Irritating background noise is a thing of the past for users of the new VMX 100 wireless Bluetooth® headset from Sennheiser Communications.

The VMX 100 is the first Bluetooth® headset designed with revolutionary VoiceMax™ dual microphone technology. VoiceMax™ employs a unique directional system using two microphones and advanced digital signal processing to distinguish speech from other noises. Distracting sounds such as wind, noise from traffic or machinery, or the murmur of a crowd are effectively eliminated for clearer, more easily understood conversations.

The advanced features of the VMX 100 enhance speech understanding for the person wearing it, as well as the party on the other end of the line. Just as its dual microphone technology makes it easier for the voice of the user to be understood, the VoiceMax™ system also intelligently filters background noises from incoming calls, enabling users to better hear what is being said to them.

“From a technological perspective, the VMX 100 is an industry marvel,” said Andreas Bach, General Manager of Sennheiser Communications. “It effectively improves the quality of mobile phone conversations and adapts to user behavior in most call situations. This eliminates the need for constant manual adjustments making it as easy to use as it is to wear,” said Mr. Bach.

Designed with comfort top of mind Monumental improvements in speech clarity and noise reduction are complimented by the extremely lightweight ergonomic design of the VMX 100. At 15 grams, it not only fits the contour of your ear, superior personalized wearing comfort is achieved thanks to a unique 3D ball joint. This enables adjustment of the microphone boom to personal preferences. The boom is also designed to automatically turn the power on or off, depending on whether or not it is opened or closed.

Discreet, durable and sophisticated, the VMX 100 has a two-way speaker unit allowing it to be worn on either the left or right ear. Discerning business users will also be happy with the packaging that includes a compact storage case and multiple charging options.

The BW 900 is the first wireless office headset to combine multi-connectivity with 100-meter range. It gives users the freedom to make and receive calls on any phone from practically anywhere in the office – hands free. And switching between calls on the office phone, mobile phone or PC can be done effortlessly at the touch of a button.

In addition, the BW 900 features Adaptive Intelligence™ technology specifically developed by Sennheiser Communications to filter out distracting background noises for personalized comfort and high quality speech transmission.

Adaptive Intelligence™ allows you to walk and talk from one sound environment to another, while it intelligently adjusts the headset settings. It also remembers the personal comfort levels of the user in particular situations and adapts to these preferences in similar sound environments.

Regardless of whether you’re in your office, the copy room, the conference room or the company cafeteria, the BW 900 automatically adjusts to personal sound preferences so you and the person you talk with are able to hear with excellent clarity.

The BW 900 is easy to use, sleek, stylish and comfortable to wear at only 26 grams. And with both hands free, the workday is more productive for everyone in the office whose hands are usually tied up on the phone.

“With our new MKH microphones we have consistently advanced the high-end technology of the RF condenser microphone and the wider frequency response of the MKH 800,” explains Sebastian Schmitz, Product Manager for microphones. “The technical development was supported at a very early stage by sound and listening tests, and the sound engineers involved in the tests confirmed that the new microphones have an incredibly impressive sound quality that even goes beyond that of the innovative MKH 800. In response to many requests from long-term users, we are now also offering a wide range of accessories for the new MKH microphones, allowing them to be optimally adapted to the highest-quality classical music, stage, broadcasting and film recordings.”

Two parts — a clever solution

The new series of high-end microphones includes three models: the MKH 8020 has an omni-directional pick-up pattern, the MKH 8040 is a cardioid version while the MKH 8050 has a super-cardioid pick-up pattern. All three microphones consist of two modules: the microphone head that contains all the acoustically important components, and a separate XLR module. If you need to make the already compact microphone (only 1.9 cm in diameter and 7.4 cm long) even smaller, you can detach the XLR module, connect the microphone head (4.1 cm) directly to one of Sennheiser’s special remote capsule accessories, and then simply attach the XLR module to its end, out of shot of the camera. A further optimized feature for TV recordings is the black Nextel® coating. This ensures that neither the microphones nor the accessories can cause troublesome reflections that might otherwise distract musicians, vocalists or speakers.

Compact design — huge frequency response The frequency response of the new MKH microphones ranges from 10 to 60,000 Hz (MKH 8020) or 30 to 50,000 Hz (MKH 8040 and MKH 8050) — allowing them to record even the finest details for high sampling rate digital audio formats. The RF condenser principle means that inherent self-noise is extremely low, while the high sensitivity of the microphones guarantees that voices and instruments are captured in all of their nuances. In spite of this, the maximum sound pressure level is still impressively high, at 138 dB for the MKH 8020 and 142 dB for the MKH 8040 and the MKH 8050. Great attention was paid to achieving an accurate pick-up pattern over the entire frequency response, for example to allow instrument groups to be clearly separated.

In a class of their own: the accessories The complete range of accessories includes floor stands, extension tubes, shock mounts, remote cables, table stands, ceiling mounts, clamps and various fixtures. In all accessories, the signal-transmitting components are systematically designed with two channels to allow stereo signals or dual mono signals to be processed.

In addition, a digital module that transmits audio signals according to the AES 42 standard (24 bit, 192 kHz sampling rate) is expected to be available at the end of 2007. The pre-attenuation, rumble filter, compressor and limiter settings can be adjusted via a DSP module. The end of the year will also see the launch of a digital interface that will allow signal conversion to AES EBU and remote control of the microphone settings.

Experience the new MKH microphones … … at the AES during the Surround Mixing Workshop with master sound engineer Gregor Zielinsky. Using a Surround Sound recording of Shostakovich’s Fifth Symphony (24 multitrack recording, Pro Tools), participants will be able to listen to two Surround Sound arrangements and a stereo recording with the new microphones. In addition, they will be able to monitor the individual microphone positions separately. Gregor Zielinsky: “The heart and soul of music is in the mid-range frequencies — and this is precisely where the new MKH microphones reproduce the sound particularly well and warmly. They have an impressive transparency in complex musical arrangements, especially when it comes to providing good differentiation between wind instruments and strings. Their fast transient response, also in the bass range, ensures a very powerful and dynamic sound reproduction. The participants at the workshop can look forward to a very dynamic recording that is both musically and artistically outstanding.”

The Operating Principle of the Radio Frequency Condenser Microphone

RF condenser microphones constitute a unique, sophisticated class of condenser microphones. Unlike standard condenser microphones, which require a high polarization voltage for the capsule, RF condenser microphones use a comparatively low RF voltage generated by a low-noise oscillator. This voltage is modulated by the changes in capacitance produced by the sound waves that move the capsule diaphragm. Following the demodulation, a low-noise audio frequency signal with very low source impedance is available, and this can be used to directly drive bipolar transistors that produce less random noise than the field-effect transistors usually needed. As a result, RF condenser microphones have a wide dynamic range and an excellent low frequency response even with small capsules, which would normally only be possible using larger capsules. In addition, small capsules achieve a considerably better high frequency response than large capsules. A further benefit of RF condenser microphones is that, although the capsule is grounded, they possess a genuine fully floating, balanced output without the need to use a transformer.

Sennheiser’s Revolutionary Symmetrical Microphone Capsule Sennheiser’s RF condenser microphones have a unique symmetrical push-pull transducer. Besides the normal back plate, this capsule is fitted with an additional front plate, with the diaphragm positioned between these acoustically transparent plates. The result of this balanced design is an unchanging acoustic impedance, extremely low distortion figures, a higher capsule output with much lower noise and thus a very clear signal.

“Neumann makes a lot of sense for an artist like this,” acknowledges Moro. One key model is the Neumann KMS 104 vocal microphone. “I love the 104. Neumann has hit the spot with that one. The way they’ve changed the pattern from the 105 is working quite well for us. It sounds like a million bucks up there.”

Jones sings from three different locations onstage — from behind an acoustic piano, a Wurlitzer electric piano, and front-and-center with an electric guitar. “I have the 104 on two positions and one with a Neumann KMS 140,” Moro shares. “The 104s sound great, so we might switch that third mic to keep things consistent. Plus, it’s easy if we have a problem with any of them out on the road. It’s easier to find a 104 or 105 than a 140.”

On this tour, which mainly takes in theaters plus a few amphitheaters such as Denver’s Red Rocks, there has also been a slight change to the acoustic piano setup, according to Moro. “We had three KM 100s with the AK 40 capsules last time. Now we’ve taken the middle one and put a TLM 103 in there. It’s the hugest of large diaphragms and gives a bigger overall sound. I’ve become a big fan of the 103. They’re stupendous and pick up everything really nicely.”

“Not Too Late”, Jones’ third and most personal album, benefits greatly from the use of studio quality Neumann microphones in a live performance setting, says Moro. “She deserves it and the music deserves it. It’s subtle and it’s soft. You want the nuances, especially with the material from the new record, which is subtle with almost a dark folk flavor.”

Neumann TLM 49s have also been added to cover the electric guitar and bass amplifiers. “They’re huge sounding,” says Moro. Another change this year is the move back to Neumann’s large diaphragm TLM 193 for drum overheads. There has also been a wholesale changeover to Sennheiser’s evolution 900 Series to close-mike the drums, including an e 901 and e 902 on kick, e 905s on snare top and bottom, e 904s on the rack and floor toms, and an e 914 condenser for hi-hat.

Sennheiser, which is celebrating 50 years of wireless technology this year, is well known for its RF products. “We still have high praise for the wireless KMS 105, although we’re not using it as much because there’s not as much movement,” says Moro. That’s mainly because, unlike previous tours, Jones rarely has her hands free. “Norah plays guitar a lot on this tour, and the backup singer, Daru Oda, is also playing bass when Lee Alexander, the bass player, is playing guitar. So we put everybody on Sennheiser wireless instrument systems, which makes things a lot easier.”

Sennheiser evolution wireless 300 Series personal monitor systems are also getting used on the tour. “The bass player uses it for a few songs where he plays bowed bass. He throws ears in because the wedge can’t handle it. Norah uses it at specific venues where it’s just too hard to hear herself. She’ll throw them in right away.”

Following a two-month North American leg the tour heads for Europe, where dates are currently scheduled through to late August. “Norah is going to take some time off in the fall, then, probably early 2008, we’ll ramp it back up and go out hopefully for another year and hit the rest of the world,” reports Moro. “The nice thing about Norah is that she has the demand around the world. She’s sold records everywhere, so she can continually work.”

Wireless microphones are approved as secondary users within the VHF and UHF spectrum and have permission to operate as long as they don’t interfere with the primary users, i.e. television and radio. This is the state of play according to the agreements of Stockholm (1961) and Chester (1997). However, this peaceful coexistence is being threatened. The Technical Group TG 4 of the European Communications Commission is planning to eliminate the Chester agreement — and the frequency spectrum in question has caught the eyes of new service operators. “The introduction of digital television DVB-T has already led to a significant reduction of the frequency range that is available to wireless microphones,” explains Volker Bartels, President Production and Logistics of the Sennheiser Group. “Now mobile phone providers, wireless DSL and mobile phone TV (DVB-H) have appeared and are all demanding significantly more and new frequencies, especially within the UHF range.”

“The effects on the entertainment and event industries could be devastating,” says Volker Bartels. “Just imagine what a musical with wire-bound microphones would look like. Or the concert of one of your favorite artists. Music festivals, stadium sound, film productions, theater plays — all these work so effortlessly today because of wireless microphones. The production of program content, major sports events such as the Olympic Games or Football World Championships and news reporting — all are reliant on wireless technology.”

Sennheiser jubilee — and dark clouds are on the horizon It was exactly 50 years ago that Sennheiser presented its first wireless microphone in Frankfurt, and 25 years ago the company manufactured the first UHF microphone systems for German national television. These microphone systems introduced a whole new dimension to media productions — a quality and freedom of movement that viewers have long become accustomed to.

In Europe alone, in 2005 and 2006, approx. 20% more wireless professional microphone systems have been taken into operation — a number that underlines the vast importance of wireless audio technology for media productions and entertainment industries. “We estimate that in Europe alone four to five million professional wireless microphone systems are being operated at this moment in time,” says Bartels. “These microphones must not be seen in isolation. They are at the beginning of a production chain, which creates content that all viewers want to watch, including the users of DVB-H and wireless DSL. Therefore I urge the people responsible to let the agreement of Chester remain in effect, which means to protect wireless microphones and guarantee the frequency ranges that are necessary for their operation. If errors are made at this stage, the future of the whole of media production will be put at risk.”

There have been recent updates in this all-important issue to which everyone should be aware.

The Australian Communications and Media Authority (ACMA) is the regulatory body responsible for allocating radio spectrum for use in Australia. The use of all wireless microphones, in-ear monitors and wireless guitar and keyboard transmitters is regulated by the ACMA in Australia. The ACMA are currently assessing all future radio spectrum requirements in Australia.

The wireless audio distributors in Australia have recently come together under the banner of the Australian Wireless Audio Group (AWAG) which is being co-ordinated by the Australian Music Association (AMA). The primary function of AWAG is to work with the ACMA and the Department of Communications, Information Technology and the Arts (DCITA) on developing appropriate long term solutions to this issue on behalf of both the industry and the key wireless audio users groups.

As an industry we are not formally recognised as a spectrum user, unlike a telco (Telstra, Optus etc) for example. This is due to the fact that currently wireless microphone users operate under a class license system. In effect, this allows radio mic users to access free spectrum provided that the product conforms to a number of ACMA mandated standards. As a result of this class licence approach the ACMA has to date been largely unaware of the extent to which radio mics are used in the community because there is no one ‘industry’ but an amalgam of diverse user groups such as musical theatre, TV broadcasters, churches, fitness centres, auctioneers, conference presenters and schools.

Recent activity by AWAG and members of the industry mean that the ACMA is now fully aware of the nature and extent of wireless audio use. It should be noted that Australia is not unique in having to face this challenge and the experience we have gleaned from the US and UK has shown that their corresponding regulatory bodies have also not understood the needs and the extent of usage of wireless audio within their communities.

Therefore discussions initiated by AWAG with the ACMA and Office of the Minister for Communications have to date focused on educating the authorities as to our users needs and on a number of specific technical issues concerning radio mics and other wireless audio devices.

A second round of activity will soon begin. The focus of this second round of discussions will be on the development of a long term solution that will meet the needs of both professional and community wireless audio users, as well as, the objectives of the ACMA and DCITA with respect to the future reallocation of RF spectrum.

Even though these proposed spectrum changes are at least two years away, AWAG and the key user groups, along with the ACMA and DCITA are currently treating this issue as a priority. Industry, key users and the authorities need certainty before any changes to the allocation of spectrum are initiated. AWAG is now fully engaged in both the regulatory and political processes necessary for us to present and argue the case on behalf of our industry and users on the role of wireless audio within our community and its importance in the continuance of our music, entertainment and information culture, as well as assisting the government in meeting its objectives.

We would like to express our thanks to those already involved and who sent submissions to the ACMA. If you have any queries or wish to assist in the deliberations going forward please contact.

Ian Harvey Executive Officer Australian Music Association Ph 03 9527 6658 or 0402 047 795