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American Idols LIVE! Tour 2014 Reaches New Sonic Heights with Sennheiser Digital 9000 Wireless System

Best In Class Wireless System Brings out The Best From a Diverse Range of Vocalists, Amidst Challenging RF Environments



Old Lyme, CT, August 19, 2014: As the American Idols LIVE! Tour 2014 charges through the final leg of its highly successful summer tour, North American audiences have been treated to a broad range of talented male and female contestants performing a diverse selection of material. The new Sennheiser Digital 9000 system has delivered stellar performance every step of the way, capturing each nuance of the vocal performances in stunning detail and clarity.

This year, since the contestants are singing to backup tracks, the audio system consists primarily of a multi-channel playback rig, wireless in ear monitors and vocal microphones — putting the spotlight squarely on the Idol contestant performances. At the recommendation of Lititz, PA-based Clair Global the audio team decided to utilize (16) channels of Sennheiser Digital 9000 wireless to provide the best possible audio quality for both performers and fans.

“When Clair presented me with the idea of using the new Sennheiser Digital 9000 on this tour, I was very excited because I know it is a phenomenal system,” commented Dustin DeLuna, Monitor Engineer and RF Technician for American Idols LIVE! Tour 2014. “So far, it has surpassed my every expectation — the microphones have sounded amazing across the entire range of vocalists we’ve got out here.”

The Digital 9000 system used on American Idols LIVE! Tour 2014 consists of two eight channel Sennheiser EM 9046 receiver units, (14) SKM 9000 handheld wireless transmitters with MD 9235 capsules and (2) SK 9000 beltpack transmitters. Each of the (10) Idol contestants have been using the SKM 9000 transmitter / MD 9235 capsule combinations. In addition, several microphone / transmitter combinations are being used as ‘guest’ microphones and for pre-show Q&A sessions, which are extremely popular among fans.

For monitoring, the audio team has been relying on (18) channels of Sennheiser 2000 series transmitters and receivers. These cover in ear monitoring — including click tracks to make sure everyone is in time — for each of the onstage performers as well as production staff including the stage manager, lighting technician and Pro Tools operator.


Digital 9000: Outperforming in the Most Extreme RF Environments

As one might expect, the performance venues on the tour vary greatly and include arenas, casinos, theaters, sheds, outdoor fairgrounds and others. In the face of such a diverse range of performance spaces, Sennheiser Digital 9000 helps bring predictability when it comes to RF performance. “The system has been unstoppable from a reliability perspective,” reports DeLuna. “Since we started using it, there has not been a single drop out. Just the other day, we were at Indiana State Fair — it was the most crowded RF environment we have seen on this tour. But after scanning and setting up our frequencies, we had no issues. It has literally been flawless.”

For DeLuna, who is handling double duty as the tour’s sole Monitor Engineer and RF Technician, ease of use and set up time are precious. On this level, the Digital 9000 does not disappoint. “The frequency scanning features are amazing because the interface is so visual,” he explains. “Scanning takes about 30 seconds from start to finish, and the Digital 9000 allows me to visually plot out where I am going to put the microphone transmitters to see how they will work with other RF in the area. I can scan and sync these transmitters without any trouble — and I don’t even have to walk them,” he says.

Delivering Pristine, Uncompressed Sound for the Masses

Front of House Engineer Kirk Shreiner, now in his third year on the Idol tour, says the Sennheiser Digital 9000 delivers on audio quality: “It has a very clean and warm sound,” he says. “I regularly get comments on how great the microphones are on this tour, and I am having great experiences on all the PA systems we have been using with these mics.” Shreiner also appreciates the outstanding feedback rejection of the new MD 9235 capsule. “It’s not unusual to have all of the contestants up on stage singing at the same time in front of the PA, and with these microphones we’re not having to fight the system.”

For mixing in ear monitors, DeLuna has had a similarly positive experience: “The top end of the MD 9235 capsule is very smooth,” he says. “All in all, the audio seems to be very well rounded. With the Digital 9000, I am hearing more detail and it is almost like the difference between an mp3 file and a wav file. Since there is more ‘information’ in the audio, it means I don’t have to make as many EQ corrections.”

In addition to the RF reliability and sonic qualities of the system, DeLuna is especially impressed at how quiet the SKM 9000 transmitter / MD 9235 capsule combination is in light of a brand new capsule design and dampening mechanism. “We have noticed zero handling noise, and this is usually among the first things a Front of House Engineer will complain about,” he says. In an RF world that is usually dependent on buckets of AA batteries, DeLuna also appreciates the newly designed battery compartment on the transmitter: “The two buttons at the bottom that are used to slide the battery in and out are so easy to use. Moreover, the rechargeable batteries last for six hours at a time and we can run the whole day with one set of batteries,” he says.

For more information on American Idols LIVE! Tour 2014, visit www.americanidol.com/tour.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the Internet at www.sennheiser.com.

Captions: 
1 – The audio crew for the American Idols LIVE! Tour 2014 (L-R: Monitor Engineer and RF Technician Dustin DeLuna, Monitor Technician Matthew Van Hook, Front of House Engineer Kirk Shreiner and PA Technician Jeff Weurth)
2 – The American Idols LIVE! Tour 2014 is utilizing two Sennheiser EM 9046 eight channel rack units for the Digital 9000 system.
3 – For in ear monitors, the American Idols LIVE! Tour 2014 uses (18) Sennheiser EM 2050 transmitter units.
4 – The Sennheiser SKM 9000 transmitter / MD 9235 capsule combination.

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Telos and Linear Acoustic: Helping Broadcasters Keep Their Eye on the Shifting Center of the Broadcast Universe

In Three Part Interview, Chief Technology Officer of Telos Alliance Highlights Pressing Issues Broadcasters Face with New Audio Formats and The Proliferation of Mobile Devices

CLEVELAND, August 11, 2014: As the television broadcast industry increases in complexity with producers churning out more content than any other time in history, where and how consumers view content has become anything but predictable. This has put strain and uncertainty on broadcast professionals, who are constantly building and adapting new content distribution models and working methodologies where no precedents currently exist. There is a lot at stake for broadcasters, since their function is critical to both the content producers and consumers.

Linear Acoustic, part of the Telos Alliance, continues to play an active role not only in helping define this new broadcast distribution landscape, but also in helping its international customer base understand and overcome these new challenges. Tim Carroll, founder of Linear Acoustic and Chief Technology Officer of the Telos Alliance, discusses the changes taking place and how Telos and Linear Acoustic are positioned to help customers navigate and overcome these challenges in the first of a three-part interview.


What are some of the primary issues the television broadcast industry has faced over recent years? What has changed and what has remained the same?

When we consider television broadcast as we know it today, we can safely say that the loudness and surround problems have largely been solved. As an industry we have been at this for over 20 years, and it’s mostly done. More recently, the way we are consuming television has dramatically changed. For example, I have a surround system, but I primarily listen to content in stereo. Many people in younger generations are consuming television online. Everyone is doing it differently; there are financial reasons for this, and the technology is making it easier to do so.

Has this made the ‘traditional’ delivery method of television less relevant?

Well, most of the media says that it is still the terrestrial delivery of television that generates the most revenue per second out of any content. But this is rapidly becoming an incorrect perception, because nowadays it is so difficult to measure exactly how many people are watching television let alone the methods they are using to watch it. We see many more people watching television on mobile devices in the middle of the day, for example.

What changed for the broadcasters? How does this affect them and how do they now think about broadcast delivery differently?

To start with, the normal tool set that broadcasters have in a linear broadcast chain is now completely different. The processes used to deliver broadcast content second over second have changed completely. Now, much of the produced content is chopped up, jammed onto a server and oftentimes played back from multiple servers. Additionally, commercials now are inserted on your portable device as part of an app. In the past, we used to know where to put the loudness correction, but where do we put it now?

This means the content has been more difficult to contain since the ‘central point of origin’ is not as easy to identify, right?


Yes. The industry has always had its eyes on the middle of the pie, because the middle is where traditional technology business is done at a television facility day in and day out — it’s where all the servers have traditionally been located. You put a processor in there, and at prime time, it affects every sample of audio. But as soon as this center is fractured and audio is coming out from multiple places outside the edge of the pie, it becomes much more complicated and less predictable. We can control that content coming out of the middle of the pie where the central server is located, but we have no idea where the content goes after that. In some cases, broadcasters are making 8, 10 different versions of a single program to hit all kinds of mobile devices, to hit larger mobile devices, large and small. All of this has pushed us to accelerate our thinking at Telos and Linear Acoustic.

Can you give me an example of how broadcasting is now less location dependent?

Sure. Let’s say I am making a program — a police drama. After it is produced, what happens is not necessarily up to the production people — it’s up to the broadcasters who say, “Hey, thanks for the content, we have to get this through our linear paths without touching it. We’ve also got to send it out to all these other destinations, and we better get it onto YouTube before somebody rips it or sells it.” Yesterday, you could often go to whoever owned the television station as a single point. But today, that producer’s broadcast content could be housed in servers across multiple locations and therefore becomes much more difficult to manage.

Can anything be done to remedy this?


We can help the broadcasters get the loudness or the 5.1 correct, but eventually the garden hose turns into a firehose before the content is sprayed out across the universe. And if nobody was touching it, our job would be done. But with Internet, it is essentially the Wild West. So with our normal tools, we have to start thinking outside the box. We need to look at the guts of our products and say to our customers, “Hey, we are happy to help you integrate our technology in your server hardware instead of selling you boxes that might not fit your workflow.”

Is technological innovation helping resolve these issues or exacerbating them?

It’s a bit of cat and mouse. If you go and see a movie today, you might be lucky enough to find a theater and a piece of content that is being played back in Immersive Sound. Now, program producers are saying, ‘Wow — we can do a 360 degree immersive audio experience. But then the questions start coming out: “Hey, can we get this same experience to consumers?” Then the broadcast industry says, “We just delivered 5.1 and now you want us to carry 128 channels to consumers?” But that’s what ATSC (Advanced Television Systems Committee) 3.0 is all about: how do we deliver an entertainment experience like consumers have in a movie theater? If we are able to deliver an immersive experience to the home, how do we then ensure mobile device users can enjoy it to a similar degree? So there is no finite end point, because consumers always want more content and want to access it more conveniently. Consumers see the end and Hollywood sees the beginning. It is the middle that has to catch up, yet this is the part that nobody sees.

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‘David Bowie Is’ Makes its U.S. Debut in September at Chicago’s Museum of Contemporary Art

Sennheiser Technology Enables Visitors to Experience a Unique, Multi-Faceted Journey of the Artist’s Sound and Style

Chicago, August 11, 2014: On September 23rd, the ‘David Bowie Is’ exhibition makes its U.S. debut at Chicago’s Museum of Contemporary Art (MCA). The exhibition, meticulously curated by the Victoria and Albert (V&A) Museum in London, explores the incredibly diverse work of one of the greatest artists of our time. For each of the exhibits, including the MCA exhibit coming to Chicago in September, V&A has partnered with audio specialist Sennheiser to ensure the best possible audio experience for visitors.

‘David Bowie Is’, which has already been experienced by more than half a million visitors around the world during its recent visits to London, Berlin, São Paulo and Toronto, is an artistic and technical marvel that covers the entire expanse of Bowie’s luminous career: from Ziggy Stardust to Aladdin Sane and beyond. By leveraging Sennheiser’s audio expertise, including its guidePORT technology and 3D immersive sound simulation equipment, visitors are left with an unforgettable sound and style experience that explores the very essence of David Bowie. Sennheiser’s guidePORT expert Robert Généreux is on site to install and configure the system at MCA.

David Bowie’s career is marked by continual re-invention, intellectual depth, musical inno-vation, striking visual presentation and unwavering artistic integrity. The exhibition takes visitors on a sonic and visual journey, retracing his creativity and influences from all areas of his art using a wealth of material — including videos, stage costumes, album covers, stage sets, photographs and of course his music. To develop the exhibit, curators Victoria Broackes (V&A) and Geoffrey Marsh were given unprecedented access to the David Bowie Archive, consisting of more than 70,000 pieces.

An Unprecedented Marriage of Art and Technology

In preparation for their sonic and visual journey, each museum visitor is given a pair of Sennheiser headphones and a guidePORT receiver — enabling them to walk freely into 25 different ‘display zones’. Inside a control room behind the scenes, Sennheiser is constantly broadcasting 25 live audio streams through transmitters that are perfectly mapped to the floor plan of the exhibit. Each time a visitor walks towards a different display, the relevant audio stream activates, broadcasting high quality audio through corresponding antennas located nearby. Small trigger units called ‘identifiers’ located throughout the exhibit are able to recognize the geo-location of each visitor and pick up the appropriate audio stream.

In addition to the pristine streaming audio occuring throughout the exhibit, visitors are also invited to experience an extraordinary 3D audio spectacle, consisting of Bowie concerts from over the years and an exclusive ‘mash up’ of his songs, created by Tony Visconti, Bowie’s long-time producer. The immersive audio experience is made possible by a special 3D upmix algorithm created by Gregor Zielinsky, Sennheiser’s International Recording Applications Manager, and the experience is delivered through an array of hidden loud-speakers from Neumann — a Sennheiser subsidiary.

‘David Bowie Is’ is groundbreaking not only as an interactive exhibition of one of the greatest artists of our time, but also in how it integrates Sennheiser technology throughout the overall experience. This is another example of how Sennheiser has been a driving force in the innovation of sound since 1945 and routinely supports innovators and artists all around the world.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Senn-heiser Communications A/S, a joint venture making headsets for PCs, offices and call cen-ters, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the internet at www.sennheiserusa.com.

Photo captions:
(1) Album cover shoot for Aladdin Sane, 1973
Design by Brian Duffy and Celia Philo, make up by Pierre La Roche
Photograph by Brian Duffy
© Duffy Archive

(2) Teaser video for the ‘David Bowie Is’ exhibition at Chicago’s Museum of Contemporary Art (MCA).

(3) Striped bodysuit for Aladdin Sane tour, 1973
Design by Kansai Yamamoto
Photograph by Masayoshi Sukita
© Sukita / The David Bowie Archive 2012

(4) Using Sennheiser’s guidePORT receivers, visitors of the ‘David Bowie Is’ exhibit are able to experience pristine streaming audio throughout the exhibit.

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The Ultimate Sonic Journey: Mastering Engineer Maor Appelbaum Relies on the Sennheiser HD 600 As a Critical Listening Tool in Creating New Yes Album

The Sennheiser HD 600 Plays a Key Role in Delivering a Spacious, Detailed Sound Experience, Removing Sonic Barriers Between Artist and Listener

Old Lyme, CT, July 29, 2014: Since forming in 1968 and subsequently releasing more than 20 studio albums including classics like Fragile, Close to the Edge and Tales from Topo-graphic Oceans, Yes built its international success on the very foundations of progressive rock. Still very active as one of rock’s most influential bands, Yes recently opened their latest chapter of musical innovation with the release of Heaven & Earth. Produced by the legendary Roy Thomas Baker (Queen, David Bowie) and mixed by Billy Sherwood (Nektar, Motorhead), Los Angeles-based Mastering Engineer Maor Appelbaum got the call to put the finishing touches on the classic band’s latest sonic creation, keeping his Sennheiser HD 600 audiophile grade headphones close by.

Appelbaum, who runs Maor Appelbaum Mastering and works across a broad range of genres, chose to use the Sennheiser HD 600s as a studio reference tool to bridge the gap between album production and listener. Over the course of the project, he listened as both a technically minded professional and as a passionate music fan, with the ultimate goal of delivering an emotionally engaging listening experience. In the conversation that follows, Appelbaum discusses the ins and outs of mastering a modern day classic.

What is your role as mastering engineer?

I bring an objective ear to the process. Since I haven’t heard a project before, I can listen like a fan yet have control over the outcome. I am the buffer between what is created in the studio and what finally arrives to the listener’s ear. My ultimate goal is to help create a better, more emotionally engaging listening experience. Part of how I do this is through critical listening, which is evaluating how the music’s ‘feeling’ is presented from a frequency perspective. In making my evaluations and decisions, the tools I use are very important to me. For example, I have an excellent monitoring system with many sets of speakers so I can control how these frequencies are presented. I also use headphones to help me hear other details that might be missed by speakers.

How did you begin working on the new Yes album?

Billy Sherwood and I have collaborated on many albums together, and in the past two years I have mastered around 20 albums that he has worked on. He is very well known in progressive rock circles and we have a very good, longstanding relationship. One day he called me asked me to master the new Yes album and it was a great surprise. Once the mixes came in, I wanted to take them to the next level, while keeping the openness of the recording and all the dynamics in tact.

How can headphones help in the mastering process?

They are a great tool for checking the stereo spread and also evaluating low level details — which can consist of room tones, reverberation and other items. Speakers are important in helping evaluate the dimension in a production, but in most cases they are in front of you. On the other hand, headphones are essentially surrounding your head and can really help you figure out if your imaging natural or if it feels artificial.

When did you decide to rely on headphones in the process?

Once I figured out the processing chain that I wanted to use, I listened to the project on head-phones because I figured that listeners of this album would include audiophiles as well as people who enjoy listening to headphones — not just people who listen through earbuds and speakers. I think you always want to make sure that the product sits well with the clientele, and of course Yes has many fans that are bound to listen on headphones — both ‘old school’ fans who grew up with headphones and hi-fi systems and ‘new school’ fans who grew up lis-tening to music on computers. Today, music fans want to have a better production system, but portable — that’s why I think there is more sales of headphones than ever before.

Why were you drawn to the Sennheiser HD 600s?

A friend of mine bought a pair and he was really excited about them. He kept after me and I realized that if he was enjoying them that much, I should really give them a shot on the Yes project. It was the first time I bought anything sight unseen, solely on a recommendation. I got them, put them on my ears and said ‘Wow – these really sound good!’ I didn’t feel like they were hyped and they sounded very natural. They had all the detail I needed, and were very comfortable – which can be important over long sessions. Also, the frequency response was never piercing and didn’t fatigue me. I took them off, listened to my speakers, then put them on again and realized that the HD 600s sounded very close to my speakers — as much as a pair of headphones can.

What were your specific goals in mastering this album and where did the HD 600s play a role?

For this album, it was very important for me to hear a three dimensional sonic image — not just with speakers shooting straight at me. Using the HD 600s, I could hear the entire panoramic spread in great detail — it was very revealing. With speakers you can also hear this, but with headphones it is better because they sit right on your ear, there is nothing in between you and the music. On an album like this, where everything is very open, hearing things this way is very important and the HD 600s were perfect. They sounded like a nice pair of expensive, audiophile speakers, but on your ears.

Can you describe the overall design and form of the HD 600s?

The build quality is excellent. Its padding on the HD 600 is just right, and the tension is loose enough that you don’t feel an exorbitant amount of pressure your ear. Also, they are not too heavy, so you don’t feel like there is something bulky on your head. The cable is super flexible and the plug is robust. Overall, I love the sound quality and the HD 600 is very comfortable to work with. I am very impressed and I think I will be using them more and more.

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 www.sennheiserusa.com.

Photo caption:

1) Maor Appelbaum, Mastering Engineer
2) The Sennheiser HD 600 headphone

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Invisible Cities: An Opera for Headphones Receives Emmy® for KCET Documentary of Landmark Headphone Opera Production

Multi-Part Sennheiser Sponsored Documentary Captures Emmy® For Best Entertainment Programming at 66th Los Angeles Area Emmy® Awards

Los Angeles, July 28, 2014: Audio specialist Sennheiser announced that Invisible Cities: An Opera for Headphones won an Emmy® Award for Best Entertainment Programming Saturday night during the 66th Los Angeles Area Emmy® Awards at The Academy of Television Arts & Sciences in North Hollywood. Invisible Cities: An Opera for Headphones was commissioned by Sennheiser and produced by KCET, the leading independent public media organization serving Southern California, and The Industry, the L.A. based experimental opera company.

Invisible Cities: An Opera for Headphones [kcet.org/invisiblecities] was featured online and on-air last December in a multimedia series for KCET’s arts and culture series, Artbound. The series provided an exclusive, in-depth look at the artisitic and technological challenges that collaborators The Industry, L.A. Dance Project and Sennheiser faced in creating the world’s first large scale opera for wireless headphones. Yuval Sharon, Founder and Artistic Director of The Industry, contacted Sennheiser in early 2013 to help make the wireless opera production become a reality.

“The documentary of Invisible Cities would have not been possible without the collaboration of Sennheiser and its pursuit of artistic innovation, and the experimental vision and framework created by The Industry,” said Juan Devis, senior vice president, Content, Development & Production for KCETLink. “We are proud and humbled to have been a partner in this endeavor and explore the limits of public television.”

“Sennheiser is proud of to have commissioned KCET’s fabulous production of Invisible Cities: An Opera for Headphones,” commented Stefanie Reichert, director strategic marketing, Sennheiser. “Invisible Cities was the result of a visionary artistic collaboration among The Industry and L.A. Dance Project and Sennheiser, and KCET’s subsequent production captured the very essence of how technology and cutting-edge artistic vision drives innovation in the arts.”

Invisible Cities, written by Christopher Cerrone and based on the 1972 novel by Italo Calvino, took audience members on a multi-sensory journey through Los Angeles’ Union Station, where they experienced an operatic narrative consisting of live dance performance, orchestral music and dramatic dialog: all driven by wireless headphone technology.

About Invisible Cities:

Hailed by The Hollywood Reporter as a “signal cultural event” and “a delicate and beautiful opera” by The Los Angeles Times, Invisible Cities was a joint production by The Industry and L.A. Dance Project which premiered at Los Angeles’ historic Union Station and performed to sold-out audiences during its run in October and early November 2013. Based on Italo Calvino’s fantastical novel, the opera was composed and adapted by Christopher Cerrone, conceived and directed by The Industry’s founder and artistic director Yuval Sharon, with choreography by Danielle Agami. The production utilized wireless technology provided by Sennheiser, offering audience members headphones to hear the opera amid the normal “hustle and bustle” of the train stationís everyday life.

About KCET:

On-air, online and in the community, KCET plays a vital role in the cultural and educational enrichment of Southern and Central California. KCET offers a wide range of award-winning local programming as well as the finest public television programs from around the world. Throughout its nearly 50-year history, KCET has won hundreds of major awards for its local and regional news and public affairs programming, its national drama and documentary productions, its quality educational family and children’s programs, its outreach and community services and its website, kcet.org. KCET is a donor-supported community institution. For additional information about KCET productions, web-exclusive content, programming schedules and community events, please visit kcet.org. KCET is a service of KCETLink.

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.

Image caption:
Juan Devis, senior vice president, Content, Development & Production for KCETLink accepts Emmy® Award for production of Invisible Cities: An Opera for Headphones

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Sennheiser and Full Compass to Co-Sponsor Recording Clinic Featuring Leslie Ann Jones of Skywalker Sound and Wolfgang Fraissinet of Neumann

Grammy® Award Winning, Veteran Sound Engineer to Illustrate Recording Best Practices, Fraissinet to Discuss Large Orchestral Microphone Choices and Techniques

MADISON, WI, July 28, 2014: Audio specialist Sennheiser and Full Compass Systems, a national leader in Professional Audio, Professional Video, A/V, Lighting and Musical Instrument sales, announced they are co-sponsoring a very special audio recording clinic on Thursday, September 11th at the Full Compass facility in Madison, WI. The event will feature renowned, Grammy® award-winning sound engineer Leslie Ann Jones, who will demonstrate recording techniques and best practices when recording in the studio; and Wolfgang Fraissinet, President of Marketing and Finance at Neumann, who will discuss microphone choice and techniques for recording large orchestras, among other topics.

During this very special event, every attendee will receive a complimentary pair of Sennheiser HD 439 On-Ear headphones. In addition, attendees have a chance to win one of two valuable giveaways: a Sennheiser MK4 large diaphragm studio microphone with shockmount and a pair of Sennheiser MOMENTUM On-Ear headphones.

Leslie Ann Jones:

Leslie Ann Jones, who is Director of Music Recording and Scoring with Skywalker Sound, has been a recording and mixing engineer for over 30 years. She began her career at ABC Recording Studios in Los Angeles in 1975 before moving to Northern California in 1978 to accept a staff position at the legendary Automatt Recording Studios. There she worked with such artists as Herbie Hancock, Bobby McFerrin, Holly Near, Angela Bofill, and Narada Michael Walden, and started her film score mixing career with “Apocalypse Now.”

From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. She recorded projects with Rosemary Clooney, Michael Feinstein, Michelle Shocked, BeBe & CeCe Winans, and Marcus Miller, as well as the scores for several feature films and television shows. In 2003, she was nominated for a Grammy Award for Best Engineered Recording, Classical, and received a Grammy Award for The Kronos Quartet’s recording of Berg: Lyric Suite, which won Best Chamber Music Album. In 2012, she won a Grammy Award for Best Engineered Album, Classical for Quincy Porter: Complete Viola Works by Eliesha Nelson & John McLaughlin Williams.

Wolfgang Fraissinet:

Wolfgang Fraissinet, who will discuss microphone choice and techniques for orchestral recording, is President of Marketing and Finance at Neumann Headquarters in Berlin and serves as Chairman of the International Advisory Board of the Deutsches Symphonie Orchester located in Berlin. Since 2005, Fraissinet has been a producer of international music recordings, such as several masterpieces and symphonies from Beethoven, Brahms, Tchaikovsky, Bach, and Mozart. He has recorded a number of Jazz productions, which were produced both in Germany and the USA. He has also studied classical piano at the Berlin Conservatory.

Fraissinet joined Neumann in 1990 and shortly thereafter was appointed as General Manager for the global activities of Marketing and Sales at the company’s headquarters in Berlin. In 2010, Fraissinet added Neumann Studio Monitor Systems as a new business unit, which has since gained wide acceptance in the professional audio community, growing year over year since the launch of Neumann’s first studio monitor, the KH 120.

For more information on this very special event, visit the registration page at www.fullcompass.com/lajones. Seating is limited.

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. For more information, please visit www.sennheiserusa.com.

Captions:
1. Leslie Ann Jones, Director of Music Recording and Scoring with Skywalker Sound
2. Wolfgang Fraissinet, President of Marketing and Finance, Neumann Berlin

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Sennheiser Evolves its Artist Relations Site, Highlighting its Pioneering Approach to Support Both Emerging and Established Artists

New Site Features Auto-Updating Artist Content, Product Use Information, Video and Complete Social Media Integration

Old Lyme, CT, July 23, 2014: Audio specialist Sennheiser announced that the next evolution of its artist relations site has arrived. The website [sennheiser.com/artists] is not only visually engaging for artists, music fans and customers, but is rich with information on artists using Sennheiser microphones, wireless systems and other products. Visitors can explore and gain relevant information on a wide range of Sennheiser artists and the equipment they use: from established acts such as Paramore to emerging acts such as Katie Cole.

The updated site includes a wide range of information such as artists’ favored equipment usage as well as automatically updated content so music fans can stay up to date on artist news, tours and television appearances. Website visitors can also access recent videos, press releases and artists’ social media platforms: all within a vibrant and easy to navigate web environment.

“By enhancing our artist relations site, we are able to bring yet another dimension of value to our artists and customers,” commented Tim Moore, artist relations manager, Senneiser. “We encourage every artist, musician and music fan to access our site so they can learn more about the diverse artists who choose Sennheiser and their music. Visitors also will be able to learn about the tools the artists and their teams use to achieve the audio quality they demand.”

“One of the driving factors in our site rebuild was to spotlight our emerging artists, and bring their music to the forefront,” Moore continued. “Sennheiser provides first rate technical support not only to its internationally touring artists playing stadiums and arenas, but also to smaller yet very talented acts playing local clubs and theaters. On our new site, every artist is given an equal degree of spotlight.”

“I truly value my friendship and business relationship with Sennheiser,” commented Katie Cole. “It’s clear that the company and its entire artist relations team really love music and want to support what we do. Plus there is a respect for all artists, no matter where they are in their career. I’m not quite on the level of Miranda Lambert or P!NK, but I am treated that way. This is amazing, and I’m thankful to be a Sennheiser artist.”

“Another thing I love about the artist relations team is that they fully understand what product should be used and how,” she added. “I know I am getting quality feedback when I ask about various products and their applications.”

To learn more about Sennheiser artists and to read about its relations program, please visit the new website at www.sennheiserusa.com/artists.

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. The new Sennheiser artist relations website
2. Sennheiser artist Katie Cole

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A Winners’ Welcome: LSP 500 PRO from Sennheiser Welcomes Home World Cup Champions

Old Lyme, CT, July 22, 2014: Last week, soccer’s world champions landed at Berlin’s Tegel airport and given a rapturous welcome by attending fans and journalists. As the players left the plane and emerged onto the visitors’ terrace, world championship sound was provided by eight LSP 500 PRO loudspeakers from Sennheiser.

At precisely 10:08, the specially chartered Lufthansa Boeing 747 from Rio de Janeiro carrying the 23 German world champions landed in Berlin. The triumphant soccer team was then given a rapturous reception by Tegel Airport staff, airline employees, journalists and hundreds of jubilant onlookers.

Eight Sennheiser LSP 500 PRO supplied by Bärlin Team operating on behalf of Berlin Airports ensured that the welcome addresses for players were clearly heard by all those present. Four LSP 500 PRO were positioned on the apron area and four more were set up on the visitors’ terrace, located about 450 feet away. Audio signals were transmitted wirelessly via an integrated Sennheiser SR 300 IEM G3 transmitter to EM 300 G3 receivers housed in the LSP 500 PRO.

Dan Wittke, Managing Partner of Bärlin Team Eventdesign GmbH, summed it up: “Thanks to Sennheiser audio technology, the event was a huge success for all those involved.”

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.

Caption: LSP 500 PRO from Sennheiser provided excellent sound at the welcome reception for the World Cup champions © Dan Wittke

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Invisible Cities: An Opera for Headphones Receives Local Emmy® Nomination for Best Entertainment Programming

KCET’s Artbound Special Explores Creativity and Innovation Behind Visionary Experimental Opera, Made Possible with Sennheiser Audio Technology

Old Lyme, CT, July 16, 2014: Audio specialist Sennheiser announced that Invisible Cities: An Opera for Headphones has been nominated for a Los Angeles Area Emmy® Award by the Academy of Television Arts & Sciences. Invisible Cities: An Opera for Headphones was commissioned by Sennheiser and produced by KCET, the leading independent public media organization serving Southern California, and The Industry, the L.A. based experimental opera company.

The local Emmy® Awards will be presented at the 66th Los Angeles Area Emmys Ceremony on July 26, 2014, at the Television Academy’s Leonard H. Goldenson Theatre.

Invisible Cities: An Opera for Headphones [kcet.org/invisiblecities] was featured online and on-air last December in a multimedia series for KCET’s arts and culture series, Artbound. The series provided an exclusive, in-depth look at the artisitic and technological challenges that collaborators The Industry, L.A. Dance Project and Sennheiser faced in creating the world’s first large scale opera for wireless headphones. Yuval Sharon, Founder and Artistic Director of The Industry, contacted Sennheiser in early 2013 to help make the wireless opera production become a reality.

“Invisible Cities would not have been possible without Sennheiser’s support,” Sharon explains. “I actually feel like Sennheiser was a creative partner for me because it was their technology, their spirit of innovation and their love of experimentation that really gave me the confidence to create this project in the first place. The fact that they came on board at such an early stage and really wanted to support something that was a vision and not yet tangible as a reality and said ‘yes’ gave me the confidence to move forward and create this project.”

Invisible Cities, written by Christopher Cerrone and based on the 1972 novel by Italo Calvino, took audience members on a multi-sensory journey through Los Angeles’ Union Station, where they experienced an operatic narrative consisting of live dance performance, orchestral music and dramatic dialog: all driven by wireless headphone technology.

In addition to hundreds of wireless consumer headphones worn by attending opera patrons, the production utilized other Sennheiser technology including wired and wireless microphones, IEM (In Ear Monitor) systems, a complex antenna farm set up through the terminal, as well as Sennheiser’s latest innovation: its state of the art Digital 9000 system, which delivered eight channels of uncompressed, artifact free audio.

About Invisible Cities:

Hailed by The Hollywood Reporter as a “signal cultural event” and “a delicate and beautiful opera” by The Los Angeles Times, Invisible Cities was a joint production by The Industry and L.A. Dance Project which premiered at Los Angeles’ historic Union Station and performed to sold-out audiences during its run in October and early November 2013. Based on Italo Calvino’s fantastical novel, the opera was composed and adapted by Christopher Cerrone, conceived and directed by The Industry’s founder and artistic director Yuval Sharon, with choreography by Danielle Agami. The production utilized wireless technology provided by Sennheiser, offering audience members headphones to hear the opera amid the normal “hustle and bustle” of the train stationís everyday life.

About KCET:

On-air, online and in the community, KCET plays a vital role in the cultural and educational enrichment of Southern and Central California. KCET offers a wide range of award-winning local programming as well as the finest public television programs from around the world. Throughout its nearly 50-year history, KCET has won hundreds of major awards for its local and regional news and public affairs programming, its national drama and documentary productions, its quality educational family and children’s programs, its outreach and community services and its website, kcet.org. KCET is a donor-supported community institution. For additional information about KCET productions, web-exclusive content, programming schedules and community events, please visit kcet.org. KCET is a service of KCETLink.

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. Invisible Cities took place at Los Angeles’ Union Station during Fall, 2013 (photo credit: Dana Ross)
2. Sennheiser’s David Missall describes Sennheiser’s technical contribution to Invisible Cities in KCET’s Artbound series.
3. During Invisible Cities, a series of Sennheiser antennas were placed throughout the facility to ensure seamless wireless coverage to both consumers and production staff.

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Master Voice Actor Rodney Saulsberry Considers the ‘Real Person Read’ and the Sennheiser MKH 416 Microphone Indispensable Elements in his Craft

The MKH 416 Shotgun Mic Helps Navigate Saulsberry Through a Sea of Diverse Work, Ranging from Television Promos, to Motion Picture Work, to Political Ads

New York — July 15, 2014: An incredibly diverse voiceover actor, Rodney Saulsberry’s ‘breakout moment’ in behind the scenes narration came as the popularity of the voiceover movie trailer peaked in the late ’90s. Following his work on the 1998 film How Stella Got Her Groove Back, Saulsberry’s career skyrocketed and he has since become one of the industry’s most in demand voice actors, working on spots for television, motion pictures, video games and more. Since his early days of doing movie trailer work, the Sennheiser MKH 416 shotgun microphone has played a foundational role in his success.

In addition to his trailer narration work on Red Tails, Friday, The Best Man, Diary of a Mad Black Woman and many others, Saulsberry is also known for his work on Twix and Zatarain’s commercials and is the author of two published books on voice acting. As an on-screen actor, he has appeared in Beginners, The Philadelphia Experiment, Tango and Cash and has been nominated twice for his role as Anthony on CBS’ The Bold and the Beautiful — for which he was nominated for two Best Actor NAACP Image Awards.

Currently, in addition to his recurring work as the Zatarain’s man and The Bold and the Beautiful, Saulsberry’s voice can be heard around the world doing English promos for the international television network Telemundo. Saulsberry says that his vast experience as an actor has helped him remain top of mind among voiceover agents in an industry that is constantly changing.

“What makes me get the call is my ability to deliver the ‘real person read’,” he says. “Today, the challenge is to get rid of the ‘announcer style’ and make the copy more conversational. This is when the actor inside me comes out and why it is so important to know that voice over is really voice acting. You also need to hone your improvisation skills. When I improvise, I am not changing the script or rewriting, but I am making it my own.”

Sennheiser MKH 416: The ‘Instrument that Captures the Voice’

No matter what kind of voice acting he is doing, the Sennheiser MKH 416 remains Saulsberry’s standard ‘go-to’ microphone. He began using the MKH 416 during the 1990′s, especially doing movie trailer work: “When I would go to the major trailer houses around town, this was the microphone that I would be speaking into most of the time,” he recalls. Currently, he uses an MKH 416 at home in his soundproof isolation booth, which can connect to studios around the world by using a Telos Zephyr Express ISDN codec.

“I don’t even have a preamp — I plug my MKH 416 right into the back of the Telos Zephyr and it sounds great,” he says. “I work for a company in London and with my Sennheiser mic and the Telos unit, it makes me sound like I am in England, 3,000 miles away. Engineers notice and appreciate this.” Saulsberry says that he often does singing parts as well as spoken word, and that the MKH 416 is versatile enough to handle both tasks without any trouble.

Saulsberry appreciates the incredibly accurate response of the MKH 416, yet considers the mic extremely accommodating to whatever signal is being presented: “It sounds contradictory, but the microphone is very detailed but also very forgiving. It is almost saying, ‘I am out to get the best of you and will make amends so it sounds right.’ As far as my own technique is concerned, I move closer on the mic if I want to accentuate the low frequencies, or back up if I want to shout. The mic just adapts.”

No matter what kind of session Saulsberry is working on, he knows his Sennheiser MKH 416 will be there to capture ‘the real person read,’ “It captures every detail where other microphones might miss, including the ‘air’ at the end of phrases,” he observes. “It brings the presence out of my voice and I love that.”

For more information on Rodney Saulsberry, please visit www.rodneysaulsberry.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, 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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