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K-array Makes its Debut at the Boston Opera House, Architectural Jewel and Boston Ballet’s Sole Performance Venue

Boston, March 7, 2012– The Boston Opera House is a striking example of the finest theatre architecture set in opulent French and Italian styles. Originally constructed in the late 1800s but extensively renovated in 2002, the 2,677-capacity theatre has been the sole performance venue of Boston Ballet since fall 2009 and was originally constructed as a tribute to vaudeville’s greatest impresario: Benjamin Franklin Keith. As a credit to both the original design its recent painstaking renovation, the Opera House is nothing short of stunning, featuring outstanding acoustics and superb craftsmanship throughout.

Recently, this landmark performance facility took its breathtaking natural acoustics one step further by installing a discrete and ultra-compact K-array sound reinforcement system for the Boston Ballet, customized and painstakingly finished to match the luxurious décor of its interior. The system, designed and installed by Talamas Broadcast Equipment, includes Sennheiser distributed K-array KK100 and KH15 speaker arrays plus KL18 and KS4 subwoofers, together with KA10 and KA40 Class D power amplifiers — all of which have been installed to maintain the visual and sonic integrity of the original space.

Nick Jabour of Talamas Broadcast Equipment, a Boston-based company serving the audio and video needs of New England’s film, television and broadcast production industries, worked with Boston Ballet’s Ben Phillips, production manager and technical director, and Benjamin Young, sound designer, on the design of the system. “There are three KK100 vertical arrays on each side of the proscenium arch,” explains Jabour. “Those are primarily for the orchestra level and the first few rows of the balcony.”

To allow shading of the coverage patterns of the KK100s, two arrays are driven from each channel of a KA10 amp. The KK100 is an ultra-slim vertical line array comprised of multiple two-inch neodymium transducers in a stainless steel chassis. Two KL18 subs, which each feature an 800W, 18-inch driver, are positioned below the left and right main arrays to provide low frequency reinforcement.

Flown systems provide additional coverage of the orchestra and balcony seating sections of the 2,500-capacity theatre. “There are two KH15 arrays and a KS4 sub array on a truss that’s flown above the downstage lip of the stage,” says Jabour. “The KH15s mostly cover the balcony. There’s another KH15 positioned behind the KS4 pointing straight down at the orchestra level to complete the stereo image.”

The self-powered KH15 is an ultra-compact two-way line array that provides consistent 120-degree horizontal coverage. The self-powered, ultra-compact KS4 subwoofer offers a unique dipole figure-8 coverage pattern capable of delivering very high SPLs.

Talamas worked closely with power distribution specialists Motion Labs and Sennheiser, exclusive distributor of K-array products in the U.S. and Mexico, on the unusual A.C. power set up for the system. “KA10s and a KA40 amplifier power the KK100s and the KL18s,” Jabour elaborates. “The KA10 and the KA40 amps are being run at 120 volts, but so that we could use a more standard style cable for the power run to the truss we run those speakers, which are self-powered, at 230 volts.”

The theatre’s acoustics were originally designed to deliver the spoken word to every seat in the house in an age before microphones and amplifiers. “So Boston Ballet wanted something that they could use very, very subtly,” comments Jabour. “But they have a choreographer who, for one of his pieces, requires the theatre to get very loud. So we had to be able to cover both extremes.”

“The K-array system helped us accomplish everything we set out to achieve,” says Benjamin Young. “The subtle reinforcement of a gentle orchestra is undetectable, and the intricacies of more modern electronic orchestrations are clear as can be, while powerful at the same time. I am certain that the majority of the patrons don’t even realize that they are there; they are the ninjas of speakers!”

“The key point in our original directive was that the speakers could not interrupt the aesthetic of the stage — and Talamas and Sennheiser worked with us to achieve that goal,” he adds. “All in all the system has turned out to be a huge success for us.”

The newly installed K-array system made its debut on March 1 with the opening of “Play With Fire.” The production features “Rooster,” choreographed by Christopher Bruce to the music of the Rolling Stones.

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Related Topics: Large Venue, Line Array, Loudspeakers |

Sennheiser Partners with UniqueSquared to Bring Mobile Studio to Austin During World-Famous Music Week

AUSTIN – March 06, 2012: Audio specialist Sennheiser announced that it has partnered with music retailer UniqueSquared to bring a 45-foot mobile recording studio bus to Austin during its world-famous music week between March 14th and 16th. The UniqueSquared Mobile Studio, which will make stops at various locations in downtown Austin during its music festival, is being co-sponsored by Sennheiser and features a control room, isolated vocal booth / tracking room, a listening lounge and plenty of gear from Sennheiser and Neumann. Music fans are encouraged to attend and admission is free.

The UniqueSquared Mobile Studio will feature an assortment of world-class microphones from Sennheiser and Neumann and several dedicated listening stations equipped with a selection of the latest headphones from Sennheiser — including the HD 800, which many audiophiles consider to be the best-sounding headphone in the world. Following is a selection of the audio equipment that the mobile recording studio will have on hand for musicians and fans to demo:

– Sennheiser e 906, e 914 and MK 4 instrument / vocal microphones
– Sennheiser e 835 and e 935 dynamic vocal microphones
– Neumann TLM 103 condenser microphone
– Sennheiser Amperior, HD 25, HD 205, HD 280, HD 650,HD 800 headphones and others
– TRUE Systems P2 Analog preamplifier (distributed by Sennheiser)

“We are happy to co-sponsor the UniqueSquared Mobile Studio this year in Austin,” commented Tim Moore, artist relations manager, Sennheiser. “It is exciting to interact with so many diverse music fans in one place, and the Mobile Studio enables them to try out a wide range of Sennheiser and Neumann products in a professional environment before making a purchasing decision.”

The UniqueSquared Mobile Studio, which will also have products for sale, is being presented in conjunction with the Sennheiser / Paste party at The Stages on Sixth — where 33 artists will perform over the course of three days.

Over the course of the showcase event, one pair of Sennheiser HD 800 headphones will be given away each day to three lucky registered showcase attendees and hundreds of cards will be given away featuring free music downloads of Sennheiser artists. A dedicated, interactive listening station will be provided for the duration of the event so music fans can experience Sennheiser’s latest products including the Amperior DJ-style headphones, which were recently unveiled at CES 2012.

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Related Topics: Events, Microphones |

Sennheiser Rocks (and Rolls in the Deep) with Big Grammy Winners

Los Angeles, California, March 1, 2012: This year’s Grammy Awards event, hosted by LL Cool J, celebrating music’s biggest night, went down in history as the second highest rated telecast since the show’s inception in 1959. It was a phenomenal undertaking showcasing nearly thirty diverse musical performances on multiple indoor and outdoor stages, along with a very last minute tribute celebrating the late Whitney Houston. So when Sennheiser artists took the stage, their engineers knew they had to have Sennheiser microphones to assure their performances would go off without a hitch.

Adele, the big winner of the evening, tied the record, set two years ago by Beyoncé, for the most awards won by a female artist in one year. The 23-year-old pop-soul singer won the night’s most prestigious awards, including Album of the Year and Best Pop Vocal Album for 21, Record of the Year, Song of the Year and Best Short Form Music Video for the single “Rolling in the Deep,” and Best Pop Solo Performance for “Someone Like You.”

The most highly anticipated performance of the evening finally arrived when Adele took the stage to perform “Rolling in the Deep.” Her favorite nickel-finish Sennheiser SKM 2000-XP wireless handheld transmitter with MMK 965-1 capsule conveyed her beautiful voice to the adoring crowd. Dave McDonald, Adele’s front-of-house engineer, said, “It’s a great microphone. We started using it just after the Brit Awards in February of last year, and she’s loved it ever since.” He adds, “Ninety-nine-point-nine percent of the equipment we use is Sennheiser – and the point-one percent is Neumann.” Her performance brought the Grammy audience to its feet for the longest standing ovation of the evening.

Foo Fighters, nominated in a total of six categories, swept the entire rock category, winning awards for Rock Song and Rock Performance for “Walk,” Rock Album for Wasting Light, Hard Rock/Metal Performance for “White Limo,” and Best Long Form Music Video for “Foo Fighters: Back and Forth.”

The band rocked the stage twice during the Grammy broadcast, performing “Walk” from a tent on Nokia Plaza, adjacent to the Staples Center, then returning to play “Rope” during the electronic dance music segment with David Guetta, Chris Brown, Lil’ Wayne, and deadmau5. Frontman Dave Grohl made use of his usual Sennheiser MD 431 II vocal mic on both songs. Ian Beveridge, Foo Fighters’ longtime monitor engineer, spoke highly of Dave’s vocal mic: “I love that microphone to death. That microphone is so unbelievably flat in the high-end, and incredibly stable with moisture and temperature. During their shows, we used to have terrible instability problems with other microphones, and I was going through maybe four, five or six microphones a show with Dave, swapping them out. Now, I keep the 431 for the whole show. I can’t remember the last time there was any feedback during Foo Fighters’ show. And these Grammy performances were no exception.”

Bruno Mars, channeling James Brown with his energetic, throwback performance of “Runaway”, had the singer using an SKM 2000-XP with MMD 945-1 capsule. James Berry, monitor engineer for Mars shared, “Sennheiser products have great sound and reliability. We could not have done it without Sennheiser. I’m always grateful for their gear and support in making it happen under the stress of a live event like the Grammys.”

Other Sennheiser users got to shine during the show, too, including the evening’s host, LL Cool J, who made use of an SKM 5200. Alicia Keys sang a duet with Bonnie Raitt in memory of Etta James through her SKM 5200-II vocal mic with MD 5235 capsule. Katy Perry made a memorable entrance, descending in a glass box with her baby blue hair and her SKM 5200-II/MD 5235 combination to perform her new post-divorce song, “Part of Me.” During a medley honoring and featuring Glen Campbell, Blake Shelton performed the songwriter’s “Southern Nights” using his SKM 5200-II /MD 5235 vocal mic. Tony Bennett, in a duet with Carrie Underwood on “It Had to Be You,” also used an SKM 5200-II.

(Photo Credit: © 2012 FilmMagic)

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Related Topics: Events, Microphones, News |

Uncompromising Classical Audiophile Label 2L Relies on Antelope Audio’s Zodiac Gold DAC to “Proof Listen” its High Resolution Masters

Oslo, Norway, February 28, 2012 — Morten Lindberg is well-known in the audiophile community as head of 2L (Lindberg Lyd), a recording label based in Oslo, Norway that has been exporting its premium classical and folk recordings from Scandinavia for over a decade. Lindberg, who insists on extremely high quality production values throughout the entire recording, manufacturing and packaging processes, uses the Antelope Audio Zodiac Gold to ‘proof’ the carefully recorded 352.8 kHz/24-bit stereo master files before they are ever duplicated or distributed to the company’s discriminating international customers.

2L has garnered no less than 12 GRAMMY Award nominations over the last six years — seven of them in categories including “Best Engineered Album” and “Best Surround Sound Album.” These releases, which feature Norwegian composers and musicians, are recorded in spacious concert halls, cathedrals and churches throughout Scandinavia. One of the greatest challenges is to ensure that performances are reproduced in the living room of the listener as accurately as possible, therefore, 2L is always exploring the best mediums, file formats and technologies available: including Antelope Audio’s Zodiac Gold DAC.

The Zodiac Gold is a D/A converter, pre-amp and headphone amp engineered to deliver pristine audio with keenly articulated pitch and a spectacular soundstage. The unique sound of Zodiac DACs is based on Antelope’s Oven Controlled Oscillator and 64-bit clocking technology used by the world’s top audio engineers.

“Working daily with the finest European AD and DA converters on venue recording, our standard is set to the extreme,” says Lindberg. “I was hardly prepared for the overwhelming moment when I found that the sonic qualities of the Zodiac Gold immediately recalled my memory of the recording sessions.” The Zodiac Gold, which is now a key component in Lindberg’s monitoring chain, is also convenient to use on-location. “With the USB, I am able to use the Zodiac Gold in true plug-and-play fashion with my MacBook Pro. This makes it perfectly suited for portable playback in workshop environments.”

“More than 50% of our total revenue as a label now comes out of Hi-Res FLAC file distribution, with international partners like Hdtracks.com, Highresaudio.com and e-ONKYO,” Lindberg continues. “The Zodiac Gold is a perfect match for domestic customers searching for the best sonic values in computer playback of these super-high resolutions.”

While still a relatively young recording label from a classical music perspective, 2L’s accomplishments are very impressive nonetheless. When 2L began its own studio operations 15 years ago, its core business was contracting recordings out to other labels such as EMI/Virgin, Naxos, Linn and Philips and others. Since 2001, there have been well over 50 recordings issued by 2L and among the highlights for 2012 will be a landmark release of TrondheimSolistene – SOUVENIR, which is being released in two parts and will appear on both vinyl and Pure Audio Blu-ray.

While nothing can replicate the exact sensory experience of listening to a recording session in-person, the Zodiac Gold DAC can help listeners come just a little bit closer: “There is no method available today to reproduce the exact perception of attending a live performance,” concludes Lindberg. “As recording engineers and producers we need to do exactly the same as any good musician; interpret the music and the composer’s intentions and adapt to the media where we perform.” For 2L, the Zodiac Gold continues to perform.

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Sennheiser and Paste Magazine to Present 33 Bands in Three Days for Ultimate Music Lovers’ Showcase at Stages on Sixth in Austin

AUSTIN – February 28, 2012: Audio specialist Sennheiser announced that it has partnered with Paste Magazine to present an ultimate music lovers’ showcase during Austin’s famous music week on March 14, 15 and 16. All in all, there will be 33 performances over the course of three days by an eclectic mix of new and established acts held at the Sennheiser-endorsed The Stages on Sixth.

The marathon lineup at Austin’s The Stages on Sixth will include indie rock veterans The Wedding Present, The dBs and Built to Spill, as well as newer acts such as We Were Promised Jetpacks, Blitzen Trapper and Lumineers. Each of the two indoor and outdoor stages will feature sound delivered by premium audio brand Sennheiser.

Sennheiser Returns to Austin

Sennheiser will be sponsoring a showcase at The Stages on Sixth during Austin’s most revered music week for the second time in a row. Sennheiser will have its latest headphones on display, including the Amperior DJ-style headphones unveiled at CES earlier this year, as well as its famous evolution wired microphones. Following are details on locations and times:

· What: Sennheiser & PastePresent The Stages on Sixth, Austin
· When: Wednesday, March 14-16, noon to 6:00 p.m.
· Lineup (may be subject to change without notice)
o Wednesday, March 14: MyNameIsJohnMichael, River City Extension, Apparat, Caveman, Typhoon, The Chain Gang of 1974, Rich Aucoin, Hospitality, Tennis, Van Hunt, Ben Kweller
o Thursday, March 15: Dinosaur Feathers, Howler, Vintage Trouble, JC Brooks, Of Monsters and Men, The dB’s, Rubblebucket, We Were Promised Jetpacks, Blitzen Trapper, Japandroids, Built to Spill
o Friday, March 16: Barr Brothers, Crooked Fingers, Lumineers, The Belle Brigade, Reptar, Rhett Miller, Idle Warship, Alberta Cross, The Wedding Present, Punch Brothers, Glen Hansard

For more information and to RSVP, visit www.sennheiserusa.com/paste.

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Lady Antebellum Expands Tour and Sennheiser Endorsement

Old Lyme, Conn.– February 21, 2012: Few need an introduction to Lady Antebellum, who, in the four short years since its formation, has won six Grammys, scored six number one hits on country radio, has sold over six million albums across the globe and is currently on its 2012 Own The Nightworld tour. Sennheiser is supporting the tour with equipment, such as SKM 5200-II wireless vocal microphones and ew 300 IEM G3 wireless personal monitors, along with the expertise to ensure that no glitches ever distract from Lady Antebellum’s spellbinding performance. With an agreement brokered by Tim Moore, artist relations manager for Sennheiser USA, and Kristy Jo Winkler, Sennheiser global relations manager for the Americas and Canada, reigning Country Music Awards and Academy of Country Music Awards Vocal Group of the Year Lady Antebellum is now a Sennheiser Global Relations endorsed artist.

FOH engineer Brett “Scoop” Blanden was careful to select the perfect wireless vocal mic for the tour. “The stage setup includes a forty-foot runway that extends well in front of the house PA,” he said. “I needed a microphone and a capsule that would be well-suited to all six vocalists – who might all be on that runway at the same time! By using the same capsule, with the same frequency response and polar pattern, on all six mics, I am able to tune the PA without fear of the unpredictable interactions that can occur when different capsules are open on stage.” Blanden selected the Sennheiser MD 5235 dynamic capsule, which features a floating directivity that is super-cardioid at high frequencies and cardioid at low frequencies. The Sennheiser SKM 5200-II handheld RF transmitter completes the vocal setup, and two additional SKM 5200-II/MD 5235 combinations go to the opening acts.

Monitor engineer Peter Bowman organizes the RF channels for the show. “I have had zero RF issues since we made the switch to the Sennheiser 5000 series on vocals,” he said. “In addition, I’m also very happy with how useful the Command Function is for Lady Antebellum. Whether they need the guitar turned down or a cup of tea, they can communicate with ease from any point on the stage.”

Instrument mics include the Sennheiser e 901 on kick, the e 904 on rack toms, the e 902 on the floor tom, and a small diaphragm e 614 on the ride. “I’m particularly fond of the e 904 and e 902 on the toms,” said Blanden, who is himself a drummer. “I love the tonal picture of those dynamic mics – it’s familiar and comfortable to me. The frequency response and transient response are perfect. I can run those inputs flat on my channel strip because all the right color is captured by the mic. The convenient mounting hardware on the e 904 is also nice.” For all three guitar cabinets on stage, Blanden uses the classic Sennheiser MD 421-II. “What a standard! Even in my studio days,” he said, “I was always a fan of the MD 421 on guitars. It has the perfect combination of top-end bite and low-end growl to deliver the ideal rock ‘n roll guitar sound.”

In addition to the eight Sennheiser SKM 5200-IIs for vocals (and their associated command channels), Bowman manages eight Sennheiser EK 300 IEM G3 stereo wireless personal monitors, for a total of twenty-eight wireless frequencies. “I set them myself every day,” he said. “And with the scanning options available on both the G3 and 5000 series, that process is fairly simple. I love that when the monitor system is networked together, I have the ability to set all the transmitters to new frequencies using just one bodypack. I usually scan one bodypack during the day, even before I get power to monitor world, and then use it later to synch up all the transmitters.” For antennas, Bowman uses one Sennheiser paddle antenna and one Sennheiser A 5000?CP circularly polarized antenna. “Although I know there are several valid approaches, this system works well for me,” he said. “Our RF performance has been perfect.”

Even the band’s guitars and bass benefit from Sennheiser wireless technology. To navigate the tour’s large stage with the crowd-pleasing confidence that a wire won’t allow, every fretted instrument is equipped with a Sennheiser ew 572 G3 wireless transmitter, save for one acoustic guitar which uses an ew 572 G2 unit. There are eleven units in all. “Our RF performance has been absolutely flawless,” said guitar tech Steve Castro, who formerly worked with Sugarland. “We all work together to maintain clean channels. If someone gets stepped on, it’s a simple matter to use the scan feature to dial in a new clean channel.”

“The Sennheiser team has really gone above and beyond for us,” said Blanden. “Tim Moore has been there for us during the last four years. Throughout our trips to Australia, Europe and various television performances, Sennheiser is the gear we rely on for consistency wherever we are performing.”

Winkler added, “For decades, Sennheiser has supported emerging artists as well as mega-stars. All of us on the Global Relations team welcome Lady Antebellum to this special tier of artists and congratulate them on their creativity, musicianship, performance excellence, and industry dedication.”

(Photo Credit: © 2012 Adam Boatman)

Hollywood Casino Joliet Goes First Class with K-array Installation

Chicago – February 16, 2012: Offering the excitement of Hollywood just 45 minutes outside of Chicago, Hollywood Casino Joliet recently underwent a major renovation to its entertainment and dining pavilion, which was destroyed by a fire in March 2009. Hollywood Stadium, a sports bar/entertainment venue located within the pavilion, has since been completely rebuilt and now boasts the latest technology and audiovisual elements, including an 80 x 20-foot screen, over 40 flat-screen TVs and a K-array loudspeaker system, the latter of which is distributed by audio specialist Sennheiser.

“After the fire, we took the opportunity to bring our pavilion up to speed both aesthetically and technologically,” recalls Justin Sattazahn, audio-visual supervisor of Hollywood Casino Joliet. “In Hollywood Stadium, I was looking for a stealthy loudspeaker system that would provide great sightlines and high fidelity throughout the room.” He chose a K-array system, including two KK200 arrays mounted to poles on either side of the stage, four KL18ma subwoofers — each of which was mounted inside the stage — and (4) KF12 self-powered monitors.

A Non-Traditional Solution in a Forward-Thinking Venue
Sattazahn, who has a background in the touring industry and recently made the move to casino entertainment, knew that a traditional horn-loaded P.A. system would not be suitable for Hollywood Stadium — which presented both acoustic and visual challenges. The visual challenges included maintaining unobstructed viewing angles to the stage performers, the massive projector screen and the flat-screen televisions scattered throughout the room.

“My initial design was going to be your standard hanging J-style line array,” Sattazahn recalls. “However, since the sightlines were so important and since I was dealing with a room that was very acoustically reflective, the K-array was by far the best choice.” The room, which measures 60 x 125 feet, has 45-feet-high ceilings and is constructed primarily of concrete. “There were a lot of acoustic challenges that we had to overcome, not the least of which were all the reflective surfaces.”

The precise sound dispersion patterns of the KK200 — which have a horizontal throw of 110 degrees and a vertical throw of just seven degrees — helped Sattazahn and his team overcome the acoustic challenges of the venue while maintaining unobstructed sightlines towards the stage. Moreover, by installing the K-array solution, every seat in the house offers a pristine audio experience.

Smooth sounds in a small, powerful package
When it is not a sports bar, Hollywood Stadium is transformed into an intimate music venue that caters to smooth jazz, country, Top 40 dance music and everything in between. Musicians of all genres regularly pass through the venue, and Sattazahn says that so far, the loudspeaker system has gotten high marks: “One of the bigger regional bands that comes in here is called 7th Heaven. When they first saw the K-array system, they said, ‘Is this it?’ But by the end of the show, they had no doubt that the K-array could handle everything they had and a lot more!”

The new K-array system receives regular praise from both performers and patrons alike: “We get a lot of compliments that this is the best system that they’ve ever heard,” says Sattazahn. “Some bands describe the sound as ‘smooth’, and say that it’s as if they are listening to their performance through a set of studio monitors — but in a live setting.”

Based on the successful performance of the K-array system in Hollywood Stadium, Hollywood Casino Joliet is already planning on installation additional K-array equipment in other locations in the near future. “K-array fits our brand and the high-end feel we are trying to achieve in our casino, so we are looking at adding new elements within the casino and the nightclub. K-array is already at the top of my list,” Sattazahn concludes.

Antelope Audio’s Zodiac DACs with iPad Control Bring Extra Level of Convenience and Performance to Audiophiles and Music Lovers

Santa Monica, February 15, 2012 — Antelope Audio’s Zodiac D/A converters are now compatible with iPad, allowing music lovers to enjoy pristine audio of up to 384 kHz, played and controlled from their iPad through the Zodiac DAC.

It is easy to connect and operate. Simply plug an Apple(R) Camera Connection Kit jack into the iPad and then plug in a USB cable to the Zodiac DAC – that’s it. The devices are connected. Then swiftly tap the Music App on the iPad and play the track.

“The compatibility between Zodiac DACs and iPad makes it easier than ever to enjoy high-resolution music from just about any location,” commented Marcel James, Director of Sales and Marketing, Antelope Audio, USA. “As the market evolves and adapts to smaller multifunctional devices — such as the iPad — we want to ensure that we are able to help deliver the highest possible audio quality to all music lovers. We are proud we are giving the people the opportunity to experience the pleasure of pristine audio with just a simple set up of a PC, MAC and now even iPad.”

The Zodiac DACs are compatible with iPads running the latest operating system (e.g. 5.0.1 or later). The DACs support files up to 384 kHz and FLAC files through FLAC player up to 192 kHz.

Short video demonstrating the plug & play functionality of iPad and Zodiac DACs is available here or paste http://bit.ly/zYbAl0 into your browser.

About Zodiac Gold 384 kHz D/A Converter
The Antelope Audio Zodiac Gold is a sophisticated and powerful DAC, Pre-Amp and Headphone Amp engineered to deliver pristine audio with keenly articulated pitch and a spectacular soundstage. The DAC received the prestigious Audio Excellence Award 2012, Tokyo, Japan. The unique sound of Zodiac D/A converters is based on Antelope’s Oven Controlled Oscillator and 64-bit clocking technology used by the world’s top audio engineers. Zodiac Gold DAC is among the very few on the market with 384 kHz audio streaming capability thanks to the custom designed USB controller chip that streams digital audio up to 480 Mbits. A dual-stage headphone driver architecture unveils every sonic detail, while the relay based volume control assures superb stereo imaging at any listening level.

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Sennheiser Helps Renowned Winter Carnival in Minnesota Usher in its first Annual ‘Silent Disco’

St. Paul, Minn. – February 14, 2012 – At the Beer Dabbler Winter Carnival Craft Beer Festival in St. Paul, an annual event that hosts over 60 breweries presenting over 200 craft beers, participants are always looking for new ways to interact and have fun while frolicking in the freezing cold Minnesota air. This year, the Jacob Leinenkugel Brewing Company of Chippewa Falls, Wis. sponsored its first ‘silent disco’ during the festival. The unique event featured 30 pairs of Sennheiser RS 120 wireless headphones for attendees to enjoy while shaking it up on the dance floor.

The silent disco, which lasted 4.5 hours on the evening of January 28th, was an instant success, drawing both eager dance participants and curious onlookers who found the spectacle entertaining to watch — even through bystanders could not hear the music. From a technical perspective, the event could not have been simpler to run, requiring just 30 pairs of Sennheiser RS 120 headphones, two Sennheiser transmitters, an Apple iPad and an Apple iPod Shuffle.

“People were skeptical at first, but by 8:00 p.m. when the disco closed, there were more than 100 people still waiting in line for their turn to dance,” said Matthew Kenevan, owner and founder of Beer Dabbler. “Everyone loved the silent disco, whether they were dancing or watching, and the Sennheiser RS 120 wireless headphones delivered excellent sound quality while making the technical side as simple as possible to run the event.”

The silent disco was designed and run by Full Compass Systems, a national leader in professional audio, video, A/V and lighting systems. In addition to the audio equipment that formed the basis of the silent disco, Full Compass Systems also provided the disco lighting (and disco ball) under a canopied 25 x 25-foot dancing area.

“When we were approached about doing the silent disco, we immediately recommended Sennheiser RS 120 headsets,” said Manny Figueroa, national/international account manager at Full Compass Systems. “They delivered outstanding audio quality throughout the evening — even in 17-degree temperatures — with no additional battery charge required.” A Leinenkugel refreshment stand kept the dancers’ thirst quenched while they danced between the hours of 3:30 and 8:00 pm.

Following the overwhelming success of its very first silent disco, the Beer Dabbler Winter Carnival will now make this an integral part of the festival each year. Kenevan plans to double the size of the event next year, and will purchase twice the amount of Sennheiser RS 120 wireless headphones.

“We had a lot of good feedback on both the silent disco and the Sennheiser RS 120 wireless headphones,” Kenevan commented. “I was able to deliver top of the line audio quality for everyone who participated. I could not have been more impressed with the outcome. I’m looking forward to adding more next year!”

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Sennheiser and House of Blues Renew Marketing Alliance

Wedemark, Germany, February 6, 2012: Four years ago, audio specialist Sennheiser teamed up with the House of Blues – creator of a celebrated collection of intimate music venues. Sennheiser supplied a comprehensive set of its evolution series wired and wireless microphones and personal monitors, as well as Sennheiser headphones and Neumann microphones, to each of the House of Blues’ thirteen locations in the United States. The gear allowed House of Blues’ engineers to optimize sound reinforcement and provide robust RF solutions for the diverse performers that nightly take its stages. In addition, each company benefited from the cross-marketing exposure generated by the relationship. With such an obvious win for Sennheiser, the House of Blues, the musicians, and the concertgoers, both parties gladly renewed the marketing alliance.

Live music powerhouse Live Nation owns the House of Blues, which, in the two decades since opening its doors, has risen to become the USA’s preeminent live music venue for intimate shows. Each location is distinctively decorated with the world’s largest collection of folk art and serves top-drawer food and beverages. The fact that the House of Blues provides state-of-the-art sound reinforcement and lighting makes the venue a top choice of both local and national acts. Sennheiser’s Global Relations Manager for the Americas and Canada, Kristy Jo Winkler, worked with House of Blues to facilitate the renewal. “Our relationship with the House of Blues strengthens Sennheiser’s marketing at the MI and corporate levels,” she said. “Every night, musicians and engineers from around the globe experience the musicality and reliability of our microphones and RF equipment. We’re happy to continue such fantastic exposure.”

Matthew Scoggins, FOH Engineer at the House of Blues Los Angeles, commented, “No matter what the application, when clarity is of the utmost importance, I reach for a Sennheiser mic.” The House of Blues is set up with a full complement of gear, suitable for any of the diverse flavors of contemporary music that the House of Blues hosts. The kits include multiple models of evolution mics for backline and vocals, a couple of Neumann vocal mics and Sennheiser headphones. “The House of Blues prides itself on providing an ideal venue for both our artists and our guests,” said Dan Schartoff, VP Club and Theatre Productions for Live Nation. “Everyone loves the sound we’re getting with the Sennheiser gear, and we’re glad it will continue.”

Brian Fiegelman, A1 tech at House of Blues Dallas, agreed: “The Sennheiser e 900 Series mics are always my first choice. Their tailored frequency responses make it easy to mix everything from gospel to metal. In addition, the durability of their metal casings makes them almost indestructi¬ble… an essential asset that has allowed them to stand up to years of abuse on our Dallas stage!”

House of Blues Dallas production manager Thomas DeBeaudry said that Sennheiser’s robust performance often solves problems and makes Sennheiser devotees of touring engineers and bands. “We sit in a heavily saturated wireless environment,” he said. “On more than a few occasions, we have used our Sennheiser EM 2050 wireless package in place of a touring wireless package because of its ability to continuously scan and eliminate RF interference. We often find that the engineers and musicians prefer our rig due to its ease of use and its bulletproof performance. In addition, the smooth frequency response of the Sennheiser MMK 965-1 capsule generates a lot favorable comments.”

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