Audio & General

www.audiolink.com

We do it in over a dozen languages, for interactive media, eLearning and educational applications, CD-ROM and web based delivery, Voice Portals and Interactive Voice Response Systems. We have access to a large talent pool of the best voices in New England and around the World.

Casting
We know the actors, their voices and their strengths. We can assist you in making the right choice, to get the best communication possible for your product. Often we can simply send you or direct you to actor’s demos at no charge. When the need arises we will arrange and supervise audition sessions reading samples of your script, and make them available to you and your clients on private webpages, or via email.

Script Preparation
When you need, we will prepare your script for recording. This is usually necessary when multiple characters are being played by a smaller number of actors. Colored highlighters are as useful a tool to us as are our countless computers.

Recording
Your session will be recorded in non-reflective, quiet rooms with extremely high quality microphones chosen for recording the human voice. You may attend the sessions in person, or via digital phone patches to our studios. Many of our clients have us record without their supervision. It’s your choice.

Editing
Once recording is done we utilize over twenty years of highly developed systems to quickly and accurately edit the session audio to conform to your script’s specifications. We assure volume consistency, a key factor in random access audio, and carefully name each audio segment according to your file naming conventions. If you require us to name the files we will do that and supply you with a manifest of filenames and conventions.

File Conversion
Final audio files are converted to your specified file format. We use custom equalization and other Digital Signal Processing to optimize the audio getting the most out of whatever format you choose.

Quality Control
All audio is checked and all file names are confirmed against your script to assure that our deliverables can be dropped into your applications worry-free.

Delivery and Archiving.
FTP, CD-ROM or email are our normal methods of delivery. For small jobs, audio is often delivered the same day as recording sessions. Turnaround time on larger projects is a matter of days, not weeks. We also maintain archives of all unedited and edited files. Ofen a client returns years after a projectd is completed and we can quickly retrive audio samples to match their updates to.

Revisions and Pickups
Most clients ask for changes or additions to their audio, and usually at the last minute. We pride ourselves on our ability to jump through hoops to get you what you need quickly. Generally there is little time at this stage of your development to wait and we consider ourselves your partners at all phases of production and what good partner would not be eager to help out when the need is the greatest?

Editing for Linear Formats
Although audio for Random Access applications is our specialty, we regularly record and edit audio for Podcasts, CD audio programs, Books-On-Tape as well as Voice-overs for TV and Radio programming.

Distance Audio & Webcasts
We can record direct to or from our studios via a full bandwidth ISDN interface to a network of studios worldwide. In addition we can transmit audio directly to high quality real-time web format encoders and serving farms, for live webcasts from AudioLink. Our partnership with edNet guarantees compatibility and reliability.

Foreign Language Work
We record in dozens of languages and have access to top quality native speakers. We have also developed techniques to allow us to record and edit in dozens of languages, even languages not using Roman characters.

Let us show you how affordable outsourcing your audio production can be. Pricing can be done various ways; cost plus, by the word, by the minute of audio or on a fixed bid basis.

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MIC CLIP-ON KREZT LV-6610
Rp 575,000
MIC CLIP-ON WESTON MM-701
Rp 350,000

RIDER PROFESIONAL MEETING MICROPHONE
Rp 460,000
SENNHEISER BASKET WINDSHIELD MZW60-1
Rp 2,970,000 Garansi Sennheiser Indonesia 1 year

SENNHEISER E835
Rp 620,000Garansi Sennheiser Indonesia 1 year
SENNHEISER EW 112 G2 (TRANSMITTER FOR MIXER)
Rp 4,400,000 Garansi Sennheiser Indonesia 1 year

SENNHEISER EW 112-P G2 (ME-2 CLIP ON WIRELESS)
Rp 4,400,000Garansi Sennheiser Indonesia 1 year
SENNHEISER EW 135-P G2 (HANDHELD WIRELESS)
Rp 4,140,000 Garansi Sennheiser Indonesia 1 Year

SENNHEISER FISH POLE VDB L
Rp 5,475,000Garansi Sennheiser Indonesia 1 year
SENNHEISER RF CONDENSER MICROPHONE MKH416-P483U
Rp 11,600,000 Garansi Sennheiser Indonesia 1 year

SENNHEISER SUSPENSION/PISTOL GRIP MZS20-1
Rp 3,490,000Garansi Sennheiser Indonesia 1 year
SHURE LEGENDARY VOCAL MICROPHONE SM58
Rp 620,000 Garansi Shure Co. 1 Year Warranty

SHURE VPH/58 (HANDHELD WIRELESS)
Rp 3,990,000Garansi Shure Co. 1 Year Warranty
SHURE VPL/93 (CLIP ON WIRELESS)
Rp 3,690,000 Garansi Shure Co. 1 Year Warranty

SONY ECM-HGZ1
Rp 740,000Garansi –
SONY ECM-HQP1
Rp 0

SONY ECM-HST1
Rp 0Garansi –
SONY ECM-HW1
Rp 1,850,000 Garansi –

SONY ECM-MSD1
Rp 765,000Garansi –
SONY WCS-999 CAMERA MOUNTABLE 900 MHZ
Rp 1,790,000

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PH: (021) 68664901, 7246835, 70623037 SMS: 0813-17587662

It couldn’t have been their sense of hearing that has made human beings the dominant species on this planet. Numerous animal species are far superior to humans in this respect.
Especially in the high-frequency range, human hearing ability is rather paltry in comparison to other species, with its maximum audible frequency of just 20 kilohertz. Domestic animals like dogs, cats and mice can perceive sounds in a frequency range of up to 50 kilohertz. Dolphins and whales can hear in a range up to 80 kilohertz, while some species of bats can even manage to hear sounds at frequencies well above 100 kilohertz. The grasshopper, which doesn’t have ears at all, picks up extremely quiet sound vibrations using fine circular membranes called tympana on its legs, and even recognizes the frequency of the sounds and interprets them. In fact, it is similar to microphones and loudspeakers, which also pick up and generate sound using fine membranes. Their technology has been continuously refined over the decades, leading to the recording and reproduction of sounds that are far outside the human range of hearing.

Many animal species have the ability not only to hear but also to produce high-frequency sounds. They use these sounds for various purposes: whales and dolphins emit ultrasonic sounds for both communication and orientation, and their brains translate the reflected sound waves into an image of their surroundings. This is ideal for orientation under water, as vision is extremely limited at great depths. Sound waves, on the other hand, propagate more than four times faster in water than in air, with less energy loss.

Ultrasonic sound is also an excellent means of navigation in the air, especially at night. For example, bats find their way by emitting high-frequency screeches and then interpreting their echo. Some types of bats even produce sounds as loud as a pneumatic drill. In such cases, the human being’s limited audio range comes as a blessing, as noise at night would otherwise be unbearable. The animal kingdom as a whole is full of curious sounds. Herrings, for example, communicate by forcing air from their swim bladders into their anal duct, thus producing pulsating, high-frequency sounds that can cover three octaves. Every night, the male Chinese cascade frog performs songs that would honor any song bird, reaching frequencies that are well beyond the human hearing range. The complexity and frequency of the sounds determine the frog’s chances of attracting the opposite sex. Music is the food of love.

Elephants also have a talent for imitating voices. A female elephant from the Tsavo National Park in Kenya can imitate the engine noise of a truck two miles away on the highway to Nairobi. Elephants like to communicate with very low sounds, for example by using their feet.

The Colombian ground squirrel, a rodent found in North America, warns his fellow animals of danger by emitting sounds in the ultrasonic range that cannot be heard by his enemies. In the animal kingdom, an exceptional sense of hearing is often a means of survival in the wild.

But even the best sense of hearing doesn’t always help. The Egyptian cotton moth is equipped with very fine hearing that reliably warns it against approaching bats. It also has a very highly developed sense of smell. Unfortunately, this sense of smell can sometimes be a disadvantage: when the male moth picks up the scent of a female that is ready to mate, its sense of hearing is temporarily deactivated – and even the screech of an oncoming bat no longer triggers the flight instinct. It seems that love not only makes you blind, but it can sometimes make you deaf.

The Best of the Animal Kingdom

The loudest noise in the animal kingdom is produced by a tiny animal, the snapping shrimp. With an oversized claw resembling a boxing glove on its front leg, the shrimp creates an air bubble (cavitation bubble) that implodes with a loud bang at 150-200 decibels.
This is closely followed by the blue whales and fin whales, which “talk” to one another at up to 180 decibels.
The loudest land animal is the howler monkey. For its ear-splitting screech, it uses the frequency range around 200 Hertz, which is ideal for penetrating the dense rain forest.
The hearing ability of the lynx is proverbial. Its large ears with ear tufts up to 40 cm long that act almost like antennas allow it to precisely differentiate between different sounds. The lynx can hear a mouse rustling in the grass 65 meters away.
The gorilla has the largest eardrum, approximately 97 square millimeters in size. In second place is the domestic cow, with 86 mm2, followed by the horse, with 75 mm2 – and human beings, with 62 mm2.

Ultrasound specialists

Bats, whales and some types of rodents have been known to communicate via ultrasound for a long time. The cascade frog is a newcomer. It was only recently discovered by an American-Chinese group of explorers in Eastern China. The cascade frog (amolops tormotus) is a rare and rather small frog that lives in the Huangshan mountains with its many hot springs and waterfalls. In order to make itself heard against the constant roar of the water, the cascade frog has resorted to an acoustic trick: it has expanded its voice spectrum to include ultrasound. The male frog has funnel-shaped ear openings and is able to produce calls which are reminiscent of a bird’s song rather than the croaking of a frog. Its calls easily exceed 20 kilohertz – and thus the ultrasound threshold.

Life begins with a voice: the first cry of a newborn baby marks its arrival into the world.
When babies are born, they can hardly see at first. They have to discover the world by touch and by their sense of hearing. Only a few months exist between the very first cry and the first spoken words. And in that short time, the child’s surroundings will decide whether it will use guttural Arabic sounds or the four tones of each vowel as in Chinese – or whether it will still be able to pronounce an ‘R’ in the future. Although its vocal organs are capable of producing all human sounds, the child will only imitate what it hears, and will stop using those sounds that it doesn’t hear.

Even our ancestors made use of the many possibilities offered by the human voice when they began to settle around the world. They imitated animal sounds in order to attract their prey, and their language released them from the isolation of the individual and created a sense of community. Speech led to the development of culture: calls and songs existed long before the first images and letters were carved in stone or scratched onto animal hide.

The voice has never lost its importance as an essential part of mankind’s communal living. Our voice is our indispensable PR agent, and its sound can decide whether we are admired or rejected. But it is also subject to fashion and social peculiarities. Some cultures speak slightly lower than their normal voice, others slightly higher. In the 1950s and 1960s, high, squeaky women’s voices were considered especially feminine and appealing – too provocative to be broadcast. Today, there are just as many female voices on radio and TV as male ones, although it is still the case that deep, warm voices tend to be more ‘broadcastable’. Squeaky voices are associated more with comedy and slapstick.

How a person’s voice sounds depends on many factors, and the vocal cords are only one of them. The sound of the voice is also determined by the shape and condition of the larynx and the lungs, as well as by a person’s breathing habits, the position and tension of the diaphragm and even the position of the teeth. This explains why no two voices sound the same – each one is as unique as a fingerprint.

The sound of a voice, composed of fundamental tones and harmonics, is more than a frequency curve. The voice of a familiar person, even on the telephone, can alleviate loneliness and convey a feeling of belonging. But it can also ‘betray’ a person, unintentionally of course. Joy and anger, boredom and fear can be read from the sound of a voice. Anger, for example, closes the vocal cords abruptly, producing a strong pulse and making the sounds in the medium and high frequency range sound sharper. The voice of a sad person, however, sounds more muted, as the vocal cords close more softly and less precisely.

For actors, voice is their most important asset. If used correctly, it can enthrall an audience even in the back rows of a theater. Voices are vitally important in cinemas, too. The success of animated movies depends to a great extent on which actors have been chosen to bring the animated figures to life with their instantly recognizable voices.

And for singers, their voice is their tool and their trademark at the same time. For example, Frank Sinatra, whose clever PR agent gave him the nickname “The Voice”, achieved success with his unmistakable voice – a voice that seemed to turn every song into magic.

The fundamentals of the human voice are between 100 and 400 Hertz, while the harmonics have frequencies of up to 5,000 Hertz. Our ears, however, can hear much more than that, from 16 to 20,000 Hertz. Microphones, headphones and monitor loudspeakers even go far beyond these frequencies, as every voice and most instruments have harmonics that we do not consciously hear but which we subconsciously perceive as sound space. Whether we find a singer’s voice attractive depends to a large extent on these subliminal sounds, as well as on the way in which great vocalists like Anna Netrebko, Freddie Mercury, Annie Lennox or Frank Sinatra make use of them.

Fundamentals and Harmonics

In music, the fundamental (also called the root note or the tonic) is the first note in a scale by which the scale is named, for example C sharp with the root note C. The fundamental can also be the lowest note of a chord or, in acoustics, the lowest note of a mixture of notes that forms a sound. Natural sound sources only rarely generate pure notes. In addition to the fundamental tone, a large number of partial tones that lie above the fundamental tone are produced. These so-called overtones or harmonics determine the character of a sound source, and give a voice or an instrument its characteristic sound.

1945 Dr. Fritz Sennheiser founds ‘Laboratorium Wennebostel’ or ‘Labor W’ (Lab W) for short. The young company manufactures tube voltmeters.
1946 Start of microphone production with the DM 1.
1947 Lab W develops its first microphone, the DM 2 (MD 2).
1948 The measuring equipment portfolio is extended significantly.
1949 Manufacturing of geophysical equipment and geophones.
1949 The ‘invisible’ DM 3 (MD 3) micro-phone and the first noisecompen-sated microphone, the DM 4 (MD 4).
1950 Lab W manufactures microphone transformers.
1950 Labor W shows its first mixing amplifiers and pre-amplifiers at the 1950 Consumer Electronics Fair Funkausstellung.
1952 Lab W adds magnetic miniature headphones (HM 11, HM 21) to its portfolio. Miniaturization becomes key in all areas.
1953 Lab W introduces miniature transformers as used in hearing aids.
1953 The classic MD 21 microphone sees the light of day.
1954 Lab W shows the first interference tube microphone for the movie and TV industry. Its successor model, the MD 82 “telemicro-phone”, results in a major breakthrough in 1956.
1955 Ten years after its founding, Lab W employs a staff of 250. The foundation to a new building complex is laid.

For more than 60 years, the name Sennheiser has been synonymous with top-quality products and tailor-made complete solutions for every aspect of the recording, transmission and reproduction of sound. In 1945, Dr. Fritz Sennheiser together with seven engineers and technicians set out on the venture to found a new company. The research and development specialists converted their university institute, which had been moved during the war to the small village of Wennebostel, into what became known as “Labor W”, and it was there that they began to build measuring instruments. Less than a year later, microphones were added to their product range, and soon the resourceful team became extremely successful in numerous fields of audio technology.

Those were the humble beginnings of Sennheiser electronic, now a worldwide group of companies with more than 1,800 employees and one of the world´s leading manufacturers of complete audio solutions. Still a family-owned company, Sennheiser has made a name for itself above all in the development and manufacture of high-quality microphones, wireless RF technology and headphones. Conference and information technology, infrared systems, products for the hearing impaired and aviation headsets round off the comprehensive product portfolio. The Sennheiser Group also includes the studio microphone specialist Georg Neumann GmbH, Berlin, K+H Vertriebs- und Entwicklungsgesellschaft (loudspeakers and studio monitors) and the Denmark-based joint venture Sennheiser Communications, which develops headsets for the PC, office and call center markets.

Sennheiser´s main priority has always been research and development. The company´s outstanding reputation throughout the world is the result of countless innovations, such as the invention of open-back headphones in the 1960s, infrared transmission technology in the 1970s, groundbreaking innovations in multi-channel wireless transmission in the 1980s, head-based surround sound systems in the 1990s and intelligent audio information systems in the new millennium. As the company´s founder, Prof. Dr. Fritz Sennheiser, points out: “Ideas need space. So I was always a firm believer in giving our R&D staff all the freedom they need to develop their ideas.” Today, a major research and development division in Germany and an R&D center in California ensure that the company maintains its technological lead. Numerous patents and awards, including two German Innovation Awards, a Scientific and Engineering Award, an Emmy and a Grammy, are evidence of the company´s capacity for innovation.

The headquarters of Sennheiser electronic GmbH & Co. KG are still located in Wennebostel, which is now part of the municipality of Wedemark. The company also has production sites at its second German location in Burgdorf (electronics manufacturing, wireless technology), as well as in Tullamore, Ireland (headphones production) and Albuquerque, USA (wireless technology for the American hemisphere). Sennheiser´s products are sold by a worldwide network of long-standing sales partners and subsidiaries. “That was certainly my most important decision: not only to make products but also to be responsible for selling them,” said Prof. Dr. Jörg Sennheiser, now chairman of the Supervisory Board. In 2006, the Sennheiser Group had sales of approximately € 356 million, of which 82% were achieved outside Germany.

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