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Sennheiser adds an interpreter console to its Tourguide portfolio

Old Lyme, CT, September 16, 2014: With the new SL Interpreter console, audio specialist Sennheiser expands its Tourguide conference and presentation system with a complete solution for controlling language interpreting channels.

SL_Interpreter_isofrontAs a self-contained unit for simultaneous interpreting, Sennheiser’s SL Interpreter brings together all the key functions of an interpreting console. When combined with the rack-mount SR 2020 Tourguide transmitter and Tourguide receivers for the audience, it delivers scalable language interpreting solutions that ensure simple installation and user-friendly operation.

“Whether you’re doing a small product presentation or an international conference with hundreds of participants, SL Interpreter will impress with its flexibility and ease of use,” explained Vanessa Jensen, Senior Product Specialist, Integrated Systems at Sennheiser.

In combination with the digital Tourguide 2020 receivers (available in both bodypack and stethoset versions), SL Interpreter creates an interpreting solution that is easy to operate and quick to install. For more demanding applications, SL Interpreter and Tourguide 1039 bodypack receivers are the best combination to ensure optimum speech intelligibility, even in environments with heavy RF traffic.

A flexible complete solution – ready in next to no time:

SL_Interpreter_backSL Interpreter handles the floor language plus one relay language. If more translations are needed, up to four interpreting consoles can be combined in order to provide simultaneous interpreting in up to four languages.

As usual, two interpreters can work at each SL Interpreter console, which enables them to take turns at interpreting. Each interpreter can individually adjust the audio settings directly at the console. In addition to controls for volume, treble and bass, the new Sennheiser interpreting console has a mute function and “cough” button to briefly mute the microphone. As a complete solution, SL Interpreter can be set up easily and quickly. All that is needed is to connect a headset (or a microphone and a pair of headphones) and the language interpreting solution is ready to use.

The Sennheiser SL Interpreter is available now.

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 SL Interpreter console completes Sennheiser’s Tourguide portfolio

2: The new SL Interpreter console turns Tourguide into a genuine all-round talent

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MORE THAN 130 POWERSOFT AMPS AT CORE OF NEW BILLION DOLLAR SPORTS HUB IN SINGAPORE

E&E fulfills major AV integration on National Stadium site

Singapore, September 15, 2014: The dynamic new Singapore Sports Hub, constructed at an estimated cost of Just over $1 billion US dollars, has now opened on the site of Singapore’s former National Stadium in Kallang. With the newly constructed 55,000-capacity stadium as its centerpiece, offering spectacular views over the waterfront and Singapore city skyline, it also includes the 6,000-capacity OCBC Aquatics Centre, the 3,000-capacity Arena (scalable into six halls), the Water Sports Centre located along the Kallang Basin, and commercial areas for leisure, shopping and dining activities.

Construction began in 2011, and the following August, Electronics & Engineering Pte (E&E) won the contract for the full integration of the Event Sound System and HD giant screens. Working to an architectural and engineering design prepared by the consultants, they specified well over 130 of Powersoft’s premium 1U K-Series and Duecanali Series amplifiers to drive the various PA and sound reinforcement systems. They described the project as “probably the largest high-powered distributed audio system that E&E has ever worked on.”

The network design for the National Stadium audio transmission was extremely complex, involving switching via 40 Netgear Gigabit 1000 base network switches. The main racks are populated by no fewer than 70 Powersoft K10 amplifiers (capable of delivering a jaw-dropping 12000W into 2 ohms) and 26 K2 amplifiers, incorporating the company’s proprietary DSP+AESOP technology — offering fully integrated sound shaping and system management capabilities).

These are found in 16 air-conditioned racks up on the Catwalk where they power six EAW MQX speakers, 35 QX speakers and 48 SB528zP subwoofers to serve the entire stadium bowl. This is processed by Symetrix SymNet Edge DSP, while a PC runs Dante software control and patching.

The Catwalk location for the amp racks was determined at an early stage in order to minimize the cable runs to the speakers. This was logistically challenging in view of the available space. However, Gary Goh, Deputy Managing Director at E&E, acknowledged that despite the limited rackspace, the fact that Powersoft amplifiers output extraordinary power from just 1RU chassis made this possible. “To derive sufficient power from such compact real estate required the superior switchmode amplification technology of Powersoft’s K series, with its incredible power to weight ratio. It really helped to maximize the space efficiency,” he reports.

The audio distribution design was based on an amplifier network running AES inputs as standard and analog inputs as backups. The amplifiers are controlled and monitored via the Armonía Pro Audio Suite software and deliver EAW Greybox settings in the DSP to the loudspeakers.

Elsewhere, a similar network was constructed for the OCBC Arena, using Powersoft’s energy-saving Duecanali 2-channel installation series. Via Netgear 1000 base network switching, in Amp Room 1 22 x Powersoft Duecanali D3904 amplifiers were specified to power large quantities of EAW and Community loudspeakers at various levels in all six halls — with signal processing again carried out in SymNet Edge, with signal transport over Dante.

Operating on the same principle in the Aquatic Centre are a further 15 Powersoft Duecanali D3904 amplifiers populating Amp Rack 1 and 2 to power the EAW loudspeakers installed at the Catwalk to serve the swimming pool area and further column speakers, installed at pool side, to service the corridors.

The final deployment of Powersoft amplification is in the Water Sports Centre, which, like the other zones is fully featured with Netgear switching, Symnet DSP, full audio control/mixing and playback devices. Here, the final three Powersoft Duecanali D3904 can be found in the Amp Room driving three EAW speakers installed at the top tower of the Centre.

All of which will future-proof the new Singapore Sports Hub for years to come — ensuring on the one hand that the public address and voice alarm systems can be heard intelligibly while the line and live playback pack plenty of punch.

“The clients trusted us to deliver all their technological requirements and I am confident that we have succeeded,” concluded Mr. Goh.

About Powersoft:
Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

About Singapore Sports Hub:
The centrepiece of the Singapore Sports Hub is the new 55,000-seat National Stadium. The retractable seating capability allows for flexible reconfiguration of the stadium’s bowl, making the National Stadium the only stadium in the world able to host rugby, cricket, football, athletics and concerts in one venue. The stadium’s retractable roof and energy efficient bowl cooling technology also represents the next stage in sustainable stadium design, providing athletes and spectators with a unique and comfortable environment. OCBC Arena consists of six halls over two levels that are designed to be scalable in size, and will cater to an array of indoor sports events for both National Sports Associations as well as the general public. This 1,000-3,000 capacity venue was designed for badminton, fencing, taekwondo, basketball, netball, volleyball, rhythmic gymnastics training and table tennis. OCBC Aquatic Centre is designed to cater to both the general public and elite athletes, and will be able to host community-run events to premier aquatic competitions. Planned for everyday use and flexibility to host international events, the OCBC Aquatic Centre will have the ability to add additional temporary seating and double its 3,000 permanent seating capacity to accommodate a variety of events. Water Sports Centre will have community and elite training facilities for aquatic enthusiasts of all levels. A 500 metre course will be mapped out on the water and a one kilometre course will be accessible from Marina Bay. Canoeing, kayaking and dragon boating can be enjoyed at the Water Sports Centre.

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Sennheiser launches Dante™ card for Digital 9000 wireless microphone system

Amsterdam, September 15, 2014: At IBC, audio specialist Sennheiser is launching a Dante™ card for the EM 9046 receiver, enabling its top-of-the-range Digital 9000 microphone system to be integrated into Dante™ audio-over-IP networks. Users can conveniently route the system’s high-definition audio data via Audinate’s Dante™ Controller.

EM_9046_DANWhen it comes to digital audio networking, Audinate’s Dante™ is among the leading solutions for live audio, broadcasting and installations. Dante™ works with existing network infrastructure using IP and Ethernet standards and offers hundreds of channels of high-quality audio. “This is what makes Dante™ so attractive for us,” says Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. “With the extension card, broadcast and live audio engineers now can easily integrate our best wireless microphone system into a Dante™ network and benefit from its exceptional sound.”

Digital_9000The EM 9046 DAN extension card is simply inserted into the expansion slot of the EM 9046 eight-channel receiver. Internally, the card features sixteen audio inputs to send the digital audio and command signals over the Dante™ network. Connection is via two Gbit RJ45 sockets that serve to establish two redundant network circuits or daisychain the signals. The card works with sampling rates of 44.1/48/88.2 and 96 kHz at a resolution of 24 bits. The EM 9046 DAN will be available from mid-October.

New Wireless Systems Manager software:

Sennheiser will also adapt its Wireless Systems Manager software to include a monitoring function for the Dante™ card. The new version 4.2 will also be available from October and will allow users to listen to and monitor the EM 9046’s Dante™ audio streams from any point in the network.

Visit Sennheiser at IBC, Hall 8, Stand No. D 50.

EM 9046 DAN includes license from Audinate Pty Ltd under U.S. patent number(s) 7747725, 8005939, 7978696, 8171152 and other patents issued, see www.audinate.com/patents.

About Audinate and Dante™
Dante™ is the digital audio networking solution of choice for over 155 professional audio manufacturers in the broadcast, live sound, commercial installed and conferencing markets. Audinate’s Dante solution builds on existing Internet (IP) and Ethernet net-working standards and offers a migration path to emerging standards like AES67. Dante networking replaces point-to-point cabling and matrix switching solutions offering hundreds of channels of high-performance audio, control and monitoring across existing network infrastructure. Installation and management is simplified through a unique combination of plug and play technologies, saving enormous installation and long-term ownership costs. Audio sources attached to any network port are available everywhere throughout the network with signal routing defined by software, not physical cabling. Audinate also offers a comprehensive set of interfacing options for PC and Mac equipment (Dante Virtual Soundcard and Dante PCIe card) enabling simple integration of existing software applications with the audio network.

About Sennheiser
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 part-ners 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 at www.sennheiser.com.

Captions:
1) The EM 9046 DAN card simply slots into the Sennheiser receiver, enabling Digital 9000 to send uncompressed HD audio data over a Dante™ network
2) The Sennheiser Digital 9000 system

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As Aspen Music Festival Completes its 65th Successful Season, Neumann Is There to Capture the Warmth and Musical Glow

The Neumann M 150 Tube Microphone Puts Listeners Front and Center for Key Festival Performances, Broadcast on Public Radio

Aspen, CO, September 2, 2014: Since 1949, The Aspen Music Festival and School has been one of the most famous classical music festivals in the world and one of the most prolific, hosting more than 350 performances between June and August each year. The Festival, which features four in-residence orchestras where students play alongside faculty, is recorded each year and can be heard on American Public Media (APM), Colorado Public Radio and Aspen Public Radio. To faithfully capture every nuance of the performances, The Festival relies on several Neumann M 150 microphones at its principal venue: Benedict Music Tent.

NM1Festival performances are mostly orchestral in content and can range anywhere from small chamber ensembles (3, 4 or 5 musicians) up to over 100 musicians and a full choir on stage. Each year, the main microphone array at the Benedict Music Tent consists of a Decca tree with (5) Neumann M 150 Tube microphones placed in the center and arrayed across the stage.

“Our Neumann M 150s Tube microphones, which were a gift from the Sidney E. Frank Foundation, have been a staple of the Festival for a long time,” said Scott Burgess, Head Audio Engineer, Aspen Music Festival and School. “It is of paramount importance for us to capture every instance of what these incredibily talented students are doing onstage, and the M 150 lends a warm sound that makes the orchestra shine in all of our recordings and broadcast transmissions across the country.”

NM2Each performance in Benedict Music Tent, which has a capacity of roughly 2,000, is manned by the Festival’s audio staff, which consists of 14 advanced students and professionals. Burgess says that students on the audio staff come from many of the major recording institutions around the country. This year, the Festival exceeded its attendance projections, with many sold out performances among its three primary venues. The 2014 season concluded with a rousing performance of Beethoven’s Ninth Symphony, which was broadcast live to a vast listenership on public radio.

M 150 Tube w EA 170This year, the Neumann M 150s — which were chosen as the principle microphone several years ago in a ‘blind’ listening test versus microphones from the world’s leading manufacturers — were routed to Grace Design and Millennia Media preamplifiers situated in the catwalk of the venue before being converted by an RME AD/DA interface and subsequently routed to a Studer digital console in the control room. The team relied on several Sennheiser HD 600s for headphone monitoring, including at Front of House: “The HD 600s can be useful at Front of House since they sound great and are open air,” says Burgess. “They can be useful for hearing audio details while remaining aware of what is transpiring around you.”

While this is only Burgess’ second season, he says there is vast collective experience and wisdom to draw from, and that the Neumann M 150 plays an integral role in The Festival’s sound. “The Festival has been working these rooms for a long time and, and we are quite clear on what we want and how to get it. From this perspective, the Neumann M 150 delivers in every possible aspect.”

For further information please visit www.neumann.com.

About Neumann:

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

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 captions:
1) Five Neumann M 150 Tube microphones are used to record performances at the Benedict Music Tent

2) The Decca tree array at the Benedict Music Tent

3) The Neumann TLM 150 Tube microphone

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Sennheiser Helps Houses of Worship Take the Straight and Narrow to Pristine Audio with New ‘Praise Pack’ Microphone Bundle

Praise Pack Is Tailored for the Needs of Small and Medium Sized Churches, Consisting of Four e 835 Dynamic Microphones Housed in Specially Embroidered Gator Case

Old Lyme, CT, August 25, 2014: Audio specialist Sennheiser announced that it has launched Praise Pack: a special new microphone bundle focused on the small to midsize house of worship (HOW) market. The new bundle, which consists of four e 835 dynamic vocal microphones along with four pouches and mic stand clips, come snugly packaged in a specially embroidered, road ready Gator case.

The new bundle, priced at just $349 (a savings of more than $100 if each mic was pur-chased separately), represents a great opportunity for churches to realize clear audio re-production with four of Sennheiser’s best selling microphones. Each e835 microphone comes with a 10-year warranty and fits neatly into the black Gator case, which has ‘Senn-heiser Praise Team’ embroidered on its exterior.

“The new Sennheiser Praise Pack is perfect for small to mid-sized churches that want to make their worship services more intelligible and sonically pleasing,” said Dawn Birr, Vice President, Sales & Marketing, Integrated Systems, Sennheiser. “The e 835 is a versatile, high quality microphone that is able to cut through high on-stage levels, has great feedback rejection properties and is a great technical addition to any worship service. The Praise Pack provides great protection for each mic and is ready to go at a moment’s notice.”

Sennheiser e 835 microphone features:

• Dynamic cardioid microphone for speech and vocals
• Cuts through high on-stage levels
• Clear reproduction with a high presence
• Consistent sound quality (varying distances, moving off axis)
• Handles high sound pressure levels
• Isolates handling noise, hum compensating coil
• Excellent feedback rejection
• Rugged metal housing

The new Praise Pack is a great way for small churches to begin realizing clear and crisp audio for either music or spoken word. It is also a great way for mid-sized churches to in-crease the breadth and quality of their microphone collection with four road tested, quality products from Sennheiser. To learn more about the Praise pack or to purchase, please visit www.sennheiser.com/praisepack.

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 em-ploys 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, Bel-gium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Rus-sia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mex-ico, 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.sennheiser.com.

Captions:
Sennheiser’s new Praise Pack consists of (4) e 835 dynamic vocal microphones, (4) mic pouches and (4) mic stand clips, all housed in a rugged and specially embroidered Gator case.

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As Restaurant Patrons Crave Quieter Dining Environments, GeerFab Acoustics Delivers Greater Speech Intelligibility and Quieter Atmosphere

Excessive Noise Remains a Top Complaint Among Diners, and Acoustic Designer Eric Geer Intends to Remedy This One Restaurant at a Time

Milwaukee, August 20, 2014: Without great conversation, even the most exquisite cuisine can be reduced to mere mediocrity. According to a leading restaurant survey, excessive noise can be a close second in the complaint department, directly after poor service. While most diners register excessive noise as a nuisance and possibly refuse to patronize establishments that are unable to control themselves, Eric Geer, president and founder of GeerFab Acoustics considers this an opportunity.

Since starting his successful acoustic design company six years ago, acoustically retrofitting res-taurants has represented a very significant part of his business, eclipsing even that of recording studios and live music environments. His company has had a hand in reducing noise at a wide variety of restaurants and other hospitality-driven establishments, including Bartolotta’s Harbor House on Lake Michigan, Simple Café in Lake Geneva, WI, and Café 1505 in Mequon, WI.

“Almost everyone I meet has had an otherwise enjoyable dining experience ruined by noise caused by simple conversations amplified by an unsuitable acoustic environment,” says Geer. “Restaurant owners are usually aware of these issues but they either don’t know what steps to take or are afraid of the potential costs involved to remedy them. Very often, improving these acoustics is less expensive than they thought and leads to significantly increased business and repeat customers.”

Over a decade ago, the San Francisco Chronicle became the first daily newspaper to include noise ratings in its restaurant reviews, and the topic of noisy restaurants has been covered in fea-ture articles in The Wall Street Journal, The New York Times and dozens of other high profile national print and broadcast outlets.

According to Geer, acoustic problems in restaurants usually emanate from an overabundance of reflective surfaces, which can often convey a streamlined and fashionable visual aesthetic while wreaking havoc on speech intelligibility. However, most acoustic problems can be resolved by integrating well-designed acoustic materials, enabling patrons to enjoy rooms that are both visu-ally attractive and sonically pleasing.

GeerFab’s custom solutions are tailored to the acoustic requirements and design parameters of the individual space and blend seamlessly into the existing interior design. A typical installation can reduce decibel levels by 10 dB. In fact, according to the House Research Institute, if you have to raise your voice to be heard, you are likely in an environment with decibels exceeding 85 dB, which can lead to hearing loss.

To learn more about GeerFab’s custom acoustic solutions, please contact geerfab@gmail.com or visit www.geerfab.com.

About GeerFab Acoustics:

GeerFab Acoustics implements acoustic solutions for a wide range of clients in the entertainment, restaurant, hospitality, healthcare and other industries. The company provides complete custom design and installation services and is the manufacturer of the RoomZorber line of acoustic prod-ucts. The company is based in Milwaukee, WI and was founded by Eric Geer. To learn more, visit www.geerfab.com.

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Fresh Off The Warped Tour and with a New Album Ashes to Ashes, Chelsea Grin Explores the Boundaries of Extreme Metal with Sennheiser

Following Successful Summer Touring Schedule, Chelsea Grin to Embark on International Headliner Tour in Early 2015 Taking Sennheiser Along for the Ride

Old Lyme, CT, August 20, 2014: Having recently completed a rigorous touring schedule with a string of successful performances on Warped 2014 and releasing its third full-length studio LP entitled Ashes to Ashes this summer, deathcore metal artist Chelsea Grin is taking a well deserved break before embarking on yet another 24-date U.S tour this October, alongside The Black Dahlia Murder and Suicide Silence. As one of the ‘heavier’ metal bands to have performed on the Warped Tour, Chelsea Grin considers touring an essential part of its lifeblood and depends on Sennheiser microphones and wireless equipment for unmatched quality and intelligibility.

Having toured relentlessly since forming in 2007, it didn’t take long before the band realized the importance of choosing the right equipment on the road — and the positive effect this can have on an overall touring experience. One of the turning points occurred several years ago when guitarists Jaek Harmond and Dan Jones purchased a set of Sennheiser ew 172 G3 wireless units for their guitar rigs, which are both still in use today. “I always knew that Sennheiser was all about quality, and at the end of the day, that is the most important thing for us,” says Harmond.

Since then, Chelsea Grin’s following has vastly expanded (the band’s Facebook page boasts well over one million likes) and its equipment arsenal has become far more sophisticated. But its work ethic and commitment to quality has remained the same and its choices in equipment have become more discriminating than ever. Recently, the band upgraded its entire wireless infrastructure to Sennheiser’s G3 series, and the band also acquired new vocal and instrument microphones, ensuring every single one was a Sennheiser.

Hitting the Sweet Spot with Sennheiser

Harmond recalls when the band made the decision to transition its lead vocal microphone, at the recommendation of Chelsea Grin Tour Manager / Front of House engineer Gino Scarim and Sennheiser Artist Relations Manager Tim Moore: “At first, our lead singer Alex [Koehler] was a little hesitant to switch because he was so used to the competitors wired microphone. But after we A/B’d it against the Sennheiser MD 431-ii, it was no contest. The Sennheiser won every time and just sounded better,” he says. Along with the MD431-ii, a custom red and white finished ew 500-935 G3 is the choice when a wireless option is needed.

On drums, Chelsea Grin uses Sennheiser’s evolution series, with an e902 on the kick drum, e904s’s on toms, an e945 on the snare and a pair of e614s as overheads. For each of its guitars, which are running direct, the group depends on Sennheiser ew 572 G3 wireless instrument transmitters and receivers.

In Ear Monitors: The Difference is Sennheiser

With six members continually pushing extreme sound pressure levels, the band considers in ear monitor performance absolutely critical. “Since we moved onto Sennheiser wireless in ear monitors 2-1/2 years ago, we have never experienced a failure,” explains Harmond. Currently, the band is using six channels of Sennheiser’s ew 300 IEM G3 system. “They have performed flawlessly on stage — even on the Warped Tour where there are about 100 other bands nearby.”

“When we first started out, we didn’t know much about wireless,” says Harmond. “But after touring for a couple of years, we realized that we can have a dramatic impact on the quality of our performances by making the right equipment choices.” During one gig in Germany, Harmond recalls when their choice of Sennheiser made all the difference: “We had our own in ear monitors and another band showed up with a different system. For some reason, theirs wouldn’t work, but ours did. I realized at that point there was a very good reason we decided to go with Sennheiser.”

Having top quality microphones and wireless equipment from Sennheiser has enabled Chelsea Grin to sound great no matter where they play: “Audio quality has always been very important to us and we want to sound the best we possibly can at every single gig,” Harmond concludes. “Now we can roll up to any venue — whether it has a capacity of 2,000 or 20,000 — and know that whatever is coming through the PA is the best we can possibly give. It is nice to be charting our own destiny rather than having to rely on whatever is in the house system. We are very grateful for our relationship with Sennheiser.”

To learn more about Chelsea Grin, please visit: www.chelseagrinmetal.com.

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.

Caption:
Chelsea Grin lead singer Alex Koehler with his custom red and white finished ew 500-935 G3 handheld transmitter.

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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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