Dr. Fritz Sennheiser, 1912-2010

(Mix Magazine) Just a few days after his 98th birthday, Dr. Fritz Sennheiser, the founder of Sennheiser Electronics passed away. His years of innovation, combined with a warm sense of caring and creating a close-knit family atmosphere at work live on in the company he started 65 years ago.


The Beginnings

In the Karlshorst district of Berlin on May 9, 1912, a child named Fritz Sennheiser was born who would forever change the course and direction of the consumer and professional audio industries. It's ironic that at the time, neither industry existed at all, but fate would change all that. Fritz's father wanted him to study landscape architecture, but an event a half a world away on October 25, 1929, would intercede, as the Black Friday stock market crash affect the economics of the entire planet.

With that, the 17-year-old Fritz Sennheiser saw little future in landscaping during those perilous times and instead entered the electrical engineering/telecommunications program at Berlin's Technical University and focused his studies on speech and music. The career change wasn't entirely unexpected. Sennheiser already had a keen interest in technology "I built my own radio receiver in 1924 from a slide coil and a crystal," he once recalled. After attaining his Ph.D., World War II broke out and Dr. Sennheiser continued his research and headed the Institute for Radio Frequency Engineering and Electroacoustics in Hannover.


In 1945, post-war Germany was in shambles, and Sennheiser and seven other employees of the Institute were left with virtually nothing. In June of that year, Sennheiser founded his Laboratorium Wennebostel with a staff of just seven employees in an abandoned laboratory of Hannover's Technical University. German scientists were then prohibited from doing research in radio technology, so Sennheiser used his savings to create a business making millivoltmeters for Siemens.

"Then we had a stroke of luck," Sennheiser recalled. "Siemens asked if we could make microphones for them." After building mics for Siemens, the team began designing its own mic and in 1947 debuted the MD 2, a dynamic mic that found favor with radio stations. The company grew and expanded into other products, such as amps, intercoms, transformers, headphone capsules and the 1953 MD 21 mic, which is still in production. Based on a lab model developed in 1949, the company's 1956 MD 82 was the first shotgun mic. A move into wireless mic production followed a year later.

By 1958, the company had 450 employees and made the wise decision to change its name from the original "Labor W" (Laboratorium Wennebostel) to Sennheiser Electronic. During the 1950s, the company's sales grew tenfold, but Sennheiser always returned to the community, splitting his time between running the company and teaching at Hannover Technical University, a tradition continued by his son (and current chairman of the company's supervisory board), Prof. Dr. Jorg Sennheiser.

Innovations Abound

The innovations continued, with the 1960 MD-421 dynamic studio mic (which sold more than 500,000 units and is still a studio favorite today) and in 1964, the first RF condenser shotgun mic. In 1968 came the HD 414, the first open-air headphones, a definite hit that in 10 years provided more than half of the company's sales, establishing Sennheiser as a leader in the consumer market. In the `70s, the company merged its headphones with infrared technology, creating interference-free wireless headsets for home, tour guide and assistive listening systems. The `80s brought a major expansion into ultra-reliable UHF wireless mic systems that made Sennheiser a first choice on London and Broadway stages.

Neumann In...Neumann Out

Neumann Expands Product Portfolio


At prolight+sound a logo on the Neumann stand, visible from afar, alerted visitors to the fact that Neumann, world-famous for professional microphones, is now applying its electroacoustic expertise to the other end of the audio chain.

A few months ago it was announced that Neumann would add studio monitors to its product portfolio. This range is based on the products of the well-known Klein + Hummel company. Their monitors have an excellent reputation in German-speaking countries and a few others, but are less familiar internationally.

“That will certainly change in the near future, because the Neumann brand is well-established in the international studio world. We anticipate a strong synergy effect here,” explains Wolfgang Fraissinet, President of Marketing/Sales at Neumann Berlin. “In the history of the company, Neumann stands for far more than microphone technology. Over the decades we have also produced record-cutting equipment and studio consoles, for example. Our expertise in transformer design – for the microphone – as well as in signal processing and digital audio technology, has already been demonstrated. In addition Neumann has a leading role in the area of high technology, which is successfully implemented, for instance, in the digital microphones of the Solution-D series.”

Existing studio monitors are being incorporated into the Neumann product portfolio as the “KH Line”. Over time, new products will be developed to fullfil the needs of the most discerning customers in the market. The core concept of excellence in audio reproduction will remain and cutting edge technologies will continue to set Neuman Studio Monitoring Systems apart from the masses. Later this year, the first new studio monitors carrying the Neumann label will be launched.

Most of the former Klein + Hummel engineers continue to work for the Sennheiser Group, in support of the markets Installed Sound at Sennheiser, and Studio Monitor Systems at Neumann. Thus, for the most part, the same people still stand behind the products. Service for present and future customers is also ensured, with the accustomed Neumann quality.

Klein + Hummel has been part of the Sennheiser Group since 2005. At the beginning of 2010 it was decided that the Studio products business would be further developed by Neumann, and that the Installed Sound area would be integrated into Sennheiser.

TV & Movies Make it SOUND So Easy.

Sound for moving images is not easy. Well, let's just say if you don't notice anything un-natural when watching....it's a job well done.

Here's how one studio is handling it:

“Actors hate ADR, but they have to do it,”

Making a Neumann...Rerun.

We thought you might like seeing this "How It's Made" rerun on mics.

Another Mic Factory Tour

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A look at the sE Electronics facility in Shanghai(click here)

"...and Junior said, You gonna put your mouth on that thing? You don't know where it's been."

Ribbon Mic Madness

Yes, I have used ribbon mics at some time over the past 45 years of broadcast and voiceover work. Do I like how I sound on ribbon mics? Not really. I think they are great for long narration, blue grass and gospel music, and an image of nostalgic coolness.
I'm talking classics here--DX-77s, 44s and 44Rs. In the right instance, I loved how they sounded. Nice and even, steady and sure, but not really the correct frequency response for "my" voice.
I love the look and quality of the new ribbon mics out now. I would love to try a few to see if they (or me) have changed.
Here is an outstanding article from the recent B&H newsletter that may help. You can find the link and some great pictures here:

Five Reasons to Start Using Ribbon Microphones
By Sam Mallery

In the early 1920's a couple of German physicists were messing around with powerful magnets and thin strips of aluminum, and they managed to invent our beloved ribbon microphones. These ancient recording tools recently staged a formidable comeback in home and professional studios. Why? Because ribbon microphones deliver an uncanny smoothness that can mellow out brash sounds, and bring an old school vibe to recordings that you just can't deny. Audio fanatics are constantly chasing after "vintage tone" with valve microphones, tube preamps, and exotic compressors (in both hardware and software forms). Condenser microphones deliver a crisp reproduction of sound with lots of detail, although the higher frequencies sometimes sound brittle and too electronically enhanced. Dynamic microphones provide a rounder bass and present-sounding mid tone, even if they sometimes can't capture the detail of specific instruments and voices. Ribbon microphones bring a warmth to the mid frequencies and a softness to the highs that just can't be attained with other kinds of microphones. And they always look really, really cool. Here are 5 more reasons pick up a ribbon mic for your next session:

1. Because you should to use more colors in your recordings.

From 1901 to 1904, Pablo Picasso primarily painted with blue and blue-green colors. He proved that you can create beautiful works of art even when you impose strict limitations on yourself. Picasso eventually freed himself from these strict rules and started using more vibrant colors, and he continued to produce more beautiful pieces for decades to come. If you're only using dynamic and condenser microphones in your work, then you're limiting the amount of color you can add to a recording. Having more colors on your recording palate will add depth to your productions. Plus ribbon microphones look really, really cool.

2. Because you can exercise your preamps

Some modern ribbon microphones use phantom power to add electronics to enhance the tone of the mic, but like a typical dynamic microphone, the physical process of how the ribbon picks up sound happens without power. The output level of the mic tends to be lower, which means that you sometimes need to crank up your preamp a bit more to get a usable signal. Most modern day mixing consoles and computer audio interfaces can easily supply a ribbon mic with enough juice for proper recording. If you happen to own a higher end preamp, you can really hit a ribbon microphone with a lot of gain to bring out the character of the pre. Sure, the noise floor is a little higher, but thankfully this didn't stop musicians and producers in the 1950's and 1960's from making great sounding music anyway.

3. Because ribbon microphones are used on countless classic recordings

You may recognize the RCA 44A pictured above. That's because they were used heavily for several decades on countless classic recordings and broadcasts. At one time ribbon microphones offered the highest fidelity available. When studios and producers incorporated condenser and dynamic microphones into their recording schemes, they continued to use ribbon microphones as well because of their familiar and warm character. If you've ever listened to an old recording and wondered why your stuff doesn't sound as nice, then using a ribbon mic could put you one step closer to that sound. Until recently, ribbon microphones were prohibitively expensive, and easy to damage and destroy. Recent advances in manufacturing and ribbon design have brought their price down and made them more durable. So now there's no excuse to deny yourself the tone.

4. Because it feels good to take care of something

Like owning a plant or a poodle, owning a ribbon microphone requires a bit of care. Today's ribbon microphones are much more resilient to damage than their ancestors, but it's still a good idea to be a little more careful with your ribbon microphone than you are with your Shure SM57. In the past, if you accidentally hit a ribbon microphone with phantom power, you could damage the ribbon. Most of today's ribbon mics are designed to handle phantom power, and active ribbons like the Blue Woodpecker require phantom power; but you still want to be careful. Just like your pet iguana, you want to avoid dropping a ribbon mic. Instead of tapping and blowing on the grill to check if you're getting signal, jingle your keys in front of the mic to test if it's on. Never use unbalanced cables, try to only use XLR cables, and be very careful if you're using a patchbay. In some cases the ribbon can take a jolt if it's being hot-swapped in a patchbay or by a cable being plugged and unplugged while being fed phantom power.

5. Because ribbon microphones can tame harsh sounds

Have you ever had a recording session where you just couldn't get a good sound on an instrument that sounded great in the room? It's a really frustrating situation, especially if you've moved the instrument around and tried a battery of different microphones in different positions around the instrument. All ribbon microphones have a figure eight polar pattern, which allows the room to be introduced a little more into the sound. It's also a great polar pattern for rejecting other sounds coming in from the sides. Ribbons can be a lifesaver on sound sources that aren't translating naturally with other microphones. Vocals, strings, and woodwinds that might sound a bit too strident on condensers may shine on a ribbon microphone. Today's ribbon mics have a high SPL rating, so feel free to put them on drums and guitar cabinets. This is another area where they really excel, so expect impressive sounding results. Once you're mixing, the smooth high frequencies allow room for a little play with the EQ.

If you look at the frequency response of a ribbon microphone, you'll notice a lot more roll off toward the higher frequencies. This is partially why their highs sound so smooth. If you've only ever used condenser and dynamic mics, be prepared to hear a different response when you first plug in a ribbon. All of this talk about ribbon microphones is one thing, but actually using one is another. We are currently rounding up a bunch of ribbon microphones for a good, old fashioned microphone shoot out! Please stay tuned for the follow-up article on this topic, where we'll test drive the Blue Woodpecker, the Audio Technica 4081, the Shure KSM313, and more. Also, be sure to check out the nice monitor and ribbon mic kits we've created. And when you're in New York City stop by the B&H SuperStore where you can personally test drive ribbon microphones, and a slew of other mics, outboard preamps, and compressors.

We'll let you know when B&H post that shootout.

Equation F.20 Condenser Mic

Just checking on latest mic announcements and came across the Equation Audio F.20 from Equation Audio. It appears to be made in China and similar to the CAD Equitek series.

Equation Audio F.20

Features:

• 4th Generation Advanced Solid State Electronics

• A Head Amplifier Technology Exclusive To Equation Audio

• Tested and approved on tour and in the studio for over 3 years.

• Designed to establish a new standard for studio/live multi-purpose microphones.

• A purpose driven project fanatically adhering to the two most important characteristics modern microphones have and ones that are typically mutually exclusive:

• High performance in all the essential and critical microphone attributes

• Economically responsible, affordable to amateurs and professionals alike.

Practical Uses:

From vocal tracks in a studio or on stage, kick drum, to concert grand piano, guitar amp stacks to upright bass, drum overheads to over the choir in arrays, this uniquely attractive microphone reproduces all these signal types and does them all well, better than any other single model microphone and better than anything we could find at or near its MSRP.

The F Series microphones are NOT made from parts off the shelf, won’t be found in various colors and finishes under other brands and can easily enhance your studio and live performance projects without compromising your total equipment budget.

A single F.20 microphone could competently provide all the recorded sources you require for the highest quality recording and a matched pair could very well become your favorite mic locker.

Now Available At Independent Music Stores and Distributors throughout North America, Europe and Asia.


Hi JoWillie
We saw that you had posted your blog site on the forum. This site is for microphone applications, so if you have something that you’d like to post about the use of microphones, we’d be happy to have it on our site.
Your post has been taken down, as there is an ad for Peluso mics at Warren Dent’s store.
If someone wanted to post about using those mics, that would also be acceptable...how they compared to others, pluses and minuses and the like, but not advertisements.
As it appears that you were interested in hearing a VO ap, we have one here that I believe Jonathan will post, but if not, we’ll try to get one up on line soon.
One other thing....Bruce Forbes, our CEO was the co-founder of CAD Professional Microphones. The F.20 was developed by Bruce and our team of engineers that have been together for almost 20 years.
To say that the F.20 is similar to the Equiteks might be light saying that 1975 Ford is related to a 2010. When we say 4th generation, it really is two to three generations removed from what was done at CAD, when we built the products in OH.
After being developed, all the way from clay model thru extensive testing, including 18 months on the road, the F.20 went into production in our factory in Taiwan.
If you’d like to talk more about what we’re doing, please feel free to contact us.
C.P. Pores
Director of Sales and Service
EQUATION AUDIO
Trans Dominion Corp.
425 Harding Industrial Dr.
Nashville, TN 37211http://equationaudio.com
cppores@equationaudio.com
615.627.1880 ph
615.627.1881 fax
615.275.6360 cell