Sennheiser Press Releases http://hummingbirdmedia.com/clients/sennheiser Kirby Tue, 18 Jul 2017 19:17:28 -0400 The latest news from Sennheiser USA SENNHEISER MICROPHONES CAPTURE UNFORGETTABLE PERFORMANCES AT CHELSEA MUSIC FESTIVAL IN AMBEO 3D http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-microphones-capture-unforgettable-performances-at-chelsea-music-festival-in-ambeo-3d http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-microphones-capture-unforgettable-performances-at-chelsea-music-festival-in-ambeo-3d Mon, 17 Jul 2017 00:00:00 -0400 The Chelsea Music Festival has prided itself on the diversity of its programming as well as the spaces in which those performances take place. In its first eight seasons, it has presented events at more than 50 locations throughout Chelsea and the rest of Manhattan, from schools to parks to churches. Featuring musical styles running the gamut from classical to jazz as well as visual and culinary experiences to complement them, its crowd mirrors the diversity of its programming.

This year’s Chelsea Music Festival featured marquee performances at St. Paul’s German Lutheran Church, vaunted for its acoustics. Anderson Audio New York was on hand to capture the performances there in Sennheiser’s AMBEO 3D audio

This year’s Chelsea Music Festival featured marquee performances at St. Paul’s German Lutheran Church, vaunted for its acoustics. Anderson Audio New York was on hand to capture the performances there in Sennheiser’s AMBEO 3D audio

This year’s festival, which took place in June, utilized the remarkable St. Paul’s German Lutheran Church as the marquee location for its opening and closing weekend performances. Built in 1884-85 in the Romanesque Revivalist style, it is not only notable for its appearance but also for the acoustics of its main chapel. For the first time, live recording experts Jim Anderson and Ulrike Schwarz of Anderson Audio New York were on hand to capture every note performed there during the festival for delivery via Sennheiser’s immersive AMBEO 3D audio format.

Audio Inspiration
The idea for a 3D capture of the performances germinated during last year’s festival, which Anderson and Schwarz had attended as guests. “We were very impressed with the level of musicianship at the festival, and when we heard that several performances would take place at St. Paul’s our interest was further piqued,” says Anderson. “This chapel was legendary in the 80s and 90s for serving as the location for many audiophile recordings of classical and jazz music.”

Anderson and Schwarz had also recently experienced Sennheiser’s AMBEO 3D immersive audio format in a demonstration at Sennheiser’s pop-up store in SoHo, and realized the potential for a totally unique recording of a live performance using the cutting-edge format. It was not long before they contacted Sennheiser and with the German audio innovator on-board as a festival sponsor, worked together on selecting the perfect Sennheiser microphones to capture every nuance of each memorable performance.

Anderson Audio New York’s Jim Anderson and Ulrike Schwarz suspended eight Sennheiser microphones in a cube formation to provide the three-dimensional audio capture that AMBEO requires to recreate an immersive sense of space. Two additional Sennheiser microphones served as an A/B pair directed at the stage for enhanced capture of the performances

Anderson Audio New York’s Jim Anderson and Ulrike Schwarz suspended eight Sennheiser microphones in a cube formation to provide the three-dimensional audio capture that AMBEO requires to recreate an immersive sense of space. Two additional Sennheiser microphones served as an A/B pair directed at the stage for enhanced capture of the performances

A House of Sound
Anderson and Schwarz’s miking solution consisted of ten fixed microphones suspended from wires stretched across the chapel. These included four MKH 800 TWIN microphones suspended above the main seating area above balcony level in a square. A pair of MKH 800 mics and a pair of MKHC 8020 omnidirectional capsules connected to MZE 8120 extension tubes constituted a second, lower square, suspended just below balcony level. “Together they create the AMBEO Cube,” Anderson explains. A pair of MKH 8020 microphones were mounted on an A/B bar above the audience at front, facing the stage directly.

The MKH 800 TWIN microphones offer incredible versatility for AMBEO 3D recording applications due to their unique dual independent capsule design. Unlike other dual capsule microphones, each of the MKH 800 TWIN’s back-to-back capsules has its own audio output, enabling users to conveniently set and modify the microphone’s polar pattern on the mixing desk, either in the recording process or during post production. Also, equalization can be applied separately to the front and rear of the pickup area to correct room imbalances. “Having that kind of flexibility in the mix stage is very exciting,” Schwarz says.

Anderson Audio New York’s recording setup was only equipped to handle 24 channels this year, so building their entire AMBEO cube with 8 MKH 800 TWIN mics was not feasible while accommodating their other miking needs, but they were able to turn to other Sennheiser microphones to round out their sound, including a longstanding favorite: the original MKH 800.

“We have both found that the MKH 800 is an exceptional microphone,” Anderson says. Schwarz agrees: “I started using it on pianos a couple of years ago. I’ve never heard bass reception like that.” With the MKH 800’s flexible polar pattern controls they were able to dial in a wide cardioid pickup pattern that was perfect for the front of the AMBEO mic cube, flanking their A/B pair.

The Sennheiser MKH 800 is a favorite of Anderson and Schwarz’s, who employed it in this application with a wide cardioid pickup pattern as the lower front flank of the AMBEO cube

The Sennheiser MKH 800 is a favorite of Anderson and Schwarz’s, who employed it in this application with a wide cardioid pickup pattern as the lower front flank of the AMBEO cube

For the lower rear pair, line of sight concerns were paramount due to video cameras positioned on the rear balcony, which led Anderson and Schwarz to turn to a pair of Sennheiser’s MKHC 8020 microphone heads suspended from MZE 8120 extension tubes for a compact, omnidirectional solution with deep low-end extension down to 10 Hz.

A pair of MKH 8020 microphones constituted their main A/B pair and provided an excellent stereo capture of anything the festival put in front of them, which will allow them to enhance the focal point of the audio recording during their AMBEO mixdown as needed. “We’ve had string quartets, piano trios, jazz combos, and we’ve really been able to cover them all quite well with only the occasional spot mic needed if the staging was going very far back,” Anderson says. “We even had a piano quintet,” Schwarz adds. Those individual spot microphones included a Sennheiser MKH 8040 cardioid microphone and the active tube system of the MKH 8000 series, which saw use as a free-standing drum overhead during select programs.

A pair of Sennheiser MKH 8020 were mounted to an A/B bar to handle all primary pickup of instruments on-stage. Anderson and Schwarz only occasionally turned to additional spot microphones for coverage throughout the festival for larger ensembles

A pair of Sennheiser MKH 8020 were mounted to an A/B bar to handle all primary pickup of instruments on-stage. Anderson and Schwarz only occasionally turned to additional spot microphones for coverage throughout the festival for larger ensembles

Beyond High Fidelity
For Anderson and Schwarz, recording this year’s Chelsea Music Festival in AMBEO 3D is a chance to preserve these intimate performances in high fidelity with an added component. “I really think it captures the energy of the performances,” Schwarz says. “You get the perspective of the audience being there live in the room, but you also have an optimized recording from the closer microphones. Bass-heavy instruments in particular sound so much better when you bring them into 3D. So I expect both the performances and recording clarity to be spectacular.”

Anderson and Schwarz believe that the AMBEO recordings of the Chelsea Music Festival will truly capture the energy of the performances and inspire others to make live audio recordings in the format

Anderson and Schwarz believe that the AMBEO recordings of the Chelsea Music Festival will truly capture the energy of the performances and inspire others to make live audio recordings in the format

Anderson hopes that their efforts will help illuminate the possibilities of AMBEO. “These are microphones we use all the time, and it’s fun to have a chance to put them in this situation and stretch them a bit with AMBEO,” he says. “I think that when people hear these recordings they’ll be inspired to do more of this kind of thing.”

For the festival’s Artistic Directors Melinda and Ken-David Masur, these recordings represent an opportunity not only to preserve a memorable experience, but also to share it with a wider audience. “Recreating the atmosphere of an unforgettable musical event is very special and we recognize that Sennheiser is leading the way in finding ways to turn an aural recording into an emotional journey,” Ken-David Masur says. “We hope to use these recordings to share the extraordinary works we perform, embedded with the personality of the space, with as many people as possible. We at the Chelsea Music Festival believe that the music and art presented here has a unique power to elevate the human spirit, and these recordings, powered by Sennheiser, will allow us to bring an awareness of that experience to as many people as possible.”

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SENNHEISER TO PRESENT 'CITIZENS OF SOUND' EXHIBIT AT THE LIBERTY FASHION & LIFESTYLE FAIRS, NYC http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-to-present-citizens-of-sound-exhibit-at-the-liberty-fashion-lifestyle-fairs-nyc http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-to-present-citizens-of-sound-exhibit-at-the-liberty-fashion-lifestyle-fairs-nyc Fri, 14 Jul 2017 00:00:00 -0400 Next week at the Liberty Fashion & Lifestyle Fairs, audio specialist Sennheiser will present ‘The Citizens of Sound’: an exhibit produced by The Brooklyn Circus in collaboration with film photographers Rog & Bee Walker + Aeric Meredith-Goujon.

The exhibit, which takes place at New York City’s Jacob Javitz Center between Monday, July 17th and Wednesday, July 19th, brings together a community of music lovers, artists & experts as they experience their favorite song for the first time — listening through a pair of Sennheiser HD1 or HD 800 headphones. The studio portrait collection, which was photographed with medium format film, captures the emotions behind today’s music loving culture while capturing the “#Sennheiser1st” experience.

Next week, Sennheiser will present 'The Citizens of Sound': an exhibit produced by The Brooklyn Circus in collaboration with film photographers Rog & Bee Walker + Aeric Meredith-Goujon.

Next week, Sennheiser will present ‘The Citizens of Sound’: an exhibit produced by The Brooklyn Circus in collaboration with film photographers Rog & Bee Walker + Aeric Meredith-Goujon.

During the exhibition, attendees will have the opportunity to experience their own #Sennheiser1st moments through a variety of Sennheiser’s premium headphones to be showcased, including the HD 800S, HD 1 Wireless and others.

Who:
Sennheiser in cooperation with The Brooklyn Circus and film photographers Rog & Bee Walker + Aeric Meredith-Goujon.

What:
“The Citizens of Sound” studio portrait exhibit

When:
Monday and Tuesday, July 17th & 18th; 10:00 a.m. to 6:00 p.m.
Wednesday, July 19th; 10:00 a.m. to 2:00 p.m.

Where:
Jacob Javitz Center, NYC, Hall 3A, booth 300

“We are pleased to cooperate with The Brooklyn Circus to bring ‘The Citizens of Sound’ exhibit to the Liberty Fair,” commented Stefanie Reichert, Director Trade Marketing, Retail, Americas. “This moving tableau of portraits by photographers Rog & Bee Walker + Aeric Meredith-Goujon capture the essence of today’s sound culture — and how the listening experience can be emotionally enhanced with Sennheiser.”

“We connected with Sennheiser because we wanted to evoke the emotion of sound in a visually compelling way,” says Ouigi Theodore, founder of The Brooklyn Circus. “The subjects that were photographed each represent what a heightened audio experience looks like visually, and we were able to capture the beauty of this heightened audio experience. The music they were listening to in those moments sounded so much better than they’ve ever heard it before, and this beauty is in the sound.”

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SENNHEISER APPLAUDS FCC RULING http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-applauds-fcc-ruling http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-applauds-fcc-ruling Thu, 13 Jul 2017 00:00:00 -0400 The U.S. Federal Communications Commission (FCC) today ratified an Order on Reconsideration and Further Notice of Proposed Rulemaking concerning the use of the frequency spectrum that will impact all wireless microphone users. The Order on Reconsideration ensures that wireless audio applications both now and in the future will continue to flourish. Having considered the thorough and relentless input of wireless microphone specialist Sennheiser and many others in the audio community, the FCC ruling modifies initial guidelines that may have negatively impacted manufacturers, owners and operators of wireless microphone equipment in their original form.

Sennheiser filed a Petition of Reconsideration with the FCC in December of 2015 following the initial announcement of new regulations, timed to coincide with the upcoming incentive auction and reallocation of the 600 MHz frequency spectrum. Sennheiser’s filing elucidated practical concerns for manufacturers and users of wireless microphones in day-to-day applications as well as proposing potential solutions. The FCC studied Sennheiser’s proposals and the input of others during the intervening year and a half, and the Order on Reconsideration has made many of the audio specialist’s proposals a reality.

“We sincerely applaud the FCC staff for their work and due consideration on this Order and proposed rulemaking,” says Joe Ciaudelli, Director of U.S. Spectrum Affairs for Sennheiser. “This represents a very positive outcome for our customers and all professional wireless microphone users. Clearly the FCC listened to the needs of the professional production community and worked hard to provide a solution.”

The Order on Reconsideration is wide-ranging and affects several key provisions of the guidelines passed in August of 2015. According to Sennheiser, the Commission had initially created an out-of-band emission (OOBE) standard that might have resulted in unintended consequences. With the ratification, the FCC has now adopted the established European Telecommunications Standards Institute (ESTI) OOBE standard, which achieves the intended goal of protecting the use of adjacent frequency bands and harmonizes with international standards — allowing users to operate the same equipment in multiple countries in many cases.

Additionally, the Order will enable legacy equipment that operates within the 600 MHz band to be modified to comply with the new regulations, saving a significant amount of still operational wireless gear from costly pre-mature obsolescence following the transition period.

License Eligibility Expansion - Opportunities for Success
In the Future Notice of Proposed Rulemaking the Commission states its intention to expand license eligibility, allowing many organizations that stage sophisticated productions but do not qualify for an FCC license under current rules the ability to obtain a license. This was opposed by a mega-sized multi-conglomerate that desires UHF channels for operation of unlicensed white space channels. Licensed microphone operators are able to reserve channels for interference protection from unlicensed devices when they stage their productions — a vital privilege that will help organizations like high-quality regional theaters ensure smooth, professional wireless audio operation. Sennheiser submitted a timely filing in response to the opposing party to outline these issues while defending the interests of wireless microphone operators, illustrating that the ability to reserve “white space” frequencies for professional wireless use is integral to effective operation of wireless microphone systems in real-world applications.

Ease of Field Operations
A provision that would have required the exclusive use of proprietary connectors for unlicensed wireless equipment with detactable antennas has been modified by the Order to allow the use of standard connectors. Acknowledging the importance of unlicensed users within the wireless sector, the move ensures that replacement antennas and cabling can be procured quickly and easily from a wide range of sources, allowing reliable day-in, day-out operation even in the case of cable failure.

A Path for Innovation
The Order will provide design flexibility for wireless gear manufacturers by allowing the output power of wireless devices to be measured either as effective isotropic radiated power (EIRP) or conducted power at the output at the antenna terminal. This approach allows engineers greater latitude in designing equipment with internal antennas or the larger antennas demanded in lower frequencies.

Clarity and Compliance
The Order also addresses concerns regarding specific bands and their applications. The specified frequencies of the 169-172 MHz band have now been optimally coordinated for microphone use, allowing more mics to operate in this band. The Commission specifically adopted a proposal by Sennheiser for optimal frequency coordination within this band.

The Commission also clarified details regarding the 1435-1525 MHz band, used for large-scale events of over one hundred microphones. The Commission clarified that the 30 MHz spectrum use limit in the 1435-1525 MHz band pertains to a single operator. Multiple authorizations that, in total, utilize the full 90 MHz may be assigned to different operations within an area. A single operator that requires more than 30 MHz for a mega-event can apply for a special temporary authorization (STA).

The Order also prescribes the procedure for use of the 941.5-944 MHz band, which can be useful for fixed venues such as Broadway theaters and casinos requiring house wireless microphones on distinct frequencies from those utilized by touring acts. Users will need to confer with a local Society of Broadcast Engineers coordinator and apply for a license with the FCC, which will coordinate with incumbent Federal primary users of the band.

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SENNHEISER AND NEUMANN MICROPHONES AND WIRELESS TECHNOLOGY POWER THE UNUSUAL SOUNDS OF BLUE MAN GROUP http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-and-neumann-microphones-and-wireless-technology-power-the-unusual-sounds-of-blue-man-group http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-and-neumann-microphones-and-wireless-technology-power-the-unusual-sounds-of-blue-man-group Tue, 27 Jun 2017 00:00:00 -0400 Since it first graced the stage of the Astor Place Theatre in New York City twenty-five years ago, Blue Man Group has riveted audiences with a completely original combination of colorful visuals, compelling percussion-based music, and interactive theater. With shows around the United States in cities like Chicago and Las Vegas, as well as internationally via a show in Berlin and a World Tour slated to begin again soon, Marcus Ross, resident audio supervisor and sound designer for Blue Man Productions, is committed to ensuring a seamless audio experience for each and every audience member. He achieves this with Sennheiser and Neumann microphones and Sennheiser wireless systems.

Blue Man Group performances are remarkable in part for their use of unconventional instrumentation, featuring an array of percussive sound-makers made from materials including PVC. Ross has a simple philosophy regarding microphone selection for the myriad instruments: “I always like a mic that’s as transparent as possible so I can hear the instrument I’m miking,” he says. “And that’s something I get from Sennheiser and Neumann.”

Capturing the Unconventional
Capturing the range of tones produced by Blue Man Group’s numerous PVC instruments is no simple task, but Ross easily transfers their unique sonic qualities to the audience with a dozen Neumann KM 184 mics. “Neumann and Sennheiser give me the clearest representation of the instruments that I’m miking, and that’s one of the reasons why the KM 184 is perfect for capturing the sound of the specialized instruments that are part of our productions.”

Ross reaches for the Sennheiser e 602-II on several of the large drums that feature in the performance, owing to its low-end extension, and even combining it with the e 904 for some of the largest drums in the production.

The Blue Man Group production team relies on sixteen channels of Sennheiser EM 3732-II receivers to capture their use of unconventional instrumentation

The Blue Man Group production team relies on sixteen channels of Sennheiser EM 3732-II receivers to capture their use of unconventional instrumentation

World-Class Precision
For the World Tour, which kicks off again on August 7th in Tel Aviv, Israel, Ross elected to skip a conventional stereo overhead mic pair for the drum kit in favor of a close miking of the kit’s cymbals and hi-hats. This approach provides additional control that Ross finds helpful. “We use the Neumann KM A body with the KK 145 capsule for the hi-hats because of the natural low-end roll-off, which gives us exactly the frequencies we need from them,” he says.

“For the other cymbals it’s the KM A body again but with KK 120 figure-8 capsules. We place these right under the bell of the cymbals, so the isolation is great and we can easily adjust the level of each cymbal individually in the mix without bringing up ambient noise. This setup gives us a lot of control that really helps us both on the in-ear monitor side and on the front-of-house mix side.”

The Sennheiser e 602-II microphone is routinely used on several of the large drums that feature in Blue Man Group. This is often used in combination with the Sennheiser e 904 for some of the largest drums in the production - Photo courtesy Blue Man Group

The Sennheiser e 602-II microphone is routinely used on several of the large drums that feature in Blue Man Group. This is often used in combination with the Sennheiser e 904 for some of the largest drums in the production - Photo courtesy Blue Man Group

Sennheiser and Neumann mics are also also heavily employed on the kit’s drums. “We use the e 901 and e 902 combination on the kick drum, which works great,” Ross says. He then turns to e 904 mics for all of the kit’s toms. A Neumann KM 184 is selected for the bottom of the snare drum.

A Liberating Experience
Sennheiser wireless transmitters and receivers help free Blue Man Group’s performers to move about the stage during the show and deliver their unique combination of musical performance and theatrics. Ross employs compact SKP 3000 transmitters to convert any mic of his choosing into a wireless mic. “With the SKP 3000 we’re able to provide phantom power that makes it very versatile,” he says. “And some of the other features on the transmitter are very handy, such as the great sensitivity control and pads. There was no other manufacturer that was going to give us the amount of options that we have with that system.”

The inimitable Neumann KM 184 small-diaphragm condenser microphone is used to capture Blue Man Group's famous PVC-based instruments

The inimitable Neumann KM 184 small-diaphragm condenser microphone is used to capture Blue Man Group’s famous PVC-based instruments

Ross uses sixteen channels of EM 3732-II receivers reinforced further by four EM 500 G3 receivers to provide twenty channels of wireless capacity for the show. “There’s one sequence during a song called Bug where we’ve got 18 channels going at a time, so it’s pretty demanding from an RF perspective,” Ross explains.

The Sennheiser Wireless Systems Manager software allows Ross to further expand his wireless system’s capabilities by enabling him to reprogram all the receivers on the fly simply by loading a preset. “WSM allows us to have more transmitters than receiver channels, which is important because it enables us to have a transmitter for each instrument and avoid having to move the transmitters from instrument to instrument during the show,” he says. “We just load our next preset at the right point during the show, the receivers tune into the next set of frequencies, and we’re getting the correct signal from the correct instrument.”

This comes in handy for some of the notable instruments that appear only during a certain segment of the performance, such as the iconic ‘drumbone,’ a fan-favorite tuned percussion instrument that has been part of the show since its earliest days. “We have two mics and transmitters hidden inside it,” he says. “It’s pretty covert.”

Sennheiser wireless monitors round out the system, with EK 2000 bodypack receivers worn on a harness under the clothes of the performers. “They’re compact and reliable, and they have a handy kill switch built in in case they want to cut off the signal to their ears for any reason.” Sennheiser’s staff has also helped Ross and his team deliver the wireless they need efficiently. “Sennheiser has really taken away a lot of the challenges in what could otherwise be a challenging RF environment.”

A Higher Standard
While the high-performance standards of Sennheiser and Neumann gear help them stand out, it may be the service that keeps Ross coming back. “Sennheiser support has been great no matter where we are in the world,” he says. “They’re never more than an email away.” It is a valuable thing for Ross, who is responsible for so many shows running concurrently at different locals, each relying heavily on Sennheiser and Neumann products.

“My most important goal is repeatability. I want to ensure that the show sounds just as good night after night, from every seat in the house, with different Blue Men or different musicians, or in the case of the touring production in all different theaters. Sennheiser products not only perform very well sonically, they are built to last and are actively supported by the manufacturer. Sennheiser stands by their products and that’s why I stand by Sennheiser.”

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SENNHEISER DIGITAL 9000 SERIES PROVIDES ED SHEERAN WITH TRANSPARENT SOUND FOR HIS DIVIDE TOUR http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-digital-9000-series-provides-ed-sheeran-with-transparent-sound-for-his-divide-tour http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-digital-9000-series-provides-ed-sheeran-with-transparent-sound-for-his-divide-tour Thu, 22 Jun 2017 00:00:00 -0400 Ed Sheeran has always enjoyed huge popularity, but with ÷ (Divide) having dominated the international album charts since its release and the accompanying ÷ Tour selling out the instant dates were announced, it has never been higher. The tour began in Europe in Italy’s Turin in March, travelling to Switzerland, Germany, Sweden, Denmark, the Netherlands, Belgium, France and Spain before heading to the arenas of the UK and Ireland. It has worked its way round South America, Central America and Mexico in May and June, then back to the UK before heading over to the US. Ed is once again using Sennheiser’s flagship Digital 9000 Series microphone system and 2000 series wireless monitors, supplied by production company Major Tom.

Ed Sheeran performing with his Digital 9000 wireless microphone system during the ÷ Tour - Photo credit, Ralph Larmann/larmann.com

Ed Sheeran performing with his Digital 9000 wireless microphone system during the ÷ Tour - Photo credit, Ralph Larmann/larmann.com

Chris Marsh, Ed’s Production Manager, as well as front-of-house and monitor engineer, has been with the singer for six years and has an intimate understanding of what he wants and needs. Ed has been using Sennheiser microphones from the very start and switched to Digital 9000 during his 2014 US tour for his vocal, loop vocal and guitar.

“We had Ed’s guitar on a cable and DI for four years, because I simply couldn’t find a wireless system that gave us the sound that we needed to deliver his performance,” Chris explains. “On first listening to the 9000 system, we discovered it was the most transparent sounding system we had ever heard. We were only meant to be checking it out on a soundcheck, but Ed and I both agreed we had to use it that night, and we have ever since.”

Four mic channels are dedicated to Ed’s acoustic guitars, one channel for electric guitar and three channels for vocals – main, spare and loop vocal.

“For the loop vocal I use an MMD 945 super-cardioid capsule,” says Chris. “As this vocal gets looped and repeated throughout the songs I can’t risk there being too much background noise, so the tight pickup of the 945 is perfect.

“Ed’s main vocal is a cardioid MD 9235 dynamic capsule which captures a lot of detail. Importantly, it copes very well with being handled heavily and cupped a lot, which is Ed’s style. I use the Sennheiser 2050 wireless in ear monitors as they are rock solid, which is all that really matters to Ed.”

Ed Sheeran playing the 02 Arena in London, Photo credit- Ralph Larmann/larmann.com

Ed Sheeran playing the 02 Arena in London, Photo credit- Ralph Larmann/larmann.com

“Sennheiser has a long-standing relationship with both Chris and Ed,” says Jack Drury, Artist Relations Manager for Sennheiser. “We’re delighted that Digital 9000 has proved to be the perfect choice for him, both in its performance and its robustness for his demanding tours.”

“Sennheiser has been very supportive of us,” Chris concludes. “There have been times where we could not ship our rig, or were flying in to perform one-offs and they have always helped me source the equipment I need and been on hand for technical support 24/7.”

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Sennheiser Announces Partnership and Product Compatibility with 3CX http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-announces-partnership-and-product-compatibility-with-3cx http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-announces-partnership-and-product-compatibility-with-3cx Thu, 22 Jun 2017 00:00:00 -0400 Sennheiser, a leading provider of premium headset and speakerphone solutions, is pleased to announce its partnership and product compatibility with 3CX, developer of the next-generation software-based Unified Communications Solution.

Sennheiser’s UC product portfolio is now fully compatible with 3CX’s software-based PBX. In addition, with the release of 3CX v15.5, Sennheiser’s UC portfolio will also be able to offer advanced features supported by the latest release. Sennheiser and 3CX have jointly conducted extensive testing of the interoperability between Sennheiser and 3CX solutions. The interoperability is valid for all license versions of 3CX.

Andreas Bach, President at Sennheiser Communications A/S, said, “We are delighted to start our cooperation with 3CX. The interoperability provides a hassle free deployment of Sennheiser UC headsets with the 3CX soft client and will provide our mutual customers with a premium user and audio experience.”

Nick Galea, CEO at 3CX, said: “We’re pleased that Sennheiser has become a 3CX technology partner. Sennheiser products are renowned for their premium audio quality and with Sennheiser’s UC headset portfolio 3CX customers can be confident to enjoy the benefits of our UC solutions to the fullest.”

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ANNUAL REPORT 2016 - SENNHEISER SEES REDUCED TURNOVER BUT INCREASED PROFITABILITY http://hummingbirdmedia.com/clients/sennheiser/press-releases/annual-report-2016-sennheiser-sees-reduced-turnover-but-increased-profitability http://hummingbirdmedia.com/clients/sennheiser/press-releases/annual-report-2016-sennheiser-sees-reduced-turnover-but-increased-profitability Wed, 21 Jun 2017 00:00:00 -0400 In the fiscal year 2016, the Sennheiser Group generated a turnover of €658.4 million. This corresponds to a decline of 3.8 percent, primarily due to placing greater focus on the core business. During the reporting year, the audio specialist exited the aviation segment and also ended relationships with third-party brands in the Professional Systems Division. In addition, the termination of governmental subsidies in Japan affected the turnover. The Group’s profit before taxes rose by 15.2 percent to €34.9 million compared to the same period in the previous year. Research and development were further strengthened: Sennheiser invested €54.5 million, which is a total of 16 percent more than in 2015.

“Coming from a very strong year in 2015, we were unable to build on the previous turnover growth in the reporting year. This was mainly due to placing strategic focus on core business in our Professional Systems Division,” explains Dr. Andreas Sennheiser, Co-CEO of Sennheiser. “At the same time, in 2016 we did a lot of groundwork to ensure our future success by delivering even greater innovation and value to our customers,” adds Co-CEO Daniel Sennheiser. “As a family-owned company, we focus on the long term and pursue a clear goal: shaping the future of audio.”

Despite the decrease in turnover, the Sennheiser Group was able to significantly increase its profitability. In fiscal year 2016, profit before taxes increased by €4.6 million to €34.9 million, which was mainly due to reduction in material, personnel and other operating expenses.

EMEA region grows, APAC region declines
€358.2 million of the total sales of the Sennheiser Group were accounted for by the EMEA region, which showed a slight turnover growth of 0.3 percent compared to the previous year. In the Americas region, the group achieved €168.8 million, 6.1 percent less than in 2015.

In the APAC region, Sennheiser realized €131.4 million, a decrease of 10.8 percent compared to the previous year. The decline in turnover is in particular due to the phasing-out of a special situation: As planned, the Japanese government stopped subsidizing wireless microphone systems at the end of the first quarter. These subsidies had a positive effect on turnover especially in reporting year 2015.

Professional Systems Division turnover dipped, Consumer Electronics Division continues to grow
The turnover of the Professional Systems Division amounted to €316.3 million, a decrease of €31.7 million or 9.1 percent compared to the previous year. This can mainly be attributed to the withdrawal from the aviation business, the separation of selected third-party brands and the end of the governmental subsidies in Japan. In contrast, the Consumer Electronic Division continued its growth, generating turnover of €342.1 million. Compared to the previous year, growth was slightly more modest, at €5.8 million and 1.7 percent, respectively.

“Last year, we set up our product portfolio in both divisions to be well prepared for the future: For example, wired solutions will hardly be in demand a few years from now – a continuous development that we are reflecting in our products,” says Dr. Andreas Sennheiser.

During fiscal year 2016, the Professional Systems Division launched wireless solutions such as the SpeechLine Digital Wireless microphone series, the TeamConnect Wireless conference system and the EK 6042 two-channel camera receiver for professional video coverage. In addition, Sennheiser presented a new digital wireless microphone system – Digital 6000, which entered the market in early 2017.

“In the Consumer Electronics Division, we put an emphasis on expanding our wireless headphone portfolio,” says Daniel Sennheiser. “With the PXC 550 Wireless we have been able to once again demonstrate our leadership claim in the area of noise cancelling travel headsets.”

The number of Sennheiser employees worldwide is rising
On an annual average, the Sennheiser Group had 2,725 employees – an increase of 1.8 percent compared to the previous year. At the end of the year 2016, Sennheiser employed approximately 2,830 people worldwide. The share of the employees working in Germany (51 percent) and abroad (49 percent) was more or less equal. The number of trainees remained on a high level of 69.

New innovations thanks to strengthened research and development
The Sennheiser Group once again increased its investment in research and development activities by 16 percent to €54.5 million compared to the previous year. Research and development expenses thus amounted to 8.3 percent of turnover. In total, 385 employees worked in four research and development centers.

“The strategic lighthouse project of our research and development work is AMBEO. 3D audio formats will be a significant driver for innovation in the field of audio in the future – whether it’s recording, processing or reproduction. AMBEO is a framework for us to develop various hardware and software products as well as workflows,” explains Daniel Sennheiser. “We have already introduced some products under the AMBEO trademark. With the AMBEO SMART HEADSET, which will enter the market soon, 3D audio will now also become available to end consumers,” adds Dr. Andreas Sennheiser. “It’s all about creating audio experiences that are so realistic that the listener cannot determine the difference between reality and reproduction anymore.”

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SENNHEISER’S TEAM CONNECT WIRELESS HELPS S&ME CONSULTING ACHIEVE MEETING SUCCESS http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-s-team-connect-wireless-helps-s-me-consulting-achieve-meeting-success http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-s-team-connect-wireless-helps-s-me-consulting-achieve-meeting-success Tue, 20 Jun 2017 00:00:00 -0400 For S&ME, a consulting firm specializing in engineering, design, planning, environmental, and construction services for the built environment, strong communication with both clients and colleagues has long been a key to success. But with 36 offices across the United States and projects throughout the country including everything from hospitals to industrial plants to reservoir dams, many times staying in close contact means keeping in touch remotely.

Consulting firm S&ME turned to Sennheiser’s TeamConnect Wireless mobile conference platform to improve the audio quality of their online meetings

Consulting firm S&ME turned to Sennheiser’s TeamConnect Wireless mobile conference platform to improve the audio quality of their online meetings

S&ME uses Skype for Business to facilitate their online meetings, which have increased in number by 80% in recent years, but poor audio quality was a nagging issue for the company. To resolve it, Technology Director Chris Headley turned to Sennheiser’s Team Connect Wireless to raise the bar for inter-office conferencing.

Reconnecting
With S&ME’s old conferencing system, any meeting participants not in close physical proximity to a microphone were unlikely to be heard. Headley also noted that in meetings of six or more participants, incoming audio was often unintelligible. These problems came to a head when S&ME CEO Randy Neuhaus delivered a clear marching order to Headley: “We have to solve the audio issue.”

Headley needed a solution for the company’s mid-sized conference rooms that could handle up to 24 participants with far better sound pickup and distribution. At first it seemed like there was nothing suitable in the market, which was overrun with expensive hard-wired systems that were complicated to use and inflexible. Fortunately, at an AV conference organized by S&ME’s AV service provider, Whitlock, Headley was introduced to Sennheiser’s TeamConnect Wireless mobile conference solution.

Breakthrough Conferencing
TeamConnect Wireless is the first portable wireless conference system for online meetings. Designed as a turnkey audio solution, it is exceptionally easy to set up and use and is both compact and flexibile. It also delivers crisp speech and high-grade audio that helps make online meetings more natural and productive. An attractive modern aesthetic ties the whole package together, including a touch sensitive glass control panel that lets you connect and control online meetings with ease and style.

S&ME acquired a Sennheiser TeamConnect Wireless Case Set, featuring four satellite units and handling up to 24 meeting participants

S&ME acquired a Sennheiser TeamConnect Wireless Case Set, featuring four satellite units and handling up to 24 meeting participants

After witnessing a demonstration by a Sennheiser representative, Headley was impressed with the features, sound quality, and ease of use of the system. “It was exactly what I was looking for, “ he says. He gleaned additional confidence from his existing familiarity with the Sennheiser from first-hand experience with other Sennheiser products, including microphones.

Sennheiser provided Headley with an opportunity to test the TeamConnect Wireless system on-site at S&ME without obligation. He seized the opportunity, and it quickly led to a decision to purchase a TeamConnect Wireless Case Set featuring four satellites units and facilitating up to 24 participant conferences.

S&ME Technology Director Chris Headley says the company is looking to expand their holdin’s of Sennheiser TeamConnect Wireless sets with the new Tray-M Set

S&ME Technology Director Chris Headley says the company is looking to expand their holdin’s of Sennheiser TeamConnect Wireless sets with the new Tray-M Set

Connecting on the Fly
The results have been convincing. With TeamConnect Wireless, now S&ME employees are ready to conference anywhere at any time. A member of S&ME’s IT department simply brings the set in its convenient carry case to the relevant meeting room, then effortlessly connects it to the PC, notebook, tablet, or smartphone located therein. With NFC enabled Bluetooth Wireless as well as USB/3.5 mm jack, TeamConnect Wireless can interfaces effectively with a wide range of host systems.

“It takes between 30 and 60 seconds to set up,” Headley says. “It’s really very easy. Anyone can do it,” and though his department administers each setup for the time being, he foresees a day where users will be able to set up and connect the set themselves.

Corporate Clarity
Most importantly for Headley, any audio quality issues with their previous system have been completely resolved by TeamConnect Wireless. Both incoming and outgoing audio is crystal clear. That means meeting participants are now able to hear and be heard better than ever, and with TeamConnect Wireless’s six person per satellite capacity, large meetings are easily accommodated with a minimal footprint.

The build quality also gives Headley confidence that his TeamConnect Wireless Case Set will be helping conduct successful meetings for years to come. “The good design and nice finish both leave a strong impression,” he says. “It feels solid and full of quality.” He also appreciates the highly functional case design, which both automatically powers down the satellites when they are stored within it and displays battery charge level at all times, in addition to making them easy to transport.

Neuhas has added his voice to those championing TeamConnect Wireless, grateful that his erstwhile audio concerns have been alleviated. “The ease of use and true portability of the TeamConnect Wireless will yield a lot of value for us,” he says. “We had struggled to get good audio with our larger rooms in the past, but this system should make me a rock star with management.”

Growth Potential
Though TeamConnect Wireless has only been deployed at the company’s main headquarters in Raleigh, Headley says plans are already underway to acquire more sets for Raleigh and elsewhere, including some of the new two-satellite Tray-M sets for smaller meeting rooms. Headley is also still discovering new useful implementations of the versatile system all the time, including using it to stream Christmas music to multiple rooms at this year’s Christmas party. “I suspect the Sennheiser developers did not anticipate this particular application scenario,” he jokes.

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SENNHEISER AUDIO TECHNOLOGY TO POWER REVOLUTION EXHIBITION AT THE MONTREAL MUSEUM OF FINE ARTS http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-audio-technology-to-power-revolution-exhibition-at-the-montreal-museum-of-fine-arts http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-audio-technology-to-power-revolution-exhibition-at-the-montreal-museum-of-fine-arts Tue, 13 Jun 2017 00:00:00 -0400 Technology from audio specialist Sennheiser will help deliver an immersive audio experience for visitors to the upcoming Revolution exhibit at the Montreal Museum of Fine Arts (MMFA). The exhibition, which originated at the Victoria and Albert Museum (V&A) in London, looks at the social fabric of the late 1960s — the pivotal period when youth culture initiated a new sense of identity, solidarity and idealism, bringing people together to question established power structures. Like the V&A, the MMFA employs Sennheiser’s AMBEO immersive 3D audio technology and guidePORT audio guide system to deliver a fascinating museum experience and bring the spirit of that era back to life with an unforgettable soundscape.

The Montreal Museum of Fine Arts, which collaborated closely with the V&A on the exhibition, will open it to the public on June 17th, inviting visitors to explore the finished and unfinished revolutions of the years 1966 to 1970. Around 700 objects – photographs, posters, album covers, design objects, books, clothes, works of art and consumer products from the period – have been carefully selected by V&A curators Geoffrey Marsh and Victoria Broackes and MMFA’s Diane Charbonneau, Curator of Modern and Contemporary Decorative Arts, and Photography, who also added specific Quebec content from the late sixties.

Sound of the ‘60s
The music playing throughout Revolution is an integral part of the exhibition experience, noted Diane Charbonneau: “The music of the period was both a reflection of and inspiration for the social upheaval of the period, and we are pleased to have worked with Sennheiser to bring that sonic tapestry to life within the museum,” she says. The music selection played at the V&A has been enhanced with a dedicated Quebec section which was researched by Marie-Claude Senécal of Radio-Canada, ICI Musique.

Daniel Sennheiser, co-CEO of Sennheiser, commented: “We are extremely pleased to work with the Montreal Museum of Fine Arts as the offical audio partner of this exciting exhibition. Through their collaboration with the V&A, the MMFA has captured the essence of a period that was pivotal in the shaping of today’s open-minded society. The unforgettable music of these turbulent times has significantly defined contemporary culture.” “The careful curation and compelling exhibits combine with a truly captivating immersive sound experience powered by Sennheiser’s AMBEO 3D audio and guidePORT technologies,” added co-CEO Dr. Andreas Sennheiser.

Immersed in the Moment with AMBEO®
A Sennheiser AMBEO 3D audio installation is employed for a key section of the exhibition: a Woodstock area which recreates the legendary festival with original stage costumes, documents of the time, vibrant concert video material on giant screens and a fascinatingly immersive AMBEO 14.1 audio system.

For this extraordinary sound experience, high-quality digital copies (24 bit, 192 kHz stereo .wav files) of the original analog magnetic tapes of the Woodstock film were converted to 3D by the Sennheiser AMBEO upmix algorithm. The nine-channel output was then post-produced and fine-tuned to play back on 14 Neumann KH 420 midfield loudspeakers for an increased impact that would enthrall visitors and give them an emotional as-if-there feeling. The KH 420 were positioned as L, R, SL, SR, C, plus sides, each of these seven positions with a height speaker mounted at about 5.5m), while the LFE is played back through a total of four Neumann KH 870 subwoofers.

guidePORT: Your Audio Tourguide
Visitors are accompanied through the exhibition by their handy Sennheiser audio guide. The guidePORT system is able to deliver hundreds of personal, automatically triggered stereo feeds simultaneously, enabling the user to enjoy context-specific audio throughout the course of the exhibition. This real-time, lip-sync audio helps to fully immerse visitors in the sights and sounds of the late 1960s. The system at the MMFA comprises 700 audio guides with high-quality headphones, all interfacing with several transmission and trigger units that are hidden from sight.

Revolution runs from June 17 to October 9, 2017 at the Montreal Museum of Fine Arts.

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SENNHEISER BIDS FAREWELL TO GERHARD TAMMEN ON HIS RETIREMENT AFTER 15 SUCCESSFUL YEARS WORKING WITH THE AUDIO SPECIALIST http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-bids-farewell-to-gerhard-tammen-on-his-retirement-after-15-successful-years-working-with-the-audio-specialist http://hummingbirdmedia.com/clients/sennheiser/press-releases/sennheiser-bids-farewell-to-gerhard-tammen-on-his-retirement-after-15-successful-years-working-with-the-audio-specialist Mon, 12 Jun 2017 00:00:00 -0400 On June 1st, Sennheiser bid farewell to Gerhard Tammen, Vice President Global Retail Channel, after fifteen years at the company. Gerhard Tammen took over the management of the audio specialist’s global distribution of consumer products at the beginning of 2015. In this role he worked alongside Guido Karbautzki, who will henceforth occupy the role alone. Prior to that, Gerhard Tammen was Managing Director of the German sales subsidiary, Sennheiser Vertrieb and Service GmbH & Co. KG (SVS).

Sennheiser bids farewell to Gerhard Tammen after working together for many years

Sennheiser bids farewell to Gerhard Tammen after working together for many years

“With his outstanding personality, Gerhard Tammen decisively influenced the German distribution company SVS and later Sennheiser’s Global Retail Channel. We are very grateful for his very successful and ever-reliable contribution,” said Daniel Sennheiser, co-CEO of Sennheiser. “With his impressive energy and motivation, Gerhard has led many sales projects over recent years and has thereby contributed to the strengthening of our company,” adds Dr. Andreas Sennheiser, co-CEO of Sennheiser.

Together with Hans-Joachim Weymer and Ties-Christian Gerdes, Gerhard Tammen successfully managed Sennheiser’s German sales subsidiary, SVS, from 2002 to 2012. Prior to that, he – as a managing shareholder of Diekhöner – was part of the successful merger of Sennheiser Vertriebs GmbH, Gerdes Elektronik GmbH and Walter Diekhöner KG. Mid-2012, Gerhard Tammen joined the Sennheiser headquarters as Vice President EMEA of the Global Sales Division, until he became the Vice President Global Retail Channel together with Guido Karbautzki in January 2015.

Guido Karbautzki took over the position as Vice President Global Retail Channel together with Gerhard Tammen at the beginning of 2015. On Tammen's retirement on June 1st, he will execute this role alone

Guido Karbautzki took over the position as Vice President Global Retail Channel together with Gerhard Tammen at the beginning of 2015. On Tammen’s retirement on June 1st, he will execute this role alone

“We have consciously established the management of the Global Retail Channel as a two-person team to ensure a smooth transition. I am therefore very grateful to be able to hand over my tasks completely to Guido Karbautzki. In recent years, we have not only grown together as business partners but have also become close friends,” said Gerhard Tammen.

Guido Karbautzki has been working for Sennheiser since 2007 and started as Head of Sales and Marketing Communications for the Danish joint venture, Sennheiser Communications A/S in Ballerup. Five years later, he joined Sennheiser electronic GmbH & Co. KG in Wedemark, where he was responsible for the cooperation with Sennheiser’s sales partners as well as key account management as Director Country Partner Sales.

After 15 years at Sennheiser, Gerhard Tammen is now saying goodbye to Sennheiser and the CE industry: “At Sennheiser, I experienced exciting times with many great but also challenging projects. I will remember my time with the company in the best possible way.”

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