Tag Archives: Broadcast

Shure Launches Axient Digital ADX5D Portable Receiver

Shure Axient Digital ADX5D Portable Receiver
Shure Axient Digital ADX5D Portable Receiver

London, UK (June 14, 2021)—Shure has introduced its new Axient Digital ADX5D Portable Receiver, expanding its flagship digital wireless line with a dual-channel, portable wireless slot receiver—a new portable form factor that makes the line more applicable to film and TV production.

While to date the Axient Digital line has been primarily used onstage in event and tour production, the new ADX5D is intended for use in sports/events broadcasting, electronic news gathering (ENG), film/episodic television, and electronic field production (EFP)—all of which rely on location sound.

The ADX5D uses true digital diversity technology, aiming to prevent signal fades and dropouts, while offering AES-256 encryption and 2 ms latency from the mic transducer to the analog output. A wide tuning band ensures reliable operation in any environment.

Shure Updates SLX-D Digital Wireless System

The ADX5D’s form factor is intended to make it an on-the-go wireless receiver, allowing it to slot inside and connect directly to the audio inputs of a professional broadcast camera. The portability is also intended to aid film and TV sound mixers who often have discrete powering, audio-routing, and/or RF-distributing gear in their portable recording bags.

ADX5D incorporates Shure’s ShowLink technology, which allows for real-time control of transmitter parameters, interference detection and avoidance. Intended for remote, hybrid, or on-location sound environments, ShowLink aids use of back-up frequencies, provides remote control directly to linked transmitters and is compatible with Shure’s Wireless Workbench software.

“The ADX5D Portable Receiver is an incredible tool to have at my disposal while on set,” said Jon Ailetcher, CAS, Production Sound Mixer on Chicago PD. “We move very fast on our show, and with ADX5D, I can easily transition from my cart to my bag, whether we’re on location or in the studio, without affecting my workflow.”

ADX5D is shipping globally this summer.

Shure • www.shure.com

Original Resource is ProSoundNetwork.com

Remote-Mixing an Event 1,400 Miles Away

Passionate Women’s Conference
Passionate Women’s Conference

Wellington, New Zealand (May 10, 2021)—New Zealand has one of the lowest incidences of COVID-19 in the world, with only 2,644 cases to date. As a result, large-scale events have resumed in the island nation, including the recent annual Passionate Women’s Conference—the country’s largest event for Christian women. Australian sound engineer Rich Bryant usually travels to Wellington to mix the event broadcast, but due to travel restrictions, he wound up mixing a broadcast feed from his studio in Sydney just over 1,400 miles away.

The event, held in the Michael Fowler Centre in Wellington, included music, worship and spoken word presentations, so Bryant had his hands full. Conferring with Andrew Crawford at Australian A&H distributor TAG about how to approach a remote mix, he opted to work with Wellington-based Lampros Sound, which provided an Allen & Heath dLive DM64 MixRack at the venue that Bryant could control remotely from his Sydney studio. The DM64 was fitted with a Dante card for interfacing with the onsite AV network, plus a Waves card for virtual soundcheck and additional output processing.

The DM64 was connected to a dLive S7000 control surface in Sydney via a secure VPN connection, managed by Riverbed’s SD-WAN service, using the integrated network ports on both units. Luke Sheaves of Riverbed was on hand to provide IT and network support in Sydney, with Alistair Lambie of Lampros Sound monitoring the connection on the New Zealand end.

Australian sound engineer Rich Bryant used an Allen & Heath dLive S7000 in his Sydney studio (seen here) to mix the event 1,400 miles away.
Australian sound engineer Rich Bryant used an Allen & Heath dLive S7000 in his Sydney studio (seen here) to mix the event 1,400 miles away.

Audio and video monitoring of the broadcast feed in Sydney was provided via an SRT stream to Bryant’s iPad, arriving with under 150 ms of latency. Another tool put to use was Audiomovers software, fed by the Waves card in the DM64, which was used to monitor the Solo/PAFL bus with a latency of 200ms. The Intercom Unity app, running on a second iPad, was used to handle comms between Bryant and the technical team in the venue.

Back onsite in Wellington, another DM64 – configured for multi-surface operation – was used to handle both FOH and MON duties, with a pair of S7000 control surfaces deployed for engineers Andrew Forde (MON) and Simon Faisandier (FOH). Two DX168 expanders were added to feed performer IEMs and provide additional AV I/O, with Waves and Dante cards utilized for audio transport and additional processing.

“What started as an ambitious endeavor ended as a resounding success” reflects Rich. “It was a truly ground-breaking weekend, and we couldn’t have done it without the dLive, and the support provided by TAG, Lampros Sound and Riverbed.”

Allen & Heath • www.allen-heath.com

Original Resource is ProSoundNetwork.com

Mixing X Factor Colombia

Freelance audio engineer Richard Cardenas handled live mixing duties for the show inside RCN Televisión’s studios in Bogotá.
Freelance audio engineer Richard Cardenas handled live mixing duties for X Factor Colombia inside RCN Televisión’s studios in Bogotá. EL_CHAMO

Bogotá, Columbia (March 10, 2021)—Like many TV shows, X Factor Colombia 2020 was interrupted by the pandemic last spring, part way into production. The show resumed after eight months, however, returning last October with strict precautions in place that ran throughout the rest of the season, which wrapped up at the end of the year. Throughout it all, freelance audio engineer Richard Cardenas handled live mixing duties for the show inside RCN Televisión’s studios in Bogotá.

Cardenas opted for an Allen & Heath dLive mixing system on the show, centered around a CDM48 MixRack controlled from a 36-fader S7000 surface. He managed all the contestants’ IEM mixes, plus FOH and monitor mixes for the contestants, judges and audience. The audio configuration in the studio consisted of an LR stereo matrix out, a matrix mono sub out, stereo aux mixes feeding side fills, a mono floor wedge setup and a stereo aux mix for the judges’ side-fill. For the earlier recordings, an audience PA mix was also fed to a stereo matrix. A DX012 12-output expander was employed to provide additional AES feeds to a 96 kHz loudspeaker management system. Cardenas also used a Dante 64×64 card to feed the broadcast desk using dLive’s tie lines feature, plus a superMADI card for backup recording to a Pixel Power system.

Allen & Heath Adds to Expanders’ Dante I/O Capabilities

Cardenas first encountered the system at a festival in 2019, where he mixed multiple Latin Grammy winners a few months before being approached to work on the TV show. “With dLive, I really felt like I was mixing rather than trying to figure out how to operate the desk,” he said, “so when I had the opportunity to work on X Factor Colombia, I asked RCN Television for a dLive system. We only had two weeks between delivery and rehearsals, but I had excellent support from Allen & Heath’s specialist in Colombia, Ivan Sanchez.”

All that allowed Cardenas to streamline his system for the broadcasts: “The DEEP processing emulations are excellent and sound very close to the real thing. The same goes for the FX. The EQs and preamps also sound excellent and dLive’s very low latency and 96kHz processing set it apart from the rest.”

Allen & Heath • www.allen-heath.com

Original Resource is ProSoundNetwork.com

Sennheiser CEOs Talk Consumer Partner Search

Co-CEOs Daniel (left) and Andreas Sennheiser.
Co-CEOs Daniel (left) and Andreas Sennheiser. Ludwig Schöpfer / StudioTusch

New York, NY (February 22, 2021)—Pro-audio mainstay Sennheiser turned heads last week with the announcement it is searching to find a new corporate partner for its Consumer Electronic division. Under the expected arrangement, the consumer division would gain additional resources that a partner could bring to the brand, allowing Sennheiser to focus on its Neumann, Pro Audio and Business Communications business units, co-CEOs Andreas and Daniel Sennheiser told PSN.

Opting to team with an outside entity is no small decision for the 75-year-old company; the consumer electronics division, which introduced its first headphones in 1968, comprises roughly half the manufacturer’s business, said Andreas Sennheiser. The partnership search, then, is the result of “actually having more opportunities at hand than we can give all the full potential [under our current] setup.”

The decision came after an internal assessment of the company’s divisions, said Daniel Sennheiser: “Looking at the different business units in more detail, we realized we need different strategies to make them successful. How we can develop all four business segments at the same time with the necessary power, so all markets that we’re in have great growth opportunities? We saw that the consumer part can be really driven to the full extent if we can find a partner and focus on the pro part.”

Sennheiser MD 435 and MD 445 Microphones – A Real-World Review

In recent years, the company has sought to make the various business units more independent, creating separate sales forces for each. “Now this is the next level,” said Andreas Sennheiser. “[All four] need investment in technology and audio competency, but also in sales and marketing. We believe that we can do this very well long term on the pro businesses, and a partner will help us accelerate the growth on the consumer business.”

While the CEOs are open to discussing a variety of approaches as they begin the search, one scenario that’s off the table is the possibility of selling the brand outright, said Andreas Sennheiser: “It’s our family name, and therefore we’ll hold that close to the family.”

As the manufacturer plans to focus on its other three business units once a partner is in place, plans are already afoot for those divisions. Daniel Sennheiser noted, “We’re looking forward to the pandemic lifting, especially now for live and broadcast, where we believe that we’ll see a renaissance of the industry; the public is really waiting for live events to come back. It’ll still be a little bit difficult for this year, we believe, but then in 2022, we’ll see great growth.”

The CEOs noted that the pandemic has aided their MI-based efforts, with the rise in home recording and home studios creating an upswing for both the Sennheiser and Neumann brands. “That area has actually grown significantly and gives us more opportunities to also invest into R&D and more products,” Daniel Sennheiser added. The pro-audio division’s broadcast and audio-for-video offerings, will be an upcoming focus, too, as they are the subjects of “strong plans and strong pipelines.”

Sennheiser isn’t letting the consumer division sit idle during the search either. “Every plan, every strategy that was in place prior to this announcement is still there,” said Andreas Sennheiser, “so we’re still driving the business strongly. With a new partner on the consumer side, we can even grow stronger there, creating therefore a better future for all sides.”

Sennheiser • https://en-us.sennheiser.com/


Original Resource is ProSoundNetwork.com

Adorama Debuts H&A AC50 Studio Broadcast Microphone

H&A AC50 Studio Broadcast Microphone
H&A AC50 Studio Broadcast Microphone

New York, NY (February 4, 2021)—H&A has unveiled its new AC50 Studio Broadcast Microphone, primarily intended for use on podcasts, narration, or vocals.

The cardioid dynamic microphone features an internal pop filter, a low-cut filter switch, microphone clip, a standard mount adapter, and a molded ABS protective case lined with impact resistant foam for storage and transportation.

Using a cardioid pattern, the mic primarily sounds in front, eschewing off-axis noise, making it appropriate for podcasting or vocal performances. Inside the mic, along with the mesh shielding, the internal pop filter helps eliminate distortion and allows for instant control of plosives when talking close to the microphone.  The Low Cut Filter Switch allows users to reduce low frequencies by –10 dB in order to maintain an overall flat frequency response when needed. The microphone features a shielded all–aluminum construction and durable finish.

ProMedia Podcast Studio Expands with Adorama

Based around an XLR output connection, the mic doesn’t require phantom power and offers a 20 – 20,000 Hz wide frequency response.

Available exclusively at Adorama, the H&A AC50 Studio Broadcast Microphone is now available for $99.95.

Adorama • https://www.adorama.com/haac50.html

Original Resource is ProSoundNetwork.com

Evertz Acquires Studer from Harman

Evertz acquires StuderBurlington, Ontario, Canada (January 13, 2021)—Canadian broadcast equipment company Evertz Technologies Limited is purchasing the legacy recording/broadcast studio gear brand Studer from Harman Professional Solutions. The deal, arranged for an undisclosed amount, sees the brand and all related assets and technology move to Evertz.

Studer has played a vital role in the development of recording technology over the years. First formed in Zürich, Switzerland by namesake Willi Studer in 1948, the company quickly gained notoriety for its tape machines, which went on to be used around the world in countless recording studios during the analog tape era.

Studer sold his company in 1990 to Motor-Columbus AG, which in turn sold the various Studer brands to Harman International in 1994. In the years that followed, Studer began producing broadcast consoles, including the long-running Vista line, and Harman eventually merged many of Studer’s operations with its other console brand, Soundcraft. While the heart of the Studer brand remained in Switzerland for decades, Harman ultimately shuttered the brand’s Swiss-based R&D and management offices in 2018 as part of the global restructuring of Harman Pro brands around international centers of excellence. That move came after Harman itself was acquired by Samsung in 2016.

Evertz says it plans to invest in Studer, aiding the brand’s development of “next-generation products” with an eye towards building synergies between its current product suite and the Studer product line.

In a statement, Brian Campbell, EVP Business Development at Evertz, noted, “We’re pleased to welcome this iconic audio brand to our Evertz family of products and solutions that has been serving the broadcast market for more than 50 years. We also welcome the many valued Studer customers who depend on Studer technology and reliability to deliver the best audio to their audience.”

Evertz • www.evertz.com

Original Resource is ProSoundNetwork.com

TASCAM Launches TM-70 Dynamic Broadcast Mic

TASCAM TM-70 Dynamic Broadcast Microphone
TASCAM TM-70 Dynamic Broadcast Microphone

Santa Fe Springs, CA (January 13, 2021)—TASCAM  has unveiled its new TM-70 Dynamic Microphone. Designed as a hybrid of super-cardioid and dynamic elements, the TM-70 is intended to be resistant to ambient noise and used for applications such as live broadcasting, podcasting, film dialog and audio streaming.

The TASCAM TM-70 Dynamic Microphone is largely intended for use in vocal audio production, featuring a super cardioid polar pattern and a frequency response of 30 Hz-20 kHz to help isolate specific sound sources such as directional dialog. The mic’s super cardioid directivity makes it resistant to ambient noise.

TASCAM Launches US-HR USB Interface Series

Being specifically tuned and ready for professional podcasting, film dialog, broadcasting and live streaming applications, the TASCAM TM-70 is also intended to provide simplicity of use, allowing users to focus on performance as opposed to tweaking EQ settings or using isolation baffling.

The microphone package ships with a variety of accessories, including a shock mount to reduce low frequency rumble, a 6-foot mic cable and a table-top mic stand. The package is expected to be available Q1, 2021.

TASCAM • www.tascam.com

Original Resource is ProSoundNetwork.com

Electro-Voice Brings on the RE20-BLACK


Burnsville, MN (December 6, 2020)—Electro-Voice has introduced the RE20-BLACK, making available for the first time a new color option for the long-running RE20 broadcast microphone.

The designation BLACK is exactly that, as the new version sports a low-reflection dark charcoal finish. The RE20-BLACK offers customers an aesthetic alternative to the original’s finish, while being acoustically, electrically and mechanically identical to the original RE20, introduced more than 50 years ago and steadily adopted since by recording studios, broadcasters and podcasters everywhere.

How To Choose Your Next Studio Microphone – The Complete Guide

The RE20 BLACK still offers the original’s Variable-D design, which is said to minimize proximity effect, helping users work around the mic at varying distances. Additional features include a mid-bass tone-shaping switch, an integrated pop filter and a humbucking coil to guard against line hum.

The RE20-BLACK is shipping and has a street price of $449 US.

Electro-Voice • www.electrovoice.com

Original Resource is ProSoundNetwork.com

Two-Level OB Truck Rolls with RTS

M&J doubles down on going up, creating the first vertically expanding broadcast truck.
M&J doubles down on going up, creating the first vertically expanding broadcast truck.

Burnsville, MN (December 4, 2020)—Washingtonville, NY-based facilities and integration company M&J Systems Technologies is meeting the challenges of COVID-19 with the first vertically expanding broadcast truck, which is equipped with an RTS ODIN OMNEO digital intercom matrix.

The 40-foot-long, 640-square-foot trailer provides remote workstations on two floors, with space for a show producer, director, replay associate director, graphics coordinator, show associate director and an EIC/audio operator. A two-person announcer booth is also included. All positions are a minimum of six feet apart and include Plexiglas partitions. Fully equipped, the vehicle weighs less than 20,000 lbs.

‘Speed of Sound’ Explores Pop Production

Onsite staff and/or worldwide remotes are able to provide real-time communications through any of the onboard RTS KP series keypanels or two-wire partyline channels, and ODIN’s native RVON (RTS Voice Over Network) channels can provide low-latency links to any of the other thousands of RTS trunked intercom systems used by the majority of sports and news broadcasters.

M&J Systems Technologies • www.mjsystemtech.com

RTS • www.rtsintercoms.com

Original Resource is ProSoundNetwork.com

StreamGuys Launches SGrecast 4.0 Podcast Platform

StreamGuys’ updated SGrecast 4.0 podcast management/livestream repurposing system includes a new UI, editing tools and more.
StreamGuys’ updated SGrecast 4.0 podcast management/livestream repurposing system includes a new UI, editing tools and more.

Bayside, CA (December 3, 2020) – Podcast solutions provider StreamGuys has upgraded its flagship SGrecast podcast management and livestream repurposing system. The new version 4.0 include an improved user interface to speed and simplify operations; an expanded waveform editing toolset; and built-out automated publishing capabilities.

New overlay windows enable users to access and edit information about a particular item or task – such as the details of a particular podcast episode – while preserving their current place in the main interface and workflow.

Meanwhile, the newly expanded browser-based Waveform Editor sports an updated user interface and expanded functionality. New interstitial cutting capabilities enable operators to remove unwanted sections in the middle of recordings and recombine the remaining segments for republishing. This aids potential content repurposing – for example, removing ‘baked-in’ advertising to enable subsequent dynamic ad insertion. The company sees this as a tool for repurposing already-produced podcasts and livestreams for revenue-expanding monetization opportunities and audience growth; the interstitial cutting tools will help pave the way for future functionalities within the platform, including multitrack editing and in-browser content production, enabling complete workflows in the cloud.

Podcave Podcast Production Management Platform Debuts

SGrecast 4.0 also further augments the automated podcast publishing capabilities added to the platform earlier this year for repurposing broadcasters’ live streams without user intervention. SGrecast’s enhanced AudioLogger recording feature offers the option of preserving mid-roll ad break metadata from the livestream, thus enabling subsequent dynamic ad insertion in the published podcast without requiring manual marker insertion. Combined with the ability to automatically trigger podcast publishing based on metadata in the live stream, this enables fully automated, metadata-driven publishing workflows.

Version 4.0 adds new functionality for publishing to Google Audio News, including support for the mRSS format required for advanced Google News features. Users can specify episode-specific intro and outro audio files in the mRSS feed. The new update also expands the range of standard RSS fields supported by SGrecast, including linking to specific webpages related to particular episodes in a feed.

StreamGuys • www.streamguys.com

Original Resource is ProSoundNetwork.com