Opus 910 UHF: Flexible, Reliable, and Future-Proof with Superior Audio Quality
At the NAMM show in Anaheim/USA (January 13 to 16, 2011) German audio specialist beyerdynamic celebrates the launch of its new wireless flagship Opus 910. Designed for use either on tour or in fixed installations, the Opus 910 professional UHF wireless system offers the highest levels of reliability, audio and transmission quality and a package of features that is unique in its class.
A wide selection of receivers (single, double and quad channels), transmitters and interchangeable microphone heads are available for the system, plus an extensive range of accessories and the option for PC control for advanced system set-up. The receiver offers UHF bandwidth of 72 MHz and up to 2880 selectable frequencies per frequency range plus an automatic channel targeting function (ACT), making the system both future-proof and highly flexible, regardless of the venue it is used in. For the US, the system is offered in different frequency ranges between 482 MHz and 698 MHz.
Receivers Three receivers (single, dual and quad channel) are available, each offering 2880 freely selectable UHF frequencies per frequency range and a number of pre- programmed frequency groups to ease the set up of multi-channel systems.
The front panel of the receiver has a volume-controlled headphone output for monitoring individual receiver channels. All other system settings, such as squelch or the output level of the receiver are made centrally by the optimized jog wheel. The color LCD is easily readable from any angle and shows important system information such as frequency, group/channel, user name, field strength, audio level and remaining battery capacity of the transmitter. All receivers are fitted with an internal switching power supply (100-240 V), while the dual and quad channel receivers each contain an integrated antenna splitter.
Handheld Transmitters & Interchangeable Microphone Heads There are two ergonomically designed handheld transmitters available for use with the Opus 910 wireless system each with different frequency ranges. The handheld transmitters feature a 36 MHz UHF bandwidth to reduce the number and strength of intermodulation products, guaranteeing optimum HF performance even in large multi-channel systems and difficult environmental conditions.
The handheld transmitters are equipped with an ACT interface to detect the carrier frequency from the receiver and set up the transmitter automatically. They also have a noiseless on/off switch and LCD showing channel/group and remaining battery capacity. Two 1.5 V AA alkaline batteries power the S 910 M (with metal housing) for over 20 hours, whilst the S 910 C (with plastic housing) has integrated charging contacts and is delivered with built-in rechargeable batteries (2 x Mignon AA NiMH) which provide an operating time of over 23 hours. The transmitter’s four microphone gain settings provide a high degree of flexibility in even the most diverse applications.
In order to maximize the flexibility of the Opus 910 system, both transmitters can be combined with five top quality interchangeable beyerdynamic microphone heads. Among others the RM 510, the world’s only ribbon capsule for wireless applications which delivers fantastic, unobtrusive vocal sound even on the loudest stages. The transmitter’s four microphone gain settings provide a high degree of flexibility in even the most diverse applications.
Pocket Transmitters The TS 910 M (with metal housing) and TS 910 C (with plastic housing) pocket transmitters have been designed for use with clip-on lavaliere and headset microphones as well as electric guitars. The 4-pin mini XLR threaded plug can be used to connect either microphones or instruments and the input signal can be optimised using the receiver’s gain control. An onboard MT/GT setting lets you switch between microphones and instruments: in GT (guitar) mode, the gain control is inactive; in MT mode it is active. As with the handheld transmitters, the pocket transmitters also have a 36 MHz UHF bandwidth
The TS 910 C is fitted with two built-in rechargeable batteries (2 x Mignon AA NiMH) providing an operating time of over 23 hours. The batteries can be recharged using the SLG 900 battery charger with two charging compartments. Two 1.5 V AA batteries power the S 910 M for at least 20 hours.
The Opus 910 UHF wireless system is available as of February 2011. For more information please visit our website at www.beyerdynamic.com.
Further information: beyerdynamic GmbH & Co. KG Oliver Senghaas Marketing Manager ProAudio Theresienstraße 8 D-74072 Heilbronn - Germany Phone +49 (0)7131 / 617 - 230 Fax +49 (0)7131 / 617 - 299 Email [email protected] www.beyerdynamic.com
beyerdynamic Launches DT 1350, First Professional Monitoring Headphones with Tesla technology
At the NAMM show in Anaheim/USA (January 13 to 16, 2011) German audio specialist beyerdynamic launches another innovative product highlight. Handcrafted in Heilbronn, the DT 1350 is the first professional monitoring headphone in beyerdynamic’s new generation of headphones that feature Tesla technology.
The completely re-engineered Tesla drivers create a headphone which delivers an enormous degree of efficiency with extremely low levels of distortion, allowing the DT 1350 to produce a perfectly balanced, accurate sound even at the highest volumes.
A combination of highly efficient ambient noise reduction and an impressive maximum sound pressure level of 129 dB make the DT 1350 an ideal compact over-ear headphone for any environment. Regardless of whether you are a sound engineer monitoring PA systems, a live musician, or a DJ, the DT 1350 delivers every time. The perfectly balanced, accurate sound means the headphone works perfectly for every day studio use or when simply enjoying music at home or on the move. The Tesla system provides enormous power for a dynamic, undistorted sound.
Stylish, yet functional in design, the DT 1350 is manufactured in Germany using high quality materials to create a headphone that is both extremely durable and easy to use. The removable, soft ear cushions and flexible headband ensure the headphones sit securely and remain comfortable even during prolonged periods of use. The ear cups swivel 90° allowing “single-ear” monitoring.
Tesla Technology The completely re-engineered Tesla sound transducers help achieve almost lossless magnetic flux. This is made possible by the brand new system geometry, which allows the transfer of magnetic force to the voice coil to be as efficient as possible. Traditional dynamic systems use a neodymium magnet at the centre of the system, the size of which was inevitably limited inside the headphone cup. The Tesla principle sees the magnet mounted as a ring around the coil, allowing more energy to be directed to the membrane, which is where it is actually required.
The exceptionally pure sound produced by our Tesla systems is the result of the close attention to countless small details. Especially noteworthy is the ring- shaped magnet which allows our engineers to place a drill-hole directly behind the centre of the membrane in order to minimise disruptive resonances. The use of a special, multilayer membrane effectively suppresses unwanted partial vibrations and resultant distortion.
Another special feature of the Tesla systems is their full-metal design. This prevents any uncontrolled resonances in any part of the casing, which might in turn distort the sound. The metal also protects the device against electrical interference.
The DT 1350 is available as of late January 2011. For more information about the DT 1350 and the Tesla technology please visit our website at www.beyerdynamic.com.
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Further information: beyerdynamic GmbH & Co. KG Oliver Senghaas Marketing Manager ProAudio Theresienstraße 8 D-74072 Heilbronn Phone +49 (0)7131 / 617 - 230 Fax +49 (0)7131 / 617 - 299 Email [email protected] www.beyerdynamic.com
PRESS RELEASE – For Immediate Release
beyerdynamic Presents the World’s First Wireless Ribbon Microphone for Live Vocals
German audio specialist beyerdynamic is very pleased to present the world’s first wireless ribbon microphone to this year’s NAMM audience. The RM 510 interchangeable ribbon capsule for beyerdynamic’s OPUS 900 and OPUS 600 wireless systems is a giant leap forward in ribbon technology and brings a new dimension to live vocal performances.
The RM 510’s sophisticated capsule design features an ultra-light, barely 3 micrometre thick aluminium ribbon that delivers spectacular frequency response and exceptional transient behavior. A unique sound channelling technology provides the capsule with its cardioid polar pattern making the RM 510 the very first ribbon capsule perfect for use on stage with wireless microphone systems. The capsule’s treble resonator delivers rich high-frequency reproduction and also serves to protect against “plosives.” In keeping with beyerdynamic’s manufacturing philosophy, every RM 510 wireless microphone capsule is handmade in Germany.
By employing a sound labyrinth on the rear of the diaphragm and using an advanced acoustic fabric, beyerdynamic has succeeded in improving not only the sound characteristics but also the technical specifications of the RM 510. A subtle attenuation in the 6.5 kHz range effectively suppresses sibilant sounds and supports the balanced and unobtrusive sound of the RM 510.
The RM 510’s forerunner is the legendary M 500 ribbon microphone, famous during the 70s and 80s. The lineage is especially noticeable in the RM 510’s elegant housing design, stainless steel mesh basket with multilayer metal gauze, and the use of robust, high quality materials throughout. This combination of delicate engineering and precision build quality provides a new standard for ruggedness and reliability for the stage.
RM 510 offers a detailed, colouration-free sound with the same exceptional treble reproduction that characterizes all beyerdynamic ribbon microphones, and the capsule’s design delivers significant rear attenuation resulting in feedback suppression ideal for live vocals on even “loud” stages.
The RM 510 interchangeable ribbon microphone capsule will be available for beyerdynamic’s Opus 600 and Opus 900 wireless systems from the first quarter of 2011.
For further information please visit www.beyerdynamic.com.
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Pictures supplied
U.S. Press Contact: Gabriel Whyel, American Music & Sound T: 866.474.7711 Email: [email protected]
American Music & Sound
American Music & Sound (AM&S) is a leading independent US distributor of Pro Audio, Musical Instruments, and Music Creation Products from the world's finest manufacturers including Allen & Heath, beyerdynamic, Focusrite, Fostex, Kurzweil Keyboards, Nord Keyboards, Novation Keyboards, Studiologic Keyboards, Turbosound, Vestax, and Wharfedale Pro.
For additional information, please visit www.AmericanMusicAndSound.com
PRESS RELEASE – For Immediate Release
Joe Bonamassa hits the big time with Beyer
In a career that has seen a steady progression from young guitar prodigy to respected veteran blues-rocker, Joe Bonamassa has come to understand the importance of having the right equipment. That sensibility extends beyond guitars and amps, to the Beyerdynamic microphones and wireless systems that help bring his sound to his fans.
“I’ve been singing through an M88 for years now, going back to my first band, Bloodline,” says Bonamassa. “It’s an incredible vocal mic. Then, when I started playing bigger stages and needed a guitar wireless, Beyer was really the only one where I can’t tell the difference in sound between the wireless and a cable. I’ve even used it in the studio on my last two records. It’s really that good.”
Front of house engineer Warren Cracknell agrees. “Being the tone guy Joe is, he never really found a wireless he was happy with. But leading up to his big show at Albert Hall in April 2009, he really needed the ability to roam that huge stage without worrying about his cable. We brought in through wireless after wireless into rehearsals, all the major brands. Nothing was working until we tried the Opus 900 from Beyer. We plugged it in and Joe went, ‘There it is!’ We A/B’d it to the cable and there was no difference. No signal loss, no tonal change, no coloration. He’s been on it ever since.”
In fact, the Opus 900 is so good at “passing for copper” that Bonamassa has used it for tracking guitar when recording at Black Rock Studios in Santorini, Greece. “We first used is so I could play and listen in the control room. “Neither I nor my producer, Kevin Shirley, could tell the difference from a cable,” says Bonamassa. “In fact, most of the guitar parts on that album (Black Rock) were done on the Opus 900. Some wireless systems have weird impedance effects with the pickups, but not the Beyer. It feels the same, it’s just as immediate, and it doesn’t compress my tone. It’s extraordinary. Plus, it lets me be in the room with the drummer, which really helps me get a good vibe in the studio.”
While Bonamassa’s Opus 900 is a stock model, the same is not true of his vocal mic. “After I became an official endorser, the guys at Beyer started talking to me about doing a custom M88,” says Bonamassa. “They were showing me some of their vintage mics, and when they showed me the old M69 from around 1965, I just fell in love with the aesthetic of it. So they actually took the guts of the M88 and put it inside an M69 body and put my ‘JB’ logo crest on it. It’s really a cool look. I sing on it every night.”
The capsule inside Joe’s custom mic is also customized to his voice, with minor tweaks designed to accommodate the different housing and to make Warren Cracknell’s job a little easier. “We asked for a couple minor changes, and the folks at Beyer were great about that. The sound is totally M88, but with a couple minor EQ changes I usually do at the desk now incorporated directly in the electronics. It sounds fantastic.”
Cracknell incorporates Beyer mics on virtually every input. The Opus 99 dynamic bass mic is used on kick drum, bass cabinet and Leslie bottom. The snare drum is captured with an Opus 66 on top and an Opus 88 beneath, while an Opus 53 condenser handles the hi-hat. The other cymbals – overhead left/right, plus the ride – are all miked with Beyer MC 930 condensers, which Cracknell admires for their smooth, crisp response. All three toms use clip-on mics: Opus 67s on top and Opus 88s on the bottom. “I love the Opus 67 on top. It’s got a very tight pattern, which prevents bleed. In fact, I don’t use gates on the top tom mics at all,” Warren explains. “I do gate the tom bottoms. Basically, I use a side chain from the Opus 67 on top to open the gate for the Opus 88 on the bottom. The 67s sound great by themselves, but adding the 88s underneath helps us get the big three- dimensional sound we want, augmented by the MC 930s overhead. That gives us a monster drum sound, with plenty of headroom to spare.”
The Opus 66, 67, and 88 models all share the same clip-on hardware, which is a real selling point for Cracknell. “The Beyer clips are the best I’ve seen. They snap on and they stay,” he says. “It’s all about keeping the sound coming from one place, from one spot, and the Opus clip-ons stay in place better than anything else out there.”
Rounding out the stage are Bonamassa’s four guitar amps, two of which are miked with the Beyer M201 TG, a compact, high-sensitivity dynamic mic with a classic sound. The other two cabinets are miked with Sennheiser MD 421s and a Palmer PDI-03 speaker simulator. For the organ, the top of the Leslie cabinet uses an Opus 66/M 160 combination, while a Palmer PDI-02 DI handles the electronic keyboards.
Bonamassa will be busy through the end of 2010, with October dates in Europe followed by a U.S. tour that starts in mid-November. In the meantime, the much-anticipated Black Country Communion project will be released on September 21. This hard rock “supergroup” includes Bonamassa along with vocalist/bass player Glenn Hughes (Deep Purple, Trapeze) drummer Jason Bonham, and keyboardist Derek Sherinian (Dream Theater, Alice Cooper).
“We hope to put together a Black Country Communion tour in 2011, and you can bet I’ll be bringing my Beyer mics,” says Bonamassa. “When I say I endorse Beyer, it’s not just about the gear; they’re good people, too. The folks there have become my friends and given me the support I need around the world. That’s very cool, and it means a lot to me. I feel very fortunate to be working with them.”
Check out beyerdynamic mics at http://north-america.beyerdynamic.com
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Pictures supplied
- Ben Wells, Chris Robertson, and Jon Lawhon with beyerdynamic mics - download high res image here
U.S. Press Contact: Gabriel Whyel, American Music & Sound T: 866.474.7711 Email: [email protected]
American Music & Sound
American Music & Sound (AM&S) is a leading independent US distributor of Pro Audio, Musical Instruments, and Music Creation Products from the world's finest manufacturers including Allen & Heath, beyerdynamic, Focusrite, Fostex, Kurzweil Keyboards, Nord Keyboards, Novation Keyboards, Studiologic Keyboards, Turbosound, Vestax, and Wharfedale Pro.
For additional information, please visit www.AmericanMusicAndSound.com
PRESS RELEASE – For Immediate Release
Black Stone Cherry Rocks beyerdynamic on the Road and in the Studio Beyerdynamic mics capture Black Stone Cherry’s hard-charging sound on tour and in the band’s backwoods studio.
Based in Edmonton, Kentucky, Black Stone Cherry began using beyerdynamic microphones a few years back, after visiting the company’s booth at the winter NAMM show. “We tried a few beyerdynamic mics out on the road and they just sounded so much better – especially the vocal mics,” the band’s bassist Jon Lawhon recalls. “All of a sudden, people started complimenting us on the backing vocals, and the only change we had made was the mics (Model M69, a hypercardioid dynamic). Until then, nobody ever said anything about our vocals. We knew we hadn’t changed, so it had to be the mics.”
Lead vocalist Chris Robertson uses the Beyer TG-X 930-NI, a cardioid condenser with a nickel finish. “The reason we use the condenser on Chris is because his voice is kind of unique, very gravelly, and sometimes it’s hard to get it on top of the mix, especially on some of our heavier songs. But that TG-X 930 is so responsive, all his lower-register vocals really started coming out. And the mic has a nice, tight pattern, so we also lost a lot of the cymbal bleed that we had been fighting. It’s the perfect mic for him.” In the studio, Robertson uses both the TX-G 930 and the Beyer M99, a large-diaphragm dynamic mic, depending on the material.
When it comes to deep musical roots, few if any bands can compete with Black Stone Cherry. The band rehearses and records in the same ramshackle wooden house that spawned the legendary Kentucky Headhunters. “The house was built back in the 1920s I believe, and Richard and Fred Young of the Headhunters had it given to them by their grandma as a practice space,” notes Lawhon. “Richard is the father of our drummer, John Fred Young, and they passed it along to us. Pretty much everyone in the band comes from musical families.” Today, Black Stone Cherry uses the old two-story farmhouse as their home base.
“The house has a pretty amazing history. We use it for rehearsing and writing,” Lawhon states. “It’s out in the country and doesn’t look like anything special on the outside. But once you walk through its spray-paint frosted door, it’s like walking into a museum of music. The walls are plastered with album covers ranging from early blues to classic rock greats. The house has a great vibe and we love getting together there. But the big magic about the house sonically is that it’s all wood, both the walls and the floors. So it literally has its own sound, and that has naturally become part of the Black Stone Cherry sound.”
In preparation for the band’s upcoming third album, Black Stone Cherry is currently using the legendary house for songwriting, as well as recording vocals for their demos. All of their musical tracks are recorded at their monitor engineer’s studio B.A.M.F. Recordings in the neighboring city of Glasgow, KY. “We’re really enjoying the recording side of it right now,” says Lawhon. “The house has a great earthy sound, so there’s a great vibe going on in our vocals. Coupled with the brilliant sounds at B.A.M.F. and our Beyer mics, we really can’t go wrong.”
One of the workhorse mics for the band, both on stage and in the studio, is the M201, an end-firing dynamic mic used on John Fred Young’s snare and Ben Wells’ guitar rig. “It’s like a classic dynamic mic with a wider range of response. When we put that on John Fred’s snare, suddenly you could actually hear all the ghost notes he plays between the beats, even when it’s gated,” reports Lawhon. “It really lets the crowd feel the groove he’s laying down.”
For his own bass rig, Jon Lawhon uses a very straightforward setup in live performance, miked with an Opus 99 dynamic in combination with a DI box. It’s a different story in the studio. “I actually play three rigs when we’re recording, each of them completely different. It’s two bass rigs and one guitar amp. I set them up to get completely different sounds off each amp, then blend them together when we mix.” To handle the signal flow, Lawhon uses a powered, impedance-matching splitter devised by the band’s monitor engineer and B.A.M.F. owner Ryan Gorman (a.k.a. Jonesy), who along with Lawhon is a graduate of The Recording Workshop in Chillicothe, Ohio.
Lawhon’s studio set-up includes an M99 large diaphragm dynamic on his Peavey VB3 8x10 stack for a classic rock bass tone. For the modern side of things he uses a Peavey Tour 700 head with a Tour 8-10 cabinet, miked with a Beyer M88. His guitar rig is a 1967 Fender Bassman, paired with a 4-10 Marshall cabinet and miked with Beyer’s MC930 condenser. “I do it all in one shot, running through a powered impedance-matching splitter that Jonesy, our monitor engineer, put together for me,” he explains. “This setup gives me everything I need: pure subsonic lows, punchy, straight-ahead rock and roll bass, plus a bright, biting tone with great attack. “It’s the same setup I used on the last record, but this is the first time I’ve recorded it with Beyer mics. After we finished the first demos, I was like, ‘wow, that’s substantially better.’”
In recording their own demos, the band has decided to expand its use of Beyer microphones. Where drummer John Fred Young uses Opus 88 clip-on mics for his toms on stage, he uses the Beyer M88 dynamic in the studio. Guitarist Ben Wells’ Peavey amps benefit from use of the M160 dual-ribbon mic paired with the same M201 used on tour. When informed that the M160 is famed for its use on classic Jimi Hendrix and Led Zeppelin recordings of the late 60s, Lawhon was amazed. “Really? I had no idea. We just picked it because it gave us a great tone. But that’s very cool, because Zeppelin, as well as Hendrix, is a big part of our influence.”
The band’s other influences are not surprising, given Black Stone Cherry’s sound. Lawhon also cites Aerosmith along with blues-based Southern rock bands like the Allman Brothers and Lynyrd Skynyrd. “I guess you could call it hard rock with a southern flair,” he says, “but we really try to just make it our own. As a band, we will try anything and everything until we’ve found the best thing. That’s true for our music and for our equipment. It just so happens that, across the board, live and in the studio, based on the sound, we prefer the Beyer mics.”
Check out Black Stone Cherry at http://www.blackstonecherry.com
Check out beyerdynamic mics at http://north-america.beyerdynamic.com
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Pictures supplied - Ben Wells, Chris Robertson, and Jon Lawhon with beyerdynamic mics - download high res image here
U.S. Press Contact: Gabriel Whyel, American Music & Sound T: 866.474.7711 Email: [email protected]
American Music & Sound
American Music & Sound (AM&S) is a leading independent US distributor of Pro Audio, Musical Instruments, and Music Creation Products from the world's finest manufacturers including Allen & Heath, beyerdynamic, Focusrite, Fostex, Kurzweil Keyboards, Nord Keyboards, Novation Keyboards, Studiologic Keyboards, Turbosound, Vestax, and Wharfedale Pro.
For additional information, please visit www.AmericanMusicAndSound.com