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Moog Announces Minimoog Model D Expansion Pack for Animoog

ASHEVILLE, NC, December 2, 2013: Moog Music announced the release of The Minimoog Model D Expansion Pack for their award winning iOS synthesizer, Animoog. The expansion pack includes 69 Timbres extracted from a vintage Minimoog Model D analog synthesizer, and 213 presets designed exclusively for Animoog’s Anisotropic Synthesis Engine. Presets were crafted by a preeminent set of designers including Sound Creation Expert Kevin Lamb, Timbre Extraction and Design Pundit Drew Neumann, Synthesist Adam Holzman, DJ/Producer Dom Kane, and Sonic Mayhem’s Sascha Dikiciyar.

“Animoog’s Anisotropic Synthesis Engine is unique in that it uses timbres as evolving oscillators rather than as samples,” said Cyril Lance, Chief Engineer Moog Music. “Taking timbres from a Minimoog and placing them in Animoog creates very distinctive sounds that are advanced and invigorating. This isn’t an emulation of a Minimoog. It is actually a new way to experience it.”

The Minimoog Model D Expansion Pack is available now as an In-App-Purchase in the Animoog store for $6.99. The Animoog app, which received the 28th annual TEC award for Audio Apps Technology For Smartphones and Tablets, is available for download on Apple’s iPad, iPhone, and iPod as well as for the Blackberry Z10. Audio samples for Animoog expansion packs are available on the Animoog product page at http://www.moogmusic.com.

Links:

• Animoog on the iTunes App Store: https://itunes.apple.com/us/app/animoog/id471638724?mt=8
• Animoog product page: http://www.moogmusic.com/animoog
• Moog Music website: http://www.moogmusic.com/
• Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
• Animoog on Facebook: http://www.Facebook.com/animoog

About Moog Music:

Moog synthesizers and other electronic musical instruments are designed and lovingly handcrafted at the Moog Factory in downtown Asheville, North Carolina. The company and its customer’s carry on the legacy of Dr. Bob Moog, inventor of the Moog synthesizer and founder of Moog Music Inc. Moog Music celebrates the innovative spirit of Dr. Moog in every instrument they produce and also at Moogfest, their five-day festival dedicated to the synthesis of technology, art and music.

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Real Life Christian Church Expands Its Multi-Site Ministry With Sennheiser Wireless Microphones and In Ear Monitor Systems

Sennheiser’s Evolution Wireless G3 Series Prevails in a High-Volume RF Region, While Providing Scalability and Ease of Operation

Orlando, FL, November 26, 2013: Real Life Christian Church is an Orlando-based ministry providing services to over 5,000 people across five locations, each utilizing Sennheiser microphones and wireless systems. At each of its campuses, the church features live and video teaching as well as upbeat music from a modern worship band, with a volunteer production staff handling most of the AVL duties. The church recently expanded its facilities by adding a new portable campus at the University of Central Florida (UCF) — the second largest university in the United States.

Since the newest campus is ‘portable,’ it requires production staff to quickly set up and strike all the equipment needed to produce a high quality service each week. The system is outfitted with several channels of Sennheiser evolution wireless G3 systems and microphones not only because they are extremely easy to set up, but because they routinely deliver high quality audio and reliability in one of the most congested RF environments in the country.

In addition to using Sennheiser evolution wireless at all of its campuses, Real Life also uses Sennheiser equipment to facilitate Real Life TV on Good Life Broadcasting, a regional broadcast network that reaches millions of people in central Florida. Real Life is also able to extend its reach by hosting church online and a podcast that worshipers can tune into from anywhere in the world.

“We need to make sure that the audio is consistent across each of our environments, whether our services are happening in person or via broadcast,” says Phil Ramsey, media pastor for Real Life. “We use Sennheiser, because any lack in clarity or intelligibility can negatively impact the overall worship experience for our congregation.”

Depending on Sennheiser Evolution Wireless G3:

Real Life saw the potential of portable ministry campuses for its growing congregation early on. Before opening its newest UCF location in August, the church already had two other portable facilities that required set up and strike each week. When it came to expand again, Ramsey didn’t hesitate specifying Sennheiser equipment again since it had already proven its worthiness among the churches four other locations in and around Orlando.

“We really needed microphone system that we can come in, plug in and go,” says Ramsey. “The frequency coordination on the G3 wireless system is so simple, and it is the standard at all of our locations so any of our volunteers can have everything set up and running in a matter of minutes. We’ve never had wireless microphone issues at these portable facilities, and this is huge for us. Everything is rock solid.”

At all of its combined campuses, Real Life utilizes approximately 40 channels of G3 wireless systems, as well as accompanying in ear monitor (IEM) systems. Ramsey says Real Life will soon be integrating several Sennheiser SKM 2000 handheld wireless transmitters into its arsenal, coupled with Neumann KK 204, KK 205 and Sennheiser e965 microphone capsules. “As far as wireless mics are concerned, these capsules deliver the ultimate clarity we are looking for in our style of music, and enable the vocals to sit on top of the mix without a lot of work,” says Ramsey.

Sennheiser Wireless Systems Manager:

Sennheiser’s Wireless Systems Manager (WSM) software enables Real Life to access and monitor its wireless equipment via remote control. The production team is able to view mute status, battery life and other important parameters by utilizing WSM’s advanced software features. “We use WSM because most of our equipment is locked up in a rack and we don’t have immediate access to the hardware,” says Ramsey. “With the WSM software, we have so much control in the palm of our hands and without having to access the physical devices. When you are in a 100,000 square foot facility, that makes all the difference.”

With its eyes on the future and on the further development of its new UCF campus, Real Life has never looked back in its quest for outstanding audio: “For our church, the message is so important,” he says. “We want to glorify Christ in everything that we do, and we believe that audio is one of the primary methods for relaying that message. It doesn’t matter whether someone is tuning in on their cell phone, their iPad, or attending in person. We want the audio to hit the mark.”

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

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Sennheiser Petitions FCC to Compensate Owners of Wireless Microphone Equipment as Spectrum Faces Repacking for Second Time

Pending Spectrum Auction Jeopardizes Future Use of Wireless Microphones Operating in the 600 MHz Range, Unfairly Forcing Content Creators to Reinvest Again in Wireless Equipment

Old Lyme, Conn., – November 26, 2013 – Audio specialist Sennheiser announced that it has recently filed comments with the Federal Communications Commission (FCC) in light of the pending spectrum auction scheduled to take place in 2014. The government auction, which jeopardizes the future use of wireless microphones and monitors operating in the 600 MHz range, will force many U.S. based content creators — including broadcast, film and live production professionals — to attempt to stage their shows using little more than half of the currently available UHF spectrum.

In the document filed on November 4th, Sennheiser argues that the winners of the spectrum auction should compensate owners of wireless microphone equipment that will be rendered obsolete as a direct result of the planned spectrum repacking. Currently, the FCC has not announced any plans to compensate wireless microphone owners, who play a critical role in U.S. content creation and who will have to make significant investments in new equipment for the second time within a few years.

“Wireless microphones are an essential ingredient of content creation in the United States,” commented Joe Ciaudelli, spectrum affairs, Sennheiser Electronic Corp. “Currently, the United States is the number one content creator in the world when it comes to broadcasting, film production and live events. The A/V professionals that produce this content, which is enjoyed by both domestic and international consumers, depend on the 600 MHz frequency spectrum each day. Now they are being told that they must vacate this UHF space, and with no contingency or recourse to recover their equipment investments. This is grossly unfair, especially considering that this will be the second time this has occurred within a few years. This time mics and monitors won’t be able to simply be relocated into lower portions of the UHF because it is already packed with replacement mics for ones rendered obsolete by the 700 MHz reallocation. TV stations currently operating in 600 MHz will also be relocated to lower channels, exacerbating the congestion.”

“Not only does the pending spectrum repacking threaten to diminish U.S. leadership in content creation, it creates an unecessary hardship to many thousands of audio professionals by forcing them to reinvest in compliant equipment,” he continued. “While adverse effects of the spectrum repacking will inevitably occur, simple fairness says that the auction winners who will derive revenue from the auctioned spectrum should provide compensation.”

Currently, the vast majority of U.S.-based major film productions, television broadcasts and major concert events in the United States rely heavily on the 600 MHz frequency range. Eliminating access to this not only significantly increases congestion in the 500 MHz frequency range, but also places unprecedented technical demands on both the equipment and operators working in this space. The FCC has also received letters of support for Senn-heiser’s position from industry leading companies including Shure, Audio Technica, Lectrosonics, and CP Communications. “We encourage others to write to the FCC as well,” states Ciaudelli.

Following is an excerpt from Sennheiser’s recent filing that illustrates the role wireless equipment plays in the U.S. commercial, political and economic arenas:

“Wireless microphones are ubiquitous in all aspects of the entertainment business, in news reporting, in sports, and in U.S. commercial, civic, and religious life. They are essential to the production of virtually all non-studio broadcast events, and to nearly all studio-produced programs as well. These include team sports from local college broadcasts to the Super Bowl, the World Series, the Final Four, and the Stanley Cup; the Democratic and Republican political conventions; post-election national and local coverage; the Oscar, Emmy, and Grammy Awards shows; events such as the Olympics, NASCAR races, the Kentucky Derby, and major golf and tennis tournaments; and on-the-scene news reporting of all kinds, both local and national. These broadcasts routinely attract millions of viewers.

Motion-picture production, from Hollywood blockbusters with nine-digit budgets down to student work at the local community college, relies heavily on wireless mi-crophones for clear, accurate audio. Live events, from Broadway productions to stadium-sized outdoor concerts, need wireless microphones to reach the back row. Presenters in auditoriums, lecture halls, and houses of worship find them indispensable.”

Sources:
(*) Stephen E. Siwek, Copyright Industries in the U.S. Economy: The 2011 Report at 15 and Appendix A (Economists Incorporated 2011). Available at http://www.ei.com/downloadables/2011CopyrightSiwek.pdf

(**) U.S. Census Bureau, U.S. Bureau of Economic Analysis, News: U.S. International Trade in Goods and Services, November 2012 at 3-4 (U.S. Dept. of Commerce released Jan. 11, 2013). Available at http://www.census.gov/foreign-trade/Press-Release/current_press_release/ft900.pdf

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

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Antelope Audio Announces its Largest Black Friday Sale to Date on Clocking Devices and AD/DA Converters

Musicians and Audio Professionals Can Take Advantage of up to 29 Percent Discounts on Antelope Audio Products from Friday, November 29th to Friday, December 6th

Santa Monica, Calif., November 25, 2013 – Just in time for the holiday rush, Antelope Audio announced its largest sale ever with an entire week of discounts — including deals on single and bundled professional merchandise. By contacting certain dealers, customers can take advantage of discounts up to 29 percent on Antelope’s selected products such as the renowned Trinity and 10M, Eclipse 384 mastering AD/DA converter and Zodiac+ D/A converter. The top selling, TEC Award nominated 32-channel audio interface Orion32 will come in an attractive bundle price with the extremely stable 10M atomic clock.

“We are pleased to provide such an amazing opportunity for audio professionals and enthusiasts to upgrade their studio equipment, and this year we are expanding our offering to include even more industry-leading converters and clocking systems,” said Marcel James, Director of Sales for Antelope Audio USA. “Our digital audio equipment has seen unprecedented success through world tours and studio recordings this year, and this resounding success makes it possible for us to significantly expand our Black Friday offerings.”

In the United States, customers interested in purchasing discounted items may visit Alto Music, B&H or Sweetwater and Studio Economik (Canada). For more information on seasonal discounts, please visit Antelope Audio’s product page.

About Antelope Audio
Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

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Sennheiser raises the bar for wireless transmission at CMA Awards

Nashville, November 21, 2013: At the 47th Annual Country Music Association (CMA) Awards, held at Nashville’s Bridgestone Arena on November 6, Sennheiser’s Digital 9000 wireless system helped usher in a new era of digital wireless in live sound production as superstars The Zac Brown Band and Lady Antebellum delivered ‘magical’ performances to an audience of millions of viewers around the world.

In addition to the performances by The Zac Brown Band and Lady Antebellum, this year’s CMA Awards featured Taylor Swift and Jennifer Nettles, who used Sennheiser SKM 5200-II handheld transmitters coupled with MD 5235 microphone capsules; Miranda Lambert (winner of “Female Vocalist of the Year”) and Blake Shelton (winner of “Album of the Year” and “Male Vocalist of the Year”), both of whom sang through Sennheiser SKM 2000 transmitters with MD 935-1 capsules; and Kenny Rogers, who used a Sennheiser SKM 5200-II transmitter in combination with a Neumann KK 105-S capsule. Hosts spoke through SKM 5200-II handhelds with KK 105-S capsules for the duration of the program.

From an RF perspective, the show presented a daunting challenge: “We had 200 frequencies we were dealing with – this is a formidable number of radio frequencies in any environment, especially when everything is in UHF,” says James Stoffo, RF coordinator of the CMA Awards. “We ended up using several channels of the Sennheiser Digital 9000 in performances by both Lady Antebellum and The Zac Brown Band and it performed flawlessly.” Sennheiser Global Relations played a key role in facilitating equipment and support for the performance, which not only included wireless systems but also dozens of wired and wireless microphones used throughout the CMA Awards. “Our flagship Digital 9000 system is designed to deliver uncompromising audio with maximum RF flexibility for today’s challenging RF enviroments,” said Kristy Jo Winkler, Global Relations Manager, Americas. “When James Stoffo, one of the industry’s foremost RF consultants, said he would use it on the show, we were especially delighted. Refining technology and partnering with audio professionals to help make the event a seamless experience for engineers and artists is our priority.”

Sennheiser Digital 9000: the future of wireless is here:

Stoffo, who has been navigating challenging wireless terrain in top awards shows, sporting events and large corporate events for more than 30 years, is extremely concerned about the increasing congestion of the RF landscape and sees digital systems such as Digital 9000 as a fundamental solution moving forward: “It is getting almost impossible to organize and coordinate a large production, especially in awards shows that are approaching 200 frequencies. I’ve done a lot of testing with digital wireless systems and have found that they are much more tolerant to interference than analog systems. Also, the fact is that with Digital 9000 we don’t have to worry about intermodulation – or the mixing and blending of signals. We can therefore pack more signals into the same amount of spectrum.”

In addition to the reliability and spectrum efficiencies gained, Stoffo says there is a dramatic increase in audio quality with the Digital 9000 system: “You can absolutely hear the difference. For one thing, there is no noise floor like you have on FM-based systems.” John Harris, music mixer of the CMA Awards, said Sennheiser’s SKM 9000 handheld digital transmitter, which was coupled with an MD 9235 capsule, sounded spectacular on The Zac Brown Band’s vocals: “Zac is a very strong vocal act and with the Digital 9000 system, I had great separation and tone from all the singers. The new SKM 9000 digital transmitter was really great for rock vocals.”

During Lady Antebellum’s performance, lead singer Hillary Scott ventured beyond the stage out into the audience – where RF coverage can be tricky since the primary antenna coverage is on the stage, Stoffo says. “We never had a hitch. The RF levels on the Digital 9000 system remained pegged the entire time and I didn’t have to sweat it.”

Simple integration and operation:

Stoffo, who originally requested a Digital 9000 for testing but instead found himself putting it in the CMA Awards production days later because of its stellar performance, says he encountered zero difficulty integrating it within the rest of the audio system. “I had no issues whatsoever, and in fact was more confident using Digital 9000 than older analog systems,” he says.

After experiencing the increased performance and reliability of the system, other benefits soon became apparent: “With Digital 9000, you don’t just have battery bar indicators, you are actually shown the remaining time you have left. When you are juggling 40 microphones, changing batteries and handling other responsibilities, this is huge. Once you get into show mode, one of the biggest maintenance issues for the RF tech is simply changing batteries throughout the show. Being able to see exactly how much time you have is priceless for me.”

Neumann: voiceover microphone of choice at the CMA Awards:

As a high-energy award show featuring over 20 musical acts and a constant flow of introductions, nominations and award announcements that serve to anchor the progression of the show, voiceover announcements are critically important. “Our microphone has to cut through loud music, heavy applause and crowd cheering without having to be ridiculously loud,” explains Tom Davis, audio producer at the CMA Awards.

Davis and his team used three Neumann TLM 49 large-diaphragm condenser microphones to facilitate the voiceovers: two are used on site at the Awards, and one is used for work done in advance at Davis’ SeisMic Sound in Nashville. Since space is often at a premium in the makeshift voiceover booths constructed on site, there is often very little room for processors and other gear. This is not a concern though, says Davis: “You can plug the TLM 49 into just about anything and it sounds fantastic. It has so much presence for the spoken word and cuts through everything. This has been my mic of choice on this show for several years now, and it is really sexy to look at!”

Sennheiser: “part of the crew”:

At an internationally televised show with 22 acts in just three hours, expectations are high for all personnel involved in the production. “There are a lot of quick changes, and this is a very demanding audio project,” observes John Harris. Sennheiser was on hand to provide support for the show, including rehearsals and tear down. “I couldn’t have done it without Sennheiser,” says James Stoffo, “Tim Moore [Sennheiser Artist Relations] came in and was ‘on-call’ almost as if he was part of our crew. Overall, the support I got from Sennheiser was top shelf, as I would expect.” Tom Davis concurs: “Our relationship with Sennheiser has always been very comfortable and professional and they are always willing to step up and help. This time we got to get a close-up view of one of their great new products, the Digital 9000. What a great experience that was.”

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Photo captions:
1: The Zac Brown Band performs at the 47th CMA Awards using a Sennheiser Digital 9000 wireless system

2: Sennheiser’s Digital 9000 system provided artifact-free RF performance during performances by The Zac Brown Band and Lady Antebellum at the 47th Annual CMA Awards

3: J. Mark King (l.) and Tom Davis in the voiceover booth, pictured with the Neumann TLM 49 during the CMA Awards

4: Each year, the audio crew at the CMA Awards relies on Sennheiser’s unwavering support

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Sennheiser HMDC 26-II Headsets Provide Immaculate Communications for 
The Lion King, the Fifth Longest Running Musical in Broadway History

Epic Broadway Musical Counts on Sennheiser Headsets Night after Night to Ensure Seamless Interaction Among Stage Operational Personnel

New York City – November 21, 2013 – Audio specialist Sennheiser announced that The Lion King, Broadway’s fifth longest running musical, is now using its HMDC 26-II broadcast headsets to ensure intelligible communications among key stage personnel, including the stage manager and spot operator. The headsets, which provide a critical function prior to, during and after performances, are used to call operational cues to spotlight operators and many others involved in the production.

The success of The Lion King is celebrated well beyond Broadway, where it has captured many awards including a Tony for Best Musical directly following its opening in 1997. The production, which is now considered an indelible part of Broadway’s musical fabric, originally debuted at the New Amsterdam Theatre in 1997 and moved to the Minskoff Theater in 2006 where it has been ever since.

“We purchased the Sennheiser HMDC 26-II headsets for two primary reasons,” says Alain Van Achte, head of sound department at Lion King. “First, by using these headsets, our entire team can hear the calling and direction better. The second reason was to protect the hearing of the staff, particularly the spot operators who are perched up near the speaker clusters. They are in such close proximity to the sound system that the safety factor became very important.”

The HMDC 26-II headsets are primarily designed for use in live sound and broadcast applications in extremely noisy environments. The headset is extremely lightweight, features outstanding passive noise attenuation and Sennheiser’s patented NoiseGard active noise reduction technology.

Head Follow Spot Operator Doug Graf, who receives calls from the stage manager and then gives instructions to other spot operators, says that the new headsets dramatically increased both hearing and speech intelligibility. “The HMDC 26-II comes in especially handy when I am in directly on my spotlight perch front of the [speaker] clusters,” he says. “I noticed that I could turn the volume down and leave it at a comfortable level. When the volume is quieter, I can still hear all the dialog on stage from the show feed and it allows me to focus even more on the task at hand.”

Graf particularly appreciates the NoiseGard noise cancellation feature: “This really blocks out all the low end and boominess of the sound,” he observes. “There is a scene called ‘The Stampede’ where there is a ton of low end being pumped through the house subwoofers — the Sennheisers cancel all of this out so I can keep hearing the dialog clearly.”

With eight full performances per week, form factor and comfort become critical, says Follow Spot Operator Brendan Nolan: “When you are doing 2-1/2 hour shows almost every day, and on some days doing two shows, you will take your headphones off and really feel it on your ears. But not with these headsets — they are very lightweight. Also, the fact that you can flip up one of the ear cups is great in case you need to hear something going on right around you.”

Van Achte recalls a recent special event at the Minskoff Theater when he donned the HMDC 26-IIs: “The crowd was incredibly loud and boisterous and it was a full house. It reminded me of a celebration during Mardi Gras in New Orleans,” he says. “There was no way that I could sustain that decibel level for two hours, so I called back for the sound crew to bring me one of the new Sennheiser headsets. I put them on, and they really saved the day for me because I was able to hear everything. I actually mixed the entire show on them, and it proved to me how well the product works.”

Van Achte considers the purchase of the new Sennheiser HMDC 26-II as an investment in quality: “There was no second guessing about purchasing them,” he added. “They were a little more expensive than other headsets, but Sennheiser backs them with a two year warranty and we know they are willing to stand behind them.” ?

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

Photo captions:
1) Alain Van Achte, head of sound department at Lion King, donning a pair of Sennheiser HMDC 26-IIs

2) Follow Spot Operator Brendan Nolan in his perch, wearing the Sennheiser HMDC 26-II headsets and operating the main spotlight.

3) The Sennheiser HMDC 26-II is designed to excel in extremely noisy broadcast and live sound environments.

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The Hills Come Alive with Antelope Audio and “The Earth Harp”

Artist and Instrument Craftsman William Close Turns to Antelope to Capture Unique and Unprecedented Recording, Using Natural Valley as the Instrument’s Resonating Chamber

Santa Monica, CA, November 20, 2013 – Ever since his art school days in the late 1990′s while attending the prestigious Chicago Art Institute, William Close pursued his dream of building and performing with unique, handmade instruments whose sounds have never been heard anywhere in the world. Now, The Earth Harp, his masterpiece instrument creation of unprecedented physical scale and sonic beauty, has been captured in astonishing fidelity in a brand new recording — thanks to the digital clocking and conversion technology of Antelope Audio.

His new album with The Earth Harp Collective, Behind the Veil, captures the authentic sound of this spectacular instrument — from its lavish root notes to its rich harmonics and heavenly overtones. Close attributes the success of the recording in large part to Antelope Audio’s new Rubicon A to D converter, which was used as the primary mastering device, and its Orion32 multi-channel interface, which was used during playback. “I’ve never heard The Earth Harp sounding so good on a recording,” he says. “The instrument has so many beautiful harmonics and overtones, and many times these are lost in the process. The Antelope equipment was awesome and helped us finally achieve a true representation of how The Earth Harp actually sounds.”

Marcel James, mastering engineer and Director of Sales and Marketing for Antelope Audio (USA), mastered the project. Interestingly, he was not familiar with The Earth Harp when he first heard the final mixes. When he stumbled on a video of Close’s performance on America’s Got Talent, he got chills: “When I saw his video on America’s Got Talent, suddenly it all made sense,” he recalls. “From that point on, the project took on a new meaning. Here was a relatively new artist, a new instrument and a special new piece of equipment from Antelope that had an A to D converter and a built-in atomic clock.”

While James used Antelope gear throughout the entire process, the starting point was the Orion32, which was clocked to a 10M. Despite using only two channels for playback, he considers the Orion32 a very capable playback converter for mastering: “The sound of the Orion is very neutral, but also very musical,” he says. “I use very high end EQs during the mastering process, and if you start EQing with an inferior sounding device, all you are doing is adding problems.”

After playback, James routed the signal to his Sontec mastering EQs for dynamics processing before sending it via USB to an Antelope Audio Rubicon, which was running Logic X off of a second MacBook Pro as the ‘final recording device.’ “I had just gotten the Antelope Rubicon, so I thought I would try its A to D capability on this project,” he recalls. “The sound of The Earth Harp suddenly had this larger than life sound that really lent itself well to the material.”

For monitoring, his D to A conversion was handled by an Antelope Zodiac +, which was also being clocked to the 10M. “I had the best clocking feeding the most neutral, transparent D to A converter,” he says. For loudspeakers, he used ATC 150 monitors in conjunction with an ATC sub. Finally, he used an Antelope Eclipse 384 as a monitor control. “The Eclipse384 is extremely viable as a monitor management tool,” he explains. “First, it has a very high quality headphone output as well as a sub management system built-in. Second, its preset capability allows instantly recall the original mix, the ‘post-analog’ stage where I introduce the EQ, and after the Zodiac + — the very end of the chain. It gives me a very clear picture.”

In the final mastering phase, James printed audio files for the CD at 44.1, but also made 96 kHz, 24-bit masters, which he wants to help Close make commercially available. Given the unique audiophile nature of the recording, he also ran a pass of 96/24 audio with no limiting and had vinyl records cut on a mastering lathe.

About Antelope Audio

Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

Photo captions:
1. William Close speaks to Marcel James, mastering engineer and director of sales and marketing at Antelope Audio, in the latest “Hanging Out” series featuring The Earth Harp.
2. William Close performs on The Earth Harp on America’s Got Talent, fall of 2012.

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Moogfest and Moog Music announce 4th Circuit Bending Challenge

Some Soldering Required*

ASHEVILLE, NC – October 29, 2013Moog Music was born when a young Bob Moog, started tinkering with electronic circuitry. As a boy, Moog built small radios, amps, and theremins in his basement workshop with his father and the rest is history. This experimentation with the inner workings of electronic devices to create new sounds and effects has been developed into an art form known as circuit bending.

Circuit bending is a creative medium that combines technology, sonic artistry and creativity. By altering the internal circuitry of electronic devices such as keyboards, drum machines, and children’s toys, circuit benders are able to produce new sounds not intended in the original design.

In celebration of this creative curiosity that fueled a young Bob Moog and all of those that follow in his footsteps, Moog is sponsoring its 4th annual circuit bending contest.

This year, Moog’s circuit bending contest is challenging entrants to take a battery powered device and circuit bend it into an instrument capable of creating new and unique sounds for a total budget of $70 or less.

Entrants will create and post videos on YouTube featuring their completed instruments and documenting the process of their creation. Moog will select three finalists and invite them to showcase their creations at Moogfest in April of 2014 where Moog’s judges and the general public will decide a winner of the contest.

Grand Prize: Moog Sub Phatty & Two Passes to Moogfest 2014
2nd Place: Moog Slim Phatty & Two Passes to Moogfest 2014
3rd Place: Moog Minitaur & Two Passes to Moogfest 2014

More information on the contest and a full list of rules for entries can be found at www.moogfest.com/circuit-bending.

Stay updated on Moogfest through www.moogfest.com and on Facebook at www.facebook.com/moogfest.

*Actually, soldering isn’t required. You can use any medium you wish in order to bend your device including (but not limited to) bubble gum, bottle caps, foreign currency, used chopsticks, unicorn hair, or a really cool hat.

About Moogfest:

Since 2004, Moogfest has been a gathering for the musicians that worked closely with Bob and his instruments. In 2014, Moogfest is amplifying its vision and becoming a 5-Day event dedicated to the synthesis of technology, art and music. Moogfest honors the inventiveness of Bob Moog and the legacy of the analog synth with an experimental line up of daytime conference programming and landmark nightly performances. Moogfest takes place April 23-27th, 2014 in downtown Asheville, NC. To learn more, visit www.moogfest.com.

About Moog Music:

Moog Music is the leading producer of analog synthesizers in the world. The company and its customers carry on the legacy of its founder, electronic musical instrument pioneer, Dr. Bob Moog. The company hosts Moogfest, a five-day festival celebrating the intersection of music and technology in honor of Moog’s innovative spirit. All of Moog’s instruments are hand built in its factory on the edge of downtown Asheville, NC. To learn more, visit www.moogmusic.com.

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Invisible Cities Opens to Sell-Out Performances at Los Angeles’ Union Station as Sennheiser Technology Enables ‘Artistic Creation Without Borders’

City of Los Angeles Issues Proclamation to Invisible Cities as Sennheiser Delivers Highly Personalized, Yet Communal Artistic Experience to Consumers

Los Angeles – October 25, 2013Invisible Cities, the world’s first large scale opera for wireless headphones, opened to critical acclaim on October 19th at the iconic Union Station, where it was issued a Proclamation by the City of Los Angeles. The visionary production, which was written by Christopher Cerrone and produced by The Industry and L.A. Dance project, is made possible through the professional and consumer technology of leading audio manufacturer Sennheiser.

Invisible Cities, which is based on the 1972 novel by Italo Calvino that explores Marco Polo’s descriptions of fantastical cities as described to Emperor Kublai Khan, turns the classic operatic archetype on its head, transforming Los Angeles’ iconic Union Station into a constantly moving and artistically unique experience for each participant. Invisible Cities pushes the limits of artistic production and is made possible through Sennheiser’s wireless headphone and microphone technology. This enables patrons to experience a vastly repurposed art form both as independent participants and as a connected, communal audience.

“Over the last decade, we have seen technology increasingly become a primary driver in the creation of art,” commented Stefanie Reichert, director of strategic marketing, Sennheiser. “Invisible Cities relies on a very creative application of Sennheiser’s leading edge wireless microphone and headphone technology to deliver an ingenious, pioneering artistic experience to its audiences. As Invisible Cities illustrates, Sennheiser’s wireless microphone and headphone technology enables the consumer to be more of a participant in the artistic performance itself.”

Sennheiser’s wireless headphones enable participants to have a unique perceptual experience based on an almost infinite number of vantage points from which they can view the performance. At the same time, participants are gathered together in the highly ‘communal’ environment of a train station and all wearing headphones. Union Station, with its illustrious history and exquisite architecture, serves as the perfect backdrop to this tale of people in imaginary cities as cast members intermingle with both active audience members and ordinary passers by.

“Being in your own space, yet still being part of a community is a very common style of today’s generation,” Reichert said. “As social media and personalized listening experiences permeate the lives of modern consumers, Invisible Cities illustrates that people can share a communal experience with others while still enjoying art independently. This production actually leverages this phenomenon into its dramatic presentation, creating a deeper and more meaningful experience for participants.”

With its unorthodox approach and creative use of Sennheiser wireless technology, Invisible Cities successfully reinvents the traditional opera in many ways. For example, with no opera house or assigned seats, audience members are free to move about the entire performance space — a public train terminal — as the opera progresses. This often puts them directly ‘on-stage’ aside actors and performers. Regular terminal passengers and bystanders — perhaps initially unaware that a dramatic event is unfolding before their eyes — become an impromptu element in the performance as someone standing directly beside them dressed in 14th century attire, suddenly breaks out into beautiful song.

In addition to Sennheiser’s RS 120 consumer headphones worn by participants, Invisible Cities‘ technical production also relies on Sennheiser’s state of the art Digital 9000 professional wireless system, which transmits pristine audio for the duration of the performances. This system, which was launched last year after having been under development for over a decade, is the most advanced wireless system in the world and used in top level theatre, music and broadcasting events.

For more information on Invisible Cities, including performance dates and ticket information, please visit http://invisiblecitiesopera.com/.

About The Industry:

The Industry is a new home for new and experimental opera in Los Angeles. Founded and led by director Yuval Sharon, The Industry creates ambitious productions that expand the traditional definition of opera and explore new paradigms for interdisciplinary collaboration. Mark Swed of the Los Angeles Times writes “The Industry is quickly and dramatically becoming an essential component in American opera. It’s now indispensable to the LA scene.” The Industry’s inaugural production, Anne LeBaron and Douglas Kearney’s Crescent City, was instantly hailed as “reshaping LA opera” (Los Angeles Times) and “changing the face of music-theater in this city overnight” (Out West Arts). The large-scale multimedia production, featuring the work of six visual artists in a 25,000 sq. ft. warehouse in Atwater Village, performed over three weeks in May 2012 to capacity audiences. The Industry recently presented First Take, a west coast opera workshop showcasing excerpts from six new operatic works-in-progress by the legendary Pauline Oliveros, and rising star composer Mohammed Fairouz at the Hammer Museum’s Billy Wilder Theater. For more information visit: www.TheIndustryLA.org.

About L.A. Dance Project:

L.A. Dance Project is an artist collective founded in 2012 by renowned choreographer and dancer Benjamin Millepied, along with composer Nico Muhly, art consultant Matthieu Humery, producer Charles Fabius, and film producer Dimitri Chamblas. L.A. Dance Project’s mission is to create new work and to revive seminal collaborations from influential dance makers. Programs include full-length evenings in traditional theater venues as well as various modular performances in non-traditional environments. New works by the company endeavor to be multidisciplinary collaborations with various artists: visual artists, musicians, designers, directors and composers. L.A. Dance Project promotes the work of emerging and established creators, contributing to new platforms for contemporary dance. For more information visit: www.ladanceproject.com.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

Photo captions:
1) The Invisible Cities opera, written by Christopher Cerrone and based on the 1972 novel by Italo Calvino, combines historical fiction with surrealist elements to create an ‘invisible opera for wireless headphones’. (Photo Credit: Dana Ross).

2) Yuval Sharon, artistic director of The Industry, is presented with a proclamation from The City of Los Angeles on Saturday, October 19. (Photo Credit: Dana Ross).

3) The Invisible Cities production included an 11-piece orchestra using Sennheiser and Neumann microphones. (Photo Credit: Dana Ross).

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Sennheiser receives Engineering Emmy‘s® Philo T. Farnsworth Award

Hollywood, CA – October 24, 2013 – Audio specialist Sennheiser has been honored with the prestigious Philo T. Farnsworth Award at last night’s 65th Primetime Emmy® Engineering Awards in Hollywood. The Philo T. Farnsworth Award honors an agency, company or institution whose contributions over time have significantly impacted television technology and engineering. The award originated in 2003 as a means to recognize Panavision’s years of contribution to the film and television industries. Unlike most other Emmy awards, it is not awarded every year. The award is named after the inventor of electronic television, Philo Farnsworth.

Seven Engineering Emmys were awarded at the ceremony: the Philo T. Farnsworth Award, the Charles F. Jenkins Lifetime Achievement Award, Engineering Emmys for YouTube, Aspera’s FASP Transport Technology, Josh C. Kline for creating Digital Dailies®, iZotope RX Audio Repair Technology and Previzion Virtual Studio System (Lightcraft Technology), as well as two Engineering Plaques awarded to Lawo AG for their audio networking and routing system and Final Draft Screenwriting Software.

Daniel Sennheiser and Dr. Andreas Sennheiser accepted the Emmy statuette “on behalf of the passionate Sennheiser staff that helped to create innovative audio products and have provided impeccable customer service in the fields of TV and broadcasting.”

Frank Morrone, governor of the sound branch at the Academy of Television Arts & Sciences, himself an Emmy Award-winning Hollywood audio engineer, congratulated Sennheiser on the award: “I am excited that the Television Academy has chosen to recognize Sennheiser as a leader in developing products that have contributed to advancing the way television is created and produced.”

Daniel Sennheiser commented: “We are thrilled that the Engineering Awards Committee has selected Sennheiser for this much sought-after award. This is an incredible honor for all of us at Sennheiser, and I dare say especially for our teams in North America, who are reliable and enthusiastic partners to the benchmark-setting US TV industry. The award also honors the achievements of my father and grandfather, who firmly grounded and advanced the company in the fields of production and broadcasting.”

Sennheiser’s wireless microphone systems and shotgun microphones are used in TV and film productions the world over. Whether robust and reliable RF wireless systems like Digital 9000 or highly precise gun microphones such as the industry-standard MKH 416 – sound engineers at production centers across the globe rely on Sennheiser microphone technology.

Sennheiser began producing shotgun microphones as early as the 1950s, and when the need for wireless transmission emerged in TV broadcasts at the end of that decade, the company was at hand to liberate hosts and actors from the cable with its first wireless mic in 1957. Since then, of course, technologies have evolved tremendously, resulting in today’s climate-resistant, rugged shotgun microphones and superior multi-channel wireless systems with tiny, easy-to-hide lavalier microphones and excellent handheld microphones.

About the Primetime Emmy® Engineering Awards:

The 65th Primetime Emmy Engineering Awards are overseen by chair Wendy Aylsworth, SVP of Technology, Warner Bros. Committee members are Stuart Bass, A.C.E., Picture Editors Governor, Academy of Television Arts & Sciences; Chris Cookson, President, Sony Pictures Technologies; Kevin Hamburger, Sr. Supervising Producer, THE TALK; Eileen Horta, Sound Editing Governor, Academy of Television Arts & Sciences; David Jensen, Partner, Monitor; Geoff Katz, Vice President, Watchwith; Frank Morrone, C.A.S., Sound Governor, Academy of Television Arts & Sciences; John D. O’Brien, Video Control/Consultant “The Big Bang Theory”; Mark Scott Spatny, VP Digital Effects, Stargate Studios; Barry Zegel, Senior Vice President and General Manager, CBS Television City.

About Sennheiser:

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Caption: Daniel Sennheiser and Dr. Andreas Sennheiser accepting the prestigious Philo T. Farnsworth Award at the Engineering EMMY® Awards Ceremony

Emmy®: The Emmy name and the Emmy statuette are the trademarked property of The Academy of Television Arts & Sciences and the National Academy of Television Arts & Sciences.

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