Dante Connect for Cloud-Based Broadcast Workflows Announces Now Shipping, Available Through Advanced Systems Group (ASG)

Audinate announces that Dante Connect, the audio transport solution for cloud-based workflows, is now shipping. Multiple customers are using Dante Connect in production with more currently executing proof- of-concept tests prior to deploying to production.

Audinate also announced that Advanced Systems Group (ASG) has signed as a distributor to sell and support Dante Connect installations.

Dante Connect is designed to meet the needs of broadcasters and enables mixing editors and A1s to support remote audio production workflows. The complete remote production of audio is enabled by Dante Connect – including the transmission of audio from any Dante-enabled device on location, through cloud services and back down for broadcast.

“For years, Audinate has built technology that helps devices connect reliably and easily. We’re delighted to be a partner in bringing that technology to the cloud. Our clients will appreciate the advantages of Dante Connect for broadcast, cloud production, and other innovative applications,” says Janmeja Heir, Lead Cloud Engineer, ASG.

Cloud broadcast production workflows are designed to increase the flexibility of production teams to best utilize tightly constrained talent and hardware to support a wider array of content generation with less expense and travel. Dante Connect enables broadcasters to fully embrace remote audio production, reducing the need for expensive OB trucks and vans, travel by production and on-air talent, and increasing flexibility by production teams. It allows broadcasters to centralize end-to-end production facilities across multiple remote locations simultaneously, even over long distances.

“Audinate has always been about making it easy to manage audio in networked environments. We’re excited to partner with leading distributors on the launch of Dante Connect to the broadcast community, helping them increase production flexibility to deliver more content, more efficiently, to more people, regardless of location,” says Will Waters, Principal Product Manager, Audinate.

At IBC in Amsterdam, Dante Connect has been selected as the audio transport solution for the AWS broadcast production workflow demo, where attendees can see a live demonstration in the AWS booth (Hall 5, C90). The Audinate booth (Hall 8, D88) features demos of Dante Connect using the Cloud MX Audio Mixer from WAVES, and Dante AV technology.

Interested in hearing more about Dante Connect?

Clients Win with Visual Data Audio Upgrade by Advanced Systems Group

When the award-winning post services company, Visual Data, decided to upgrade two of its audio suites, it turned to its long-time partner, Advanced Systems Group (ASG), for guidance. While Visual Data and ASG have collaborated considerably on video-focused projects in the past, this would mark the first audio-only design by ASG for the company. Visual Data wanted to add Dolby Atmos capability to one of their primary mixing suites and refresh a busy 5.1 Foley studio and its control room.

Leading the project for the ASG audio team was Tom Menrath, Audio Team Leader and Key Accounts Manager alongside Collyer Spreen, Audio Sales Engineer, and Paul Oakley, Senior Design and Field Broadcast Engineer. “Visual Data is one of the top postproduction services companies,” said Menrath. “They’re specialists in services that are behind-the-scenes but extremely important like language dubbing, subtitling, closed captions, quality assurance, distribution, and more. We were thrilled to work with them on this audio upgrade.”

“From a knowledge perspective, they know what they’re talking about. I was confident they’d provide the solutions and post-integration support we needed as we ventured into this new technology.”

Ken Spickler
Vice President, Global Engineering
Visual Data

With locations in Burbank, London and Bangalore, India, Visual Data is a global provider of award-winning digital media supply chain services to the entertainment industry. It began as a small editing facility in 1995 and has grown into a leading global provider of quality-driven content management, distribution, localization and media services that enable customers to deliver premium content in any format for any screen or platform, anywhere in the world.

Visual Data moved to its current Burbank location 11 years ago. “Our rooms were functioning very well and provided what we needed at the time, but they limited our ability to grow,” explained Ken Spickler, Vice President, Global Engineering, Visual Data. “We needed to adapt and increase our capabilities in line with what’s needed today, including Dolby Atmos. Since we perform a large amount of QC (quality control) and mastering, we also needed the ability to monitor 12 channels of audio.”

Systems were upgraded to the most recent Pro Tools versions with new Mac Pro computers, along with new Avid S4 control surfaces and interfaces, Genelec monitors, and Argosy desks. 

Dolby Atmos and Foley Studio Reboot

“With more content using immersive audio and Dolby Atmos technology in particular, they were looking for that 12-channel audio capability in one of their main mix rooms,” explained Menrath. “Much of the content they work on for their high-profile clients is now in Atmos. They have to be able to hear what the original version sounds like that so they can transfer the audio into other formats and languages while making sure they’re monitoring everything accurately.”

After a careful assessment of the Foley studio and the mix room, the ASG team’s first determination was to add 24-fader Avid S4 control surfaces in both rooms, which necessitated the new workstations, speakers, and furniture. These replaced the outdated C|24 consoles and previous-generation JBL monitoring.

For the main mix room, an Argosy desk, Avid S4/24 control surface, Avid MTRX Studio interface and new computer. Mac Pros with Avid Pro Tools were customized and built specifically for Visual Data. The computers and interfaces reside in the control room one flight below the main mix room and are connected to the upstairs studio’s Genelec 8341 based 7.1.4 monitor system.

The updated Foley room got a new Argosy desk as well, but with a slightly different configuration to accommodate that studio’s workflow and equipment, an Avid S4/24 control surface with a Genelec 8330-based 5.1 speaker system plus microphone preamps and processing for Foley recording.

Genelec monitors with GLM tuning software were added to both rooms. Using Genelec’s GLMv4 software, ASG was able to calibrate the Mix and Foley suites without bringing in any outside support. This was important since time was of the essence. Each of the rooms were worked on separately based on the availability of the rooms. 

Downtime can be very costly for a busy post production facility. “We got a big project from one of the studios coming in around the time we were talking about upgrading the rooms with ASG,” reported Spickler. “There wasn’t much turnaround time from when the client got us the material, so taking down the room for a week would have been too disruptive. We had to be ready to work on the project whenever it came in. The ASG team was very accommodating about that and didn’t expect us to do this all at once – one room right after the other.”

The main mix room was the first project for ASG, and the Foley studio was done a few months later. 

“Both these rooms were extremely busy,” said Tom Menrath.  “So we carefully planned the timing of when we’d go in and teardown, removing the old equipment, upgrading it, and wiring everything to the control room downstairs. We worked very closely with the IT department at Visual Data. We went through the network system and switches, so we had to work closely with the IT staff to make sure we could connect the new system quickly and efficiently. Then we got the engineers up to speed on the new system. We made our deadlines on both rooms, tuned the rooms, and they were online in just a few days.”

ASG has worked with Visual Data on their SAN and NAS storage, including upgrades, for close to a decade. ASG Regional Sales Manager Kymberly Cannon brought in the ASG Audio team after learning from Ken Spickler that they were looking to update two of the facility’s audio rooms. “I was immediately comfortable with Tom, Collyer and Paul,” said Spickler. “From a knowledge perspective, they know what they’re talking about. I was confident they’d provide the solutions and post-integration support we needed as we ventured into this new technology.”

According to Spickler, the ASG audio team has stepped in to ensure the rooms function smoothly. “In that first couple weeks after we got the rooms up and running, our operators were finding their feet with the new technology. They told me that the ASG folks were extremely responsive to any questions they had. I received a lot of comments from them saying how great it was working with such a responsive group and with such a powerful audio setup.”

Visual Data works with some of the largest studios, streaming platforms, and companies in the world.

Want to discuss how ASG can help you with your next Audio project?

Immersive Music is Here to Stay

By Tom Menrath, Audio & Key Accounts Manager, ASG

This is an incredible time for immersive audio. From its start in cinemas in the 70’s with Dolby® Digital 5.1 surround to Atmos 3D Surround today, Dolby has remained a pioneer in multi-channel sound. And just as 5.1 Surround migrated to home entertainment, Dolby Atmos is now commonly delivered via streaming services, such as Amazon, Netflix and Apple TV.

Always at the forefront, Mix Magazine has been holding immersive audio-themed conferences for years. Its May 20 event, “Immersive Music Production Nashville,” was a series of panel discussions, technology demonstrations and listening sessions at various Nashville recording studios focused squarely on the impact of immersive audio on music production. Nashville has the highest concentration of immersive music mix facilities in the U.S.

Tom Menrath

During the Mix event, we got to visit several studios on Nashville’s legendary Music Row producing content in Atmos, including Columbia Studio A, Quonset Hut, Starstruck Studios, Curb Studio, Front Stage/Back Stage Studios, and Blackbird Studio. We listened to tracks from various producers and engineers working in Atmos.

Some of the engineers that were involved 20 years ago with groundbreaking 5.1 audio mixes are working with Atmos today and producing some of the most emotional Atmos mixes we heard that day. One highly impactful demo was from acclaimed producer/engineer Chuck Ainlay. He played stereo and Atmos versions of tracks he’d mixed in both formats. He would seamlessly crossfade the stereo material into the Atmos version and go back and forth.

It was fascinating to hear the differences in real time. It made me realize that, if done well, Atmos is a true enhancement. It’s not a gimmick or a fad. It’s a genuine way for artists to express their music in a new and very exciting way.

During our “Studio Crawl,” one of the demos that stood out took place in the George Massenburg-designed ‘Studio C’ at Blackbird. On one side of the room, there was a Sony 360 demo with Genelec speakers. On the other side, an Atmos demo with ATC speakers. Hearing the different nuances presented by each was extremely interesting and educational.

Apple’s adoption of immersive audio, known as Spatial Audio (typically derived from Atmos masters), has supercharged the need for content from record labels and artists in Dolby Atmos – as well as content utilizing Sony’s 360 Reality Audio and Sennheiser’s AMBEO technology. While Dolby Atmos remains the leading format currently, Sony and Sennheiser will soon be a larger part of the immersive audio conversation. Apple Music currently offers thousands of titles in their immersive audio format.

More and more artists are thinking about Atmos production from the start, planning out their content with the intention to produce in both stereo and Atmos. Previously Atmos was used primarily for remixes of popular catalog music. That provided end users with a dynamic, new experience while also providing labels and artists with a new revenue stream.

But with people starting the recording process with Atmos in mind, it’s opened tremendous creative opportunities and given people a new way to think about presenting their music. That was really evident at the Mix event. Getting an inside look into how different engineers approach mixing for this format was eye-opening. There’s quite a learning curve for engineers to maneuver initially. It takes a lot of experimenting. Each engineer has their own take on it.

I walked away confident that immersive music is here to stay. The end user can listen to it in a variety of different ways – headphones, earbuds, soundbars, speaker systems and in their car! As opposed to 20 years ago, when the music industry put a lot of energy and resources into creating 5.1 surround music, this time it’s got traction. Much of the music created in 5.1 was very engaging, but unfortunately it wasn’t optimized for headphones, and most people didn’t have a surround sound system at home to take advantage of it. And so, it never really gained critical mass.

But now, the hardware has evolved dramatically. The headphone versions of this music are deeply engaging and satisfying. So, at this point, it’s the beginning of an exciting time in producing immersive audio and music in multi-channel formats.

It’s worth noting Sennheiser Neumann’s AMBEO and Sony’s 360 Reality Audio as immersive innovations we’ll be hearing more of soon. Sennheiser’s AMBEO is spatial audio technology that takes Atmos files and algorithmically mixes them down into a two-channel delivery system. So, you can listen with stereo headphones, but what you hear is a far more engaging spatial experience that’s far beyond stereo. AMBEO translates any stereo headphone or speaker system into an enhanced spatial experience with zero end user upgrades required.

Sony’s 360 Reality Audio uses Sony’s 360 Spatial Sound technology to dynamically place individual sounds within a 360-degree, spherical, sound field. So Sennheiser, Sony and several others are figuring out ways through software to deliver immersive experiences – even in traditional stereo playback systems.

Car stereos are another area where Atmos has garnered support. It is currently available on the Lucid Air; several Mercedes models; the Volvo EX90 SUV; and the Polestar 3. Lotus has announced a collaboration with Dolby, bringing Atmos to its Eletre EV set to debut in 2024. The car is a fantastic place to listen to immersive sound. I’ve heard several excellent car systems, both custom and factory-supplied systems.

Many private and commercial studios are setting up rooms equipped for Atmos and other immersive formats. Studio owners are looking to add speakers and redesign control rooms to make them Dolby certified or just Atmos capable. That’s a big part of what ASG is focused on moving forward in the immersive audio space. We’re currently working on a flagship Atmos mix room in the Bay Area. Once the facility is complete, it will be a showcase for the studio owners, ASG, Dolby Labs, and will be one of the premier immersive mix rooms in the country. We are extremely enthusiastic about what the future of immersive audio holds for our industry and for end users.

2023 NAMM Show Recap

By Tom Menrath, Audio & Key Accounts Manager

This was a pivotal year for The NAMM Show (National Association of Music Merchants), held last month in Anaheim. Here is my NAMM 2023 recap. Typically, NAMM runs every January but was held in April this year – just before the NAB show in Las Vegas. While the energy of the show was through the roof, with attendance and momentum scaling way up from last year, several major companies impacted by the date change were unable to attend. The start date for next year’s show is back in January. With another year of business under our belts, it’ll be interesting to see if exhibitors and attendees return in pre-Covid numbers to NAMM 2024.

For the ASG audio team, NAMM 2023 was a fantastic opportunity to see our manufacturers, partners, and friends. The vibe of the show was upbeat, and the turnout from the pro audio community was phenomenal. Our entire audio team was there. It was incredible to see customers and partners face-to-face, some that we work with routinely but may have not seen in years. For our inside sales and purchasing manager, Joe Putnam, it was particularly beneficial for him to meet people in person that he’s only spoken with over the phone. At the end of the day, trade shows are about the people, and it’s as much a social event as a business endeavor.

Tom Menrath

All the major audio console, microphone and outboard gear manufacturers were there. There was also a large contingent of boutique vendors and specialty products. If there was one overriding theme on the pro audio side, it would be immersive audio in general and Dolby Atmos specifically. Sony was also doing very compelling immersive audio demonstrations.

We were eager to check out immersive monitoring and mixing solutions for Dolby Atmos Music and Apple Spatial Audio. Immersive audio is a rapidly growing category, and manufacturers were out in force with products to support immersive music production. Dolby showed a vehicle factory-equipped with an Atmos audio system as well as listening rooms with Atmos. Genelec and PMC had Atmos listening spaces. Several other loudspeaker manufacturers had live demos set up with some great content. 

Atmos is being rapidly adopted by people building or retrofitting mixing studios. At ASG, we’re seeing that work coming in at a very fast clip right now. We’re in the middle of several studio projects that call for the rooms to be Atmos-capable, in addition to 5.1 and 7.1 surround sound. The acoustic design and tuning necessary to make the room work properly for an Atmos-capable mix is something we’re discussing a lot with customers right now. Immersive audio is here to stay.

Trade shows are also a great opportunity to meet with people from overseas that we don’t get to see very often. We deal with companies in Asia, the UK, Denmark, and many other places in the world. While we were in Anaheim, we got to spend time with many of those folks – out at dinner and in their booths. The NAMM show has always had a strong international presence, and that’s always been a very attractive factor for ASG. NAMM reported 46,711 attendees, representing 120 countries and territories, from Afghanistan to Zimbabwe. International attendees accounted for a 64% attendance increase, year over year.

Going into trade shows these days, there’s little mystery regarding new technology. Most of the news and new technology introductions are communicated online, with little held back just for a trade show, as companies used to. So, there aren’t many surprises once you get to the show. We went to NAMM with networking, education, and partner collaboration in mind. And with those as our goals, we were hugely successful. 

Today’s NAMM is less focused on rockstars signing autographs in booths and more on education. There were plenty of parties with free beer and live music, which is a big part of NAMM as well, but not at the level as previous years. That’s always fun but in the end it’s not as useful as the panel discussions and white papers presented by NAMM and the AES community. There were panels from a host of audio engineers, music producers and record label executives talking about Dolby Atmos and other immersive formats.

Overall, NAMM proved a great show for us to learn, get business done and most importantly, connect in person with our industry friends. We’re looking forward to next year’s show in January!

ASG Leads Audio Refresh at Renowned Bay Area Jazz Club Yoshi's

Collaboration with Waveworks, Meyer Sound and Predictive Audio Design Tools Contribute to Timely Upgrade

EMERYVILLE, CALIF., December 28, 2023 Advanced Systems Group, LLC (ASG), a solutions provider for media creatives and content owners, completed a refresh of the 25-year-old sound system at the renowned Yoshi’s jazz club in Oakland, CA in record time, hastened by close collaborations with Bay Area firms and predictive audio design tools. 

The previous Meyer Sound system had served Yoshi’s well for 25 years, but typical signs of aging combined with a demand for punchier low frequency content made it time for an upgrade. “The old system held up remarkably well,” said Marcel Quiroz, Yoshi’s production manager. “But a few things were starting to go out, and over the years there had been changes in the loudspeaker processing, with various things thrown in randomly. My biggest struggle was with the low-end, where R&B acts would push the subs so hard that by the end we would sometimes get a rattle out of the boxes.” 

Photos by Steve Jennings

ASG Audio Team and Key Account Manager Tom Menrath took the lead for ASG, with design services specialist Joe Mistretta on board for Meyer Sound. Mistretta pointed to Meyer’s MAPP 3D program – a design tool that delivers predictions of sound energy distribution in a three-dimensional sound field – as a critical element in the Yoshi’s audio renovation. “Yoshi’s is an asymmetrical, pie-shaped room,” said Mistretta. “The acoustics are quite good, but the coverage is tricky. MAPP 3D really showed us how to improve uniformity, both up close and in the back corners.”

Menrath confirmed the importance of the sound design software: “Using the design tools and replacing the kludge of old processing with Galaxy units, made a huge difference. It also helped to bring the new system online quickly, which was a crucial consideration.”  Working with trusted install partner Brad Katz of the Oakland-based Waveworks was another big asset in speeding the turnaround time on Yoshi’s audio reno.

Photos by Steve Jennings

“Down time is expensive for Yoshi’s as it costs not only the performance venue but the foundational restaurant business,” said Menrath, “so it was vital to get the new system up and running as fast as possible. Working with Brad at Waveworks, we were able to get the old system out, the new one installed, tuned and back in action within nine days.”

As a passionate music fan, Menrath found this project particularly rewarding: “We do a lot of major projects with Meyer Sound, but Yoshi’s has been particularly satisfying. This new system with the most advanced loudspeaker technologies is a stunning upgrade, and the artists who perform at Yoshi’s certainly deserve nothing but the best the industry can offer.”

Among the first to hear the new system were two of Yoshi’s founders and owners, namesake Yoshie Akiba and Kaz Kazamura.  “When I turned it on, it literally brought tears to their eyes,” recalled Quiroz.  “They had never heard this room sound so good.”

Photos by Steve Jennings

It’s a sentiment echoed by Yoshi’s discriminating visitors, said Quiroz: “Every artist that has come in here has been blown away. Haley Reinhart’s engineer told me it was the best house system he’d ever heard, and the engineer for Dave Weckl said that hands down we now have the best-sounding room in the Bay Area. After his set, Freddy Jackson came up, gave me a hug, and said, ‘Thank you!’”

The new Yoshi’s Meyer Sound system comprises two UPQ-D1 wide coverage and two UPQ-D2 narrow coverage full-size loudspeakers for the mains, supplemented by three ULTRA-X20 compact wide coverage loudspeakers for downfill and seven UP-4slim ultra-compact installation loudspeakers for front fill. Ample power for contemporary R&B acts is now available through four 900-LFC low frequency control elements, mounted in pairs on the walls.  A GALAXY 816 network platform provides system drive and optimization, while artist foldback has been upgraded with addition of 10MJF-208 and two MJF-210 stage monitors.

For a more in-depth peek inside Yoshi’s redesign, please check out this feature story in Front of House magazine

Photos by Steve Jennings

About ASG:

Advanced Systems Group, LLC enables creativity through better technology for media creatives and content owners. From acquisition to post-production to delivery, whether on premises or in cloud, ASG’s goal is to ensure customer success through tailored solutions that create optimal workflows. One of the largest Systems Integrators in North America, ASG provides engineering services, physical and cloud integration, training, and support. ASG’s Virtual Production Control Room allows clients to operate their live event control room in the cloud. ASG’s Managed Services delivers customized staffing solutions for all phases of media production, including creative and engineering. Based in Northern California since 1997, ASG also has teams in Los Angeles, the New York Tri-State Area, the Southeastern US, and the Rocky Mountain Region to provide nationwide services. Find your solution at www.asgllc.com.

ASG and Avid NEXIS F-Series Storage Engines

For nearly 25 years, Advanced Systems Group has been a leading integrator for Avid audio, video, and storage solutions. From advanced Pro Tools systems for music and audio post to Media Composer workstations and storage networks, ASG has the expertise that helps you choose the perfect Avid system for your needs.

With Avid’s NEXIS, you get storage solutions for video and music/audio media production that go far beyond your previous expectations. Avid NEXIS gives you unmatched media storage performance and scalability for on-premises and cloud workflows. It enables production teams to collaborate and adapt fast to the changing needs and unpredictability of today’s media production. Integrated with the next-generation Avid NEXIS F-series storage engines, or as a cloud or hybrid deployment, Avid NEXIS enables teams of all sizes to work from anywhere, delivering secure access to media and metadata across all tiers of storage.

The Avid Nexis is available in multiple configurations. Above: Nexis | F5 NL

Avid NEXIS | VFS Intelligent File System

The Avid NEXIS | VFS intelligent file system is the control center of Avid NEXIS. It virtualizes your hardware and/or cloud storage into a single pool of shared resources, providing automation intelligence to meet constantly changing workloads. From dynamically reallocating storage capacity and optimizing bandwidth to delivering protection with automatic drive rebuild, it provides the agile environment and reliability required for 24×7 operation.

Using this system, you and your team can browse, find, and share media and projects whether you’re in the facility, on location, or at home, enabling easy collaboration and fast turnaround—no matter what video, audio, news, sports, or graphics production tool you use. Even if you need to connect hundreds of users to access media simultaneously, Avid’s real-time media delivery keeps production running smoothly. 

Meet fluctuating requirements, changing storage capacity, performance, and drive protection on the fly via the powerful Avid NEXIS | VFS (virtual file system).

Replace Aging Drives with the Next Gen Avid NEXIS F-Series

If it’s time to replace aging drives, Avid NEXIS F-series storage engines let you quickly scale your system to accommodate growing business, new projects, and remote teams, and then transition production to the cloud more easily and cost-effectively.

For music and audio post workflows, Avid NEXIS centralizes session and file storage, enabling producers, engineers, sound designers, and mixers to work together on the biggest, most challenging productions, including Dolby Atmos. Eliminate file duplication and the stress of maxing out local drives.

With Avid NEXIS, you can share, store, and enable secure access to audio clips, session files, video sequences, and other media using Pro Tools, Media Composer, Premiere, and other creative tools. You can provide access to your entire sound library from any room in your facility to enable more creative possibilities. 

Nexis | F2

Create More Compelling Stories with Real-Time 4K Video Storage

For post facilities, corporate marketing, houses of worship, and other video creators, Avid NEXIS delivers the real-time media workflows needed to collaborate and complete projects fast. Share and retrieve assets quickly using your favorite tools.

With its lightning-fast throughput and scalable storage engine options, Avid NEXIS provides the speed you need for dailies, 4K, 8K, HDR, and finishing. Get real-time media delivery to your editing timeline at every frame. And because bandwidth scales linearly as you add more Media Packs, you can enable up to 30+ GB/s of total system bandwidth.

ASG: Your Avid Experts

There’s much more to learn about Avid NEXIS and the new NEXIS F-Series storage engines. Whether you’re looking at a solution for audio, video, post, broadcast, or corporate media, ASG’s team has been hands-on with Avid for decades, and will help you create the perfect Avid system for your needs. Contact us today!

Merging Technologies and Neumann Join Forces

At ASG, we’re always excited to learn about the new possibilities that can happen when leading audio technology creators work together to develop new and exciting solutions. In the case of legendary German transducer manufacturer Neumann and highly respected Swiss digital audio workstation maker Merging Technologies, who announced their new partnership working together under the Sennheiser Group last month, we’re already putting together plans on how ASG customers will benefit from this incredible partnership.

For many years, ASG has been a leading integrator for the acclaimed, award-winning audio technologies from both Merging and Neumann, doing high-profile installations at some of the finest venues and recording facilities. Here’s some background on the storied histories pf both companies.

A Trip Down Audio History
It was in 1928 in Berlin, Germany that Georg Neumann GmbH was founded. Right from the start, Neumann introduced products that ended up changing the world of recording and live sound, beginning with the CMV 3, the world’s first commercially available condenser microphone. The capsule for this mic, the M 7, was repurposed in 1949 into the U 47, a microphone that featured switchable polar patterns, and became the de facto standard for professional recording worldwide. The U 47, with its sharp and present reproduction of sound, was heard in pop music that ranged from Frank Sinatra to the Beatles.

Neumann has always been at at the forefront of transducer technology. In the mid-1960s, they began adapting phantom powering to their mics, allowing tube microphones, solid-state microphones and dynamic microphones all to be connected to the same power supplies. Other Neumann mics over the subsequent decades, like the M 49, the KM 83, the TLM 170, the U 87, and others have been used on many of the world’s best-known and most beloved recordings in history, spanning all music genres and used for non-musical applications such as voiceover and broadcast as well. In 1991, Neumann was acquired by another globally-respected microphone company, Sennheiser. Neumann eventually expanded their offerings into other highly-regarded transducer products including studio monitor loudspeakers and headphones.

Meanwhile in Switzerland…
In 1990, an electronics expert and former Nagra employee named Claude Cellier founded Merging Technologies. Merging was created to take advantage of the rapidly growing world of digital signal processing in the early ‘90s, and their Pyramix Virtual Studio became adopted as the primary high resolution recording workstation by hundreds of recording facilities. Always a step ahead of the game, Merging was one of the earliest players in Audio over IP with their acclaimed RAVENNA interface in 2012. Other interface products, like the Anubis range of AoIP converters, have become essential tools for broadcasters with their ability to manage and control large audio networks.

Now in use for more than 25 years, Pyramix has continued to evolve, now offering Dolby Atmos workflow to its already impressive immersive audio feature set. Merging Technologies is a leader not only in recording and broadcast, but also in applications such as theme parks, museums, and transport hubs. For any situation where networked audio is crucial, Merging has solutions.

Come Together
Working together under the umbrella of the Sennheiser group, Neumann and Merging Technologies will offer a match made in audio heaven. The first joint product of the partnership between Neumann and Merging Technologies will be a Neumann audio interface that enables the perfect integration of Neumann products into a digital infrastructure.

“We plan to strengthen Neumann’s offering, particularly in the area of digital workstreams, in order to provide our customers with holistic audio solutions in studio quality. Merging Technologies’ products and solutions are an excellent complement to the Neumann product portfolio. We are therefore very much looking forward to working together with the Merging team,” says Ralf Oehl, CEO of Georg Neumann GmbH.

ASG, Neumann and Merging Technologies
While we all await the fruits of this partnership, there’s one thing we can tell you right away. With its 25-year background as a leader in broadcast and professional audio, ASG has been one of the most highly-regarded systems integrators in the United States for both Neumann and Merging Technologies. Especially considering our expertise in production, post production, and shared storage systems, ASG should be the top choice for media, broadcast, film, commercial audio recording, and corporate video creators who want to take advantage of the legendary power of both of these leading-edge audio technology brands. Contact us today!