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Sennheiser Appoints Mark Posgay as Vice President, Sales & Marketing, Professional Systems

Posgay Brings 20 Years of Sales and Professional Audio Experience to His New Role

Old Lyme, CT, December 12, 2013: Audio specialist Sennheiser announced that Mark Posgay has been appointed to the position of vice president, sales and marketing, Professional Systems, Sennheiser Electronic Corp effective immediately. In his new role, Posgay will report directly to Sennheiser USA President, Greg Beebe.

Posgay is an experienced sales professional with 20 years of audio industry expertise. Prior to joining Sennheiser, he held senior sales positions at Harman Professional, Monster Cable, and Mars Music, where he executed strategic solutions to a broad mix of customers and partners in the areas of management, sales, training and education.

“This is an exciting time of innovation in our professional systems segment, with the recent introduction of our Digital 9000 wireless system and a diverse group of other industry leading products,” commented Greg Beebe. “Mark brings an ideal mix of audio industry knowledge, customer insight and management expertise to lead our professional systems team as we implement our strategic growth initiatives into 2014 and beyond.”

Posgay, whose office is based at Sennheiser’s U.S. headquarters in Old Lyme, holds a Bachelor of Science in Psychology from the University of Florida and a certificate in Music Performance and Business from Musician’s Institute.

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.

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Sennheiser Digital 9000 System Drives ‘Next Wave’ of Interactive Art

The microphone system delivered uncompressed, artifact-free audio night after night to patrons donning Sennheiser wireless headphones

Los Angeles, CA, December 12, 2013: Last month, Invisible Cities, the world’s first large-scale opera for wireless headphones, completed its limited run of sold-out performances at Los Angeles’ Union Station – the largest railway terminal in the western United States. At the heart of the production, which was staged within the vast, multi-room expanse of the terminal as well as among its outdoor courtyards, was Sennheiser’s new Digital 9000 wireless system. The microphone system delivered uncompressed, artifact-free audio night after night to patrons donning Sennheiser wireless headphones.

The opera, a collaboration among The Industry, L.A. Dance Project and Sennheiser, was written by Christopher Cerrone and based on the 1972 novel by Italo Calvino. The narrative, which is accompanied by an 11-piece live orchestra being captured by a selection of Sennheiser and Neumann microphones, takes audience members on an artistic, multi-sensory journey throughout the terminal as character Marco Polo describes his quests to Emperor Kublai Khan. Thanks to professional and consumer wireless technology from Sennheiser, neither the performers nor the audience members are restricted by the typical spatial confines of a theatre, and participants are invited to experience the opera from an almost infinite number of different perspectives.

Three core technology elements from Sennheiser made the technical production possible: these included wired microphones; wireless microphones and IEM (in-ear monitoring) systems; and wireless consumer headphones. Each instrument in the orchestra was miked using Sennheiser or Neumann wired microphones while performances were broadcast to performers and audience members using Sennheiser’s state-of-the-art wireless technology. Audience participants were able to experience the entire performance using wireless consumer headphones from the Sennheiser RS 120 II system.

The Heart of the System: Sennheiser’s Digital 9000

From a technical perspective, the star of Invisible Cities was the Sennheiser Digital 9000 system, which delivered eight channels of uncompressed, artifact-free audio throughout the facility and captured every delicate nuance of the libretto. The components of the Digital 9000 system used in the opera included the EM 9046 digital receiver, SK 9000 bodypack transmitters and MKE 1 clip-on microphones.

“Digital 9000 was a natural choice for the singers,” explains Dave Missall, National Market Development, Professional Systems, Sennheiser USA. “In addition to delivering 24/96 kHz performance with unprecedented dynamic range and a non-existent noise floor, the Digital 9000 system made it easy to allocate frequencies in the middle of downtown Los Angeles, which is an extremely hostile RF environment. Since the Digital 9000 transmitters have very high linearity, intermodulation is non-existent. Therefore frequencies can be set in very close range to one another with no problems, making the system spectrum efficient.”

Running in parallel with Digital 9000 was Sennheiser’s 2000 series IEM system, which handled in-ear monitoring duties for each of the singers and dancers and ensured their performances were in lock step with the musical score. EK 2000 IEM receivers, IE 8 earbuds and SR 2050 IEM twin transmitters were accompanied by a highly complex antenna system. Four distinct zones throughout the terminal served as antenna farms to achieve seamless RF coverage for both the performers and for audience members wearing wireless headphones. Depending on the zone, A 2003-UHF passive directional antennas were deployed with A 5000-CP circularly polarized models, effectively minimizing signal strength variations while eliminating multipath issues.

Sennheiser and Neumann at the Source

Sound designer Martin Gimenez specified a diverse collection of Sennheiser evolution microphones as well as Neumann microphones to cover each instrument in the 11-piece orchestra. evolution microphones were used to capture brass and percussion, as well as overall room ambience. For woodwinds and strings, including the harp, Gimenez utilized several Neumann KM 184 small-diaphragm condenser microphones. On the piano, he selected a pair of Neumann U 87 Ai large-diaphragm condensers.

“Between the sonic immediacy of the headphone concept and Christopher Cerrone’s haunting orchestration, sonic transparency was paramount on our minds,” commented Gimenez. “Having access to the entire range of Neumann and Sennheiser microphones proved vital and necessary in order to convey the amount of detail to each and every audience member.”

Sennheiser Audio Quality, from Alpha to Omega

At the opposite end of the signal chain were four hundred wireless consumer headphones from the Sennheiser RS 120 II system, which delivered premium quality sound to the audience members during each performance. Featuring a comfortable, open-air design with easy access to user controls such as volume, tuning and an on-off switch, the combination of audio quality, comfort and ease of use made the headphones the perfect choice for this particular application.

The success of Invisible Cities’ initial run has been recognized extensively in the international press and was awarded a proclamation from the City of Los Angeles. Since completing its performances there, The Industry has entertained offers for performances in Bordeaux, France and other locations in 2014.

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

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

Photo captions:

1: Invisible Cities attendees listened to the opera on wireless headphones from the Sennheiser RS 120 II system

2: Sennheiser had four zones of antennas to facilitate wireless transmission throughout Union Station

3: The Sennheiser EM 9046 digital receiver

4: The 11-piece orchestra of Invisible Cities was miked using Sennheiser evolution and Neumann microphones

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The Ultimate in Listening Pleasure: New Sennheiser high-end cables

The HDVD 800 Features Balanced Sound Image, Maximum Precision and Impressive Spatiality

OLD LYME, CT, December 11, 2013: Audio specialist Sennheiser has announced the availability of symmetrical connecting cables for its new HDVD 800 and HDVA 600 headphone amplifiers. When combined with Sennheiser high-end headphones, the new high-end cables deliver a very special sound experience.

The new CH 650 S, CH 700 S and CH 800 S high-end cables are fitted with a four-pole plug to ensure that they are optimally matched to the fully symmetrical principle of Sennheiser’s headphone amplifiers, providing a symmetrical signal transmission from the source to the headphones. “Distortion and interference are cancelled out. The sound becomes much clearer and total harmonic distortion is reduced to a minimum,” explained Axel Grell, Product Manager High-End at Sennheiser.

Excellent materials, excellent sound

The new high-end cables are made of oxygen-free copper (OFC). The CH 700 S and CH 800 S versions are additionally coated with silver, further minimizing resistance during audio transmission. The new high-end cables also have gold-plated contacts. At the receiver end, a four-pole XLR plug with gold-plated Neutrik inserts ensures optimum sound, while the other end of the cable has headphone-specific plugs. The CH 650 S is specially matched to the Sennheiser HD 600 and HD 650 headphones, whereas the CH 700 S is optimised for the HD 700 and the CH 800 S for the HD 800.

In order to fully utilize the sound potential of the HD 800 reference headphones, the CH 800 S is outfitted with an extra feature. High-quality Odu connectors from medical technology are used to ensure maximum contact reliability in order to round off the outstanding sound experience. “These three cable versions put the finishing touch to Sennheiser’s high-end world,” said Axel Grell. “When combined with Sennheiser high-end headphones and the HDVD 800 and HDVA 600 headphones amplifiers, the cables ensure perfect sound.”

The high-end cables were designed and developed at Sennheiser’s headquarters in Germany. These latest members of the Sennheiser high-end family are also being manufactured there. The Sennheiser CH 650 S, CH 700 S and CH 800 S high-end cables are now available from selected Sennheiser sales partners.

The new cables are available now. Pricing is as follows:

CH 650 S: $239.95
CH 700 S: $319.95
CH 800 S: $379.95

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. The family-owned company, which was established in 1945, recorded sales of around €531 million in 2011. Sennheiser employs more than 2,100 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

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

Photo captions:
1) The new CH 650 S high-end cable from Sennheiser
2) The new CH 700 high-end cable from Sennheiser
3) The new CH 800S high-end cable from Sennheiser

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Masque Sound Ushers Sennheiser’s New Digital 9000 Wireless System onto the Great White Way

Leading Theatrical Sound Integrator Represents the Pinnacle of Audio Innovation, Offering its Clients ‘No Compromise’ Quality and Reliability from Sennheiser

Old Lyme, CT, December 3, 2013: Audio specialist Sennheiser announced that Masque Sound, a leading sound reinforcement, installation and design company, recently took delivery of a new Sennheiser Digital 9000 wireless system. The new acquisition enables Masque Sound to offer its clients the newest and most advanced wireless audio system ever manufactured by Sennheiser.

Masque Sound is a third generation company that has been providing Broadway and many large-scale touring productions with the most innovative audio solutions for over 75 years. The highly respected company counts timeless productions such as The Lion King, MAMMA MIA! and The Phantom of the Opera among its clients.

“There has been overwhelming demand among key designers and theatrical sound professionals to demo and use the Digital 9000 wireless system from Sennheiser,” commented Scott Kalata of Masque Sound. “We felt the Digital 9000 was an outstanding investment considering its quality and flexibility, especially as it relates to the upcoming frequency challenges our industry will be facing. We are very pleased to have such an innovative RF system in our possession and so far our clients are really looking forward to getting their hands on it.”

Every Sonic Picture Tells a Story

Kalata recognizes that Broadway productions require the best possible audio quality to help convey a story, and that today’s audiences expect nothing less than a moving and realistic audio experience: “Today’s sound designers want audio content to sound as neutral and as realistic as possible,” Kalata states. “They clearly want to move away from the companding artifacts that are always present to some degree and can compromise analog RF systems. The sonic difference between legacy and fully digital Sennheiser radios is night and day to even the casual listener.”

The Sennheiser Digital 9000 features completely uncompressed audio, artifact free wireless performance and superb dynamics while making frequency coordination nearly effortless. These features make it a top consideration for theatrical, broadcast and demanding live performance applications.

On Broadway, there are inherent challenges to achieving a clean wireless signal given the close proximity of television stations, radio broadcasts and other interference generating venues. The Digital 9000 enables seamless frequency coordination within extremely congested environments: “We need to make sure everything is coordinated to work within the local RF environment,” observes Kalata. “Remember, on 44th or 45th street in Manhattan, there could be over a hundred radios working at once, so this can be a huge challenge. Our testing of the Digital 9000 showed that it is incredibly robust and immune to extraneous frequencies, whether they are analog or digital. Because of this, we will be able to use it in environments where traditional analog radio might not be able to operate reliably.”

Masque Sound has an impressive track record of innovation, and prides itself on being one step ahead of client demand: “We were the first company to send a digital mixing console out on the road for a major musical tour back in the early 2000s — at that point, nobody had done anything on that scale,” says Kalata. “The Sennheiser Digital 9000 represents a similar innovation, so we felt was had to be involved with it very early on. We aim to always be a leader in the marketplace, not a follower.”

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.

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Moog Announces Minimoog Model D Expansion Pack for Animoog

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

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

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

Links:

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

About Moog Music:

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

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

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

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

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

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

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

Depending on Sennheiser Evolution Wireless G3:

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

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

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

Sennheiser Wireless Systems Manager:

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

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

About Sennheiser:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About Sennheiser:

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

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

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

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

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

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

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

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

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

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Sennheiser raises the bar for wireless transmission at CMA Awards

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

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

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

Sennheiser Digital 9000: the future of wireless is here:

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

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

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

Simple integration and operation:

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

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

Neumann: voiceover microphone of choice at the CMA Awards:

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

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

Sennheiser: “part of the crew”:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About Sennheiser:

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

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

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

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

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

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