz and soul influences into 12 songs that defy categorisation. An array of Neumann microphones was on hand in a challenging studio environment to capture every nuance of the sound.

Album shot of Ola Onabule’s It’s The Peace That Deafens - photo credit: Steve Read

Album shot of Ola Onabule’s It’s The Peace That Deafens - photo credit: Steve Read

The British-Nigerian artist was introduced to Neumann microphones over 20 years ago, at the start of his career, and has been a devotee ever since. “I remember recording my first ‘big studio’ vocal at Metropolis in London. A lot of time was spent A-B testing an array of carefully positioned mics in the quest to find the one that best suited my voice,” he says. “The U 87 i beat the rest hands down. I remember being knocked off my feet by its effortless reproduction of nuance and harmonics.”

With a three and a half octave range, it can be a challenge to capture Ola’s voice accurately across the whole frequency spectrum. Having discovered the U 87 i, he requested it for all major studio sessions, until some years later when producer Gus Dudgeon suggested he try the tube M 50. “The combination of the U 87 i’s flat, faithful response and the M 50’s warm tone was such that ever since I have done many vocal sessions with both microphones set up, allowing engineers to choose between a balance of both mics or just one on a final mix,” he says.

Ola Onabule at Sendesaal Bremen, Germany - photo credit: Rolf Schoellkopf

Ola Onabule at Sendesaal Bremen, Germany - photo credit: Rolf Schoellkopf

A modern equivalent to this rig – a U 87 Ai and M 150 Tube – is set up permanently in Ola’s Casa del Funk studio. But it was another producer, Grammy winning George Whitty, who suggested he try the Neumann TLM 49 on the latest album. “As a cardioid, transformerless mic, it’s a very different beast to the other two,” says Ola. “I was surprised George used it for the vocal sound, using the other two to support and supplement it where he needed their specific qualities. But it was completely justified, he delivered a gorgeously mixed album!”

The album features a new, stripped back sound with all-acoustic instrumentation. As well as the vocal microphones, a further selection of Neumann mics were used to deliver exquisitely detailed recordings of the instruments, while overcoming the inherent difficulties of capturing the sound in a live room covering 35m2 with 3.6m high ceilings. “We had to contend with several open mics and the issues of spillage and phase, so we used a Neumann M 147 Tube on the double bass, separating it from the other instruments with an improvised structure of studio screens, blankets and a spare mattress,” says Ola.

Further Neumann microphones included a stereo pair of KM 183 omni pencil mics on the Bluthner baby grand piano, a pair of KM 184s on acoustic guitar and a U 87 Ai on the guitar amplifier. On the drum kit, MD 421s were used for the toms, a pair of KMS 184 for overheads and Ola’s U 87 Ai for the kick drums on the title track. “It’s a gentle song and the superior fidelity of the U 87 Ai was a definite boon,” he says. “Using many of these microphones was a dream back in the early days – I never imagined it could come true. Neumann has shown remarkable faith and generosity by letting me have access to almost any microphone I need to help my aural fantasies become reality on this album.

“Many years ago Sennheiser’s Alan March paid me the phenomenal compliment of suggesting that my music and Neumann microphones were a good fit. He continues to be a real mentor and advisor in all things Neumann, making real and substantive changes to much of the way I make music. For example, thanks to Alan, nowadays I never leave home without the KMS 105 stage condenser mic. It’s got clarity, a virtual absence of proximity effect and I can explore vocal gymnastics on stage, knowing it will capture the full spectrum of frequencies.”

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Neumann launches KH 805 active studio subwoofer http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-launches-kh-805-active-studio-subwoofer http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-launches-kh-805-active-studio-subwoofer Mon, 26 Oct 2015 00:00:00 -0400 With the KH 805, Neumann.Berlin [AES booth 527] is adding a new active subwoofer to its string of acclaimed studio monitoring products. Based on the excellent acoustical performance of the KH 810 subwoofer, the KH 805 is the optimal choice for stereo set-ups in combination with the KH 120 or KH 310. As Wolfgang Fraissinet, President of Neumann, pointed out, “The KH 805 is the answer to our customers’ calls for a more affordable solution for stereo applications. With the KH 805, it is possible to configure flexible monitoring systems for studios of different sizes, with a smooth, uniform response that ranges from below 20 Hz to above 20 kHz.”

The KH 805 active studio subwoofer is a more affordable solution for stereo applications in recording, broadcasting, and post-production studios

The KH 805 active studio subwoofer is a more affordable solution for stereo applications in recording, broadcasting, and post-production studios

The combination of the new KH 805 subwoofer and KH 120 or KH 310 loudspeakers is ideal for tracking, mixing and mastering in recording, broadcasting, and post-production studios.

Wolfgang Fraissinet, President of Neumann and Director Audio Recording at Sennheiser

Wolfgang Fraissinet, President of Neumann and Director Audio Recording at Sennheiser

“State-of-the-art amplifier technologies and high-quality acoustic components have been used to ensure maximum accuracy of sound reproduction for the KH 805,” said Wolfgang Fraissinet. A robust 10” driver, solid cabinet and carefully designed ports ensure tight, articulate and distortion-free low-frequency reproduction down to 18 Hz, even at high playback levels. Fourth-order crossovers and adaptable acoustical controls allow for seamless integration into existing loudspeaker systems.

The KH 805 features a remotely controllable 2.0/0.1 Bass Manager which enables it to be used in many different applications, for example for extending the loudspeaker bass down to 18 Hz, for increasing the maximum SPL of a loudspeaker set-up by up to 8 dB or for reproducing the LFE channel.

The backplane of the KH 805 active subwoofer

The backplane of the KH 805 active subwoofer

The active subwoofer is also an ideal tool to decrease the harmonic and intermodulation distortion of a loudspeaker set-up or to reproduce the “Sub” signal of a bass-managed multichannel source, and works as an extension for KH 810, KH 870 and KH 805 subwoofer systems.

The KH 805 can be used to make a Plane Wave Bass Array™ system, which will acoustically improve lateral consistency in the listening area and further increase low frequency linearity.

To reduce cabling, the subwoofer electronics can be located remotely, allowing the cabinet to be mounted flush to a wall. The KH 805 active subwoofer is available now.

Attendees of the 139th AES Convention in New York are invited to experience the Neumann KH 805, as well as a broad range of other premium audio recording products by visiting the Sennheiser and Neumann booth [527]. Additionally, Sennheiser and Neumann will be holding Immersive Audio listening sessions in their demo room [room 1A04]. The listening demonstrations, hosted by two companies that are well known their audio innovations, will bring listeners closer to an audio experience they may have never thought possible.

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Neumann TLM 107 Microphone Receives Outstanding Technical Achievement Award at 30th Annual TEC Awards http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-tlm-107-microphone-receives-outstanding-technical-achievement-award-at-30th-annual-tec-awards http://hummingbirdmedia.com/clients/neumann/press-releases/neumann-tlm-107-microphone-receives-outstanding-technical-achievement-award-at-30th-annual-tec-awards Wed, 28 Jan 2015 00:00:00 -0500 Premium audio brand Neumann announced that its TLM 107 microphone was recognized with an Outstanding Technical Achievement Award by the TEC (Technical Excellence & Creativity) Foundation. Neumann President Wolfgang Fraissinet was on hand to accept the award during a reception held at the 2015 NAMM Show in Anaheim, CA on Saturday evening.

The TLM 107 is a modern, high-resolution sound transducer with excellent reproduction characteristics that enable it to capture the original sound without coloration, ensuring unlimited design freedom in mixing and post-production. The newly developed double diaphragm capsule is inspired by one of Neumann’s top models, the D-01. With its exceptional impulse fidelity, the TLM 107 is particularly suitable for percussion and the finest overtones of stringed instruments.

“Speaking behalf of Neumann and Sennheiser, I am very proud to have the TLM 107 recognized by the TEC Foundation and by our peers in such a competitive technology category,” commented Wolfgang Fraissinet, President of Neumann and Director, Business Segment Audio Recording for Sennheiser. “The TLM 107 was designed to capture instruments and vocals transparently and without coloration, while providing the ultimate in flexibility for different recording applications. I am very proud of our entire team which helped us achieve this result.”

Since the TEC Foundation was established in 1990, Sennheiser and Neumann have been presented with a cumulative total of 21 Outstanding Technical Achievement awards as well as having five products represented in the TECnology Hall of Fame, including the venerable Sennheiser MD 421 microphone.

Detailed product information on the Neumann TLM 107 can be found at www.tlm107.neumann.com.

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