Invisible Cities Opens to Sell-Out Performances at Los Angeles’ Union Station as Sennheiser Technology Enables ‘Artistic Creation Without Borders’

City of Los Angeles Issues Proclamation to Invisible Cities as Sennheiser Delivers Highly Personalized, Yet Communal Artistic Experience to Consumers

Los Angeles – October 25, 2013Invisible Cities, the world’s first large scale opera for wireless headphones, opened to critical acclaim on October 19th at the iconic Union Station, where it was issued a Proclamation by the City of Los Angeles. The visionary production, which was written by Christopher Cerrone and produced by The Industry and L.A. Dance project, is made possible through the professional and consumer technology of leading audio manufacturer Sennheiser.

Invisible Cities, which is based on the 1972 novel by Italo Calvino that explores Marco Polo’s descriptions of fantastical cities as described to Emperor Kublai Khan, turns the classic operatic archetype on its head, transforming Los Angeles’ iconic Union Station into a constantly moving and artistically unique experience for each participant. Invisible Cities pushes the limits of artistic production and is made possible through Sennheiser’s wireless headphone and microphone technology. This enables patrons to experience a vastly repurposed art form both as independent participants and as a connected, communal audience.

“Over the last decade, we have seen technology increasingly become a primary driver in the creation of art,” commented Stefanie Reichert, director of strategic marketing, Sennheiser. “Invisible Cities relies on a very creative application of Sennheiser’s leading edge wireless microphone and headphone technology to deliver an ingenious, pioneering artistic experience to its audiences. As Invisible Cities illustrates, Sennheiser’s wireless microphone and headphone technology enables the consumer to be more of a participant in the artistic performance itself.”

Sennheiser’s wireless headphones enable participants to have a unique perceptual experience based on an almost infinite number of vantage points from which they can view the performance. At the same time, participants are gathered together in the highly ‘communal’ environment of a train station and all wearing headphones. Union Station, with its illustrious history and exquisite architecture, serves as the perfect backdrop to this tale of people in imaginary cities as cast members intermingle with both active audience members and ordinary passers by.

“Being in your own space, yet still being part of a community is a very common style of today’s generation,” Reichert said. “As social media and personalized listening experiences permeate the lives of modern consumers, Invisible Cities illustrates that people can share a communal experience with others while still enjoying art independently. This production actually leverages this phenomenon into its dramatic presentation, creating a deeper and more meaningful experience for participants.”

With its unorthodox approach and creative use of Sennheiser wireless technology, Invisible Cities successfully reinvents the traditional opera in many ways. For example, with no opera house or assigned seats, audience members are free to move about the entire performance space — a public train terminal — as the opera progresses. This often puts them directly ‘on-stage’ aside actors and performers. Regular terminal passengers and bystanders — perhaps initially unaware that a dramatic event is unfolding before their eyes — become an impromptu element in the performance as someone standing directly beside them dressed in 14th century attire, suddenly breaks out into beautiful song.

In addition to Sennheiser’s RS 120 consumer headphones worn by participants, Invisible Cities‘ technical production also relies on Sennheiser’s state of the art Digital 9000 professional wireless system, which transmits pristine audio for the duration of the performances. This system, which was launched last year after having been under development for over a decade, is the most advanced wireless system in the world and used in top level theatre, music and broadcasting events.

For more information on Invisible Cities, including performance dates and ticket information, please visit http://invisiblecitiesopera.com/.

About The Industry:

The Industry is a new home for new and experimental opera in Los Angeles. Founded and led by director Yuval Sharon, The Industry creates ambitious productions that expand the traditional definition of opera and explore new paradigms for interdisciplinary collaboration. Mark Swed of the Los Angeles Times writes “The Industry is quickly and dramatically becoming an essential component in American opera. It’s now indispensable to the LA scene.” The Industry’s inaugural production, Anne LeBaron and Douglas Kearney’s Crescent City, was instantly hailed as “reshaping LA opera” (Los Angeles Times) and “changing the face of music-theater in this city overnight” (Out West Arts). The large-scale multimedia production, featuring the work of six visual artists in a 25,000 sq. ft. warehouse in Atwater Village, performed over three weeks in May 2012 to capacity audiences. The Industry recently presented First Take, a west coast opera workshop showcasing excerpts from six new operatic works-in-progress by the legendary Pauline Oliveros, and rising star composer Mohammed Fairouz at the Hammer Museum’s Billy Wilder Theater. For more information visit: www.TheIndustryLA.org.

About L.A. Dance Project:

L.A. Dance Project is an artist collective founded in 2012 by renowned choreographer and dancer Benjamin Millepied, along with composer Nico Muhly, art consultant Matthieu Humery, producer Charles Fabius, and film producer Dimitri Chamblas. L.A. Dance Project’s mission is to create new work and to revive seminal collaborations from influential dance makers. Programs include full-length evenings in traditional theater venues as well as various modular performances in non-traditional environments. New works by the company endeavor to be multidisciplinary collaborations with various artists: visual artists, musicians, designers, directors and composers. L.A. Dance Project promotes the work of emerging and established creators, contributing to new platforms for contemporary dance. For more information visit: www.ladanceproject.com.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

Photo captions:
1) The Invisible Cities opera, written by Christopher Cerrone and based on the 1972 novel by Italo Calvino, combines historical fiction with surrealist elements to create an ‘invisible opera for wireless headphones’. (Photo Credit: Dana Ross).

2) Yuval Sharon, artistic director of The Industry, is presented with a proclamation from The City of Los Angeles on Saturday, October 19. (Photo Credit: Dana Ross).

3) The Invisible Cities production included an 11-piece orchestra using Sennheiser and Neumann microphones. (Photo Credit: Dana Ross).

135th Audio Engineering Society Convention Hits A Five-Year High

— Convention takes a bite out of the Big Apple and reminds the industry that “If It’s About Audio, It’s At AES” —

New York, NY, October 24, 2013 — The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) was the place to be if you have anything to do with the audio industry. The exhibit floor, panels and technical sessions were packed all four days, and as AES celebrated its 65th Anniversary, a five-year-high number of 18,453 registrants was tallied.

At show close, AES reported a 16% increase in registration since the last time the convention was in New York two years ago (131st AES) and a staggering 71% increase over last year’s San Francisco event (133rd AES), which unfortunately was plagued by smaller attendance due to Hurricane Sandy.

Convention Committee Chair Jim Anderson and his team created the most ambitious and comprehensive schedule of workshops, panels and technical programs in AES convention history; AES135 will be remembered by those in attendance as an exciting and enlightening experience, and one of the most heavily attended conventions in years. From the opening keynote address on Thursday by Josh McDermott from MIT; and the Heyser Lecture by legendary producer, technologist and multi-GRAMMY® Award winner George Massenburg; to Friday’s lunchtime keynote by multi-GRAMMY Award winner Jimmy Jam; the Project Studio Expo and Knowledge Center; the “Sound For Picture” Deadliest Catch workshop; the GRAMMY SoundTables event honoring the late Phil Ramone; presentations by engineer and Jay-Z collaborator Young Guru; and more, AES135 hit it out of the park for attendees and exhibitors alike.

“I can’t express how thrilled I am with our Convention this year,” stated Bob Moses, Executive Director of the AES. “Our organizing committee really outdid themselves, with over 250 presentations from an astounding 682 leading researchers and practitioners in the field, many of them standing-room only. The convention floor was absolutely packed, and the only complaint I heard was that we ran out of convention programs on the second day because so many people showed up. We took some risks with this show in an attempt to bring in lots of new blood and to maintain our position on the proverbial cutting edge, and the fact that it was such a fantastic success gives us confidence to ratchet it up a few more notches in Los Angeles next year. Actually, why wait for October 2014? – we’ll be back in Berlin in April, and much of what made this show so great will be leveraged to breathe new life into our European convention.”

No matter what sector of the industry you are involved in — recording & production, broadcast & streaming, game audio, live sound, networked audio, sound for picture, post production or system integration — AES135 had it all. The convention received support from over 20 industry sponsors and partners including: Audio Precision, Cerwin-Vega, CharterOak, Focusrite/Novation, Gibson, Hal Leonard, Harman/Soundcraft, iZotope, KRK, NewBay Media, Onkyo, SAE Institute, Sennheiser, Sound On Sound, Sound and Picture, Stanton, Tascam, and THAT Corporation. Additionally several organizations lent their support, including APRS, ASCAP, DTV Audio Group, International Music Festival Conference, Manhattan Producer’s Alliance, The Recording Academy® Producers & Engineers Wing® and SPARS, as well as leading audio retailers GC Pro and Sweetwater.

The convention garnered praise from exhibitors and attendees alike. Piers Plaskitt, CEO, Solid State Logic, Inc., stated, “We went into the 2013 AES with high expectations, a new console for the live market, a cool summing box for our music professionals and a MADI/Dante bridge for our broadcast customers. We staffed up accordingly, and I’m very pleased to say that we had an extraordinarily busy show that exceeded our projections on every level. We are looking forward to 2014 and the convention’s return to Los Angeles.”

“This AES in NY was the best AES convention in many years,” stated Eric Mayer, President, DPA Inc. “This year the show floor traffic seemed up, our booth attendees were more ‘qualified’ and spirits seemed high. I’m not sure what changes were made, but whatever they were, they were needed and they worked.”

Katy Templeman-Holmes, Sr. Marketing Manager USA, Mixer Group, HARMAN, echoed Mayer’s words: “We had a great show, specifically with the hands-on workshops we hosted. Attendance was stronger than ever and it was a valuable mix of student, new and veteran engineers all looking to learn and experience the available technologies and products. A good show all around.”

“AES NY is always special, as no other show draws such a diverse crowd of key decision leaders in music, post, broadcast and live sound,” stated Phil Wagner, President of Focusrite Novation Inc. “This year’s AES show had our booth and sound demo room packed with potential customers from start to finish. We were proud to sponsor both the Project Studio Expo and Networked Audio Track. We look forward to a strong presence at AES Los Angeles next year.”

For additional information on the Audio Engineering Society and its conventions, conferences and technological outreach, visit http://www.aes.org.

Photo Caption 1: The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) saw five-year-high registration numbers. Photos courtesy of Audio Engineering Society. © 2013

Photo Caption 2: Attendees flock to the 135th Audio Engineering Society Convention on the opening day of exhibits, Friday, October 18, 2013. Photos courtesy of Audio Engineering Society. © 2013

Photo Caption 3: The aisles on the exhibition floor at the 135th Audio Engineering Society Convention were filled with wall-to-wall attendees. Photos courtesy of Audio Engineering Society. © 2013

For additional photos from the 135th AES Convention, please visit http://clynemedia.com/AES/AES135/photos/.

Sennheiser receives Engineering Emmy‘s® Philo T. Farnsworth Award

Hollywood, CA – October 24, 2013 – Audio specialist Sennheiser has been honored with the prestigious Philo T. Farnsworth Award at last night’s 65th Primetime Emmy® Engineering Awards in Hollywood. The Philo T. Farnsworth Award honors an agency, company or institution whose contributions over time have significantly impacted television technology and engineering. The award originated in 2003 as a means to recognize Panavision’s years of contribution to the film and television industries. Unlike most other Emmy awards, it is not awarded every year. The award is named after the inventor of electronic television, Philo Farnsworth.

Seven Engineering Emmys were awarded at the ceremony: the Philo T. Farnsworth Award, the Charles F. Jenkins Lifetime Achievement Award, Engineering Emmys for YouTube, Aspera’s FASP Transport Technology, Josh C. Kline for creating Digital Dailies®, iZotope RX Audio Repair Technology and Previzion Virtual Studio System (Lightcraft Technology), as well as two Engineering Plaques awarded to Lawo AG for their audio networking and routing system and Final Draft Screenwriting Software.

Daniel Sennheiser and Dr. Andreas Sennheiser accepted the Emmy statuette “on behalf of the passionate Sennheiser staff that helped to create innovative audio products and have provided impeccable customer service in the fields of TV and broadcasting.”

Frank Morrone, governor of the sound branch at the Academy of Television Arts & Sciences, himself an Emmy Award-winning Hollywood audio engineer, congratulated Sennheiser on the award: “I am excited that the Television Academy has chosen to recognize Sennheiser as a leader in developing products that have contributed to advancing the way television is created and produced.”

Daniel Sennheiser commented: “We are thrilled that the Engineering Awards Committee has selected Sennheiser for this much sought-after award. This is an incredible honor for all of us at Sennheiser, and I dare say especially for our teams in North America, who are reliable and enthusiastic partners to the benchmark-setting US TV industry. The award also honors the achievements of my father and grandfather, who firmly grounded and advanced the company in the fields of production and broadcasting.”

Sennheiser’s wireless microphone systems and shotgun microphones are used in TV and film productions the world over. Whether robust and reliable RF wireless systems like Digital 9000 or highly precise gun microphones such as the industry-standard MKH 416 – sound engineers at production centers across the globe rely on Sennheiser microphone technology.

Sennheiser began producing shotgun microphones as early as the 1950s, and when the need for wireless transmission emerged in TV broadcasts at the end of that decade, the company was at hand to liberate hosts and actors from the cable with its first wireless mic in 1957. Since then, of course, technologies have evolved tremendously, resulting in today’s climate-resistant, rugged shotgun microphones and superior multi-channel wireless systems with tiny, easy-to-hide lavalier microphones and excellent handheld microphones.

About the Primetime Emmy® Engineering Awards:

The 65th Primetime Emmy Engineering Awards are overseen by chair Wendy Aylsworth, SVP of Technology, Warner Bros. Committee members are Stuart Bass, A.C.E., Picture Editors Governor, Academy of Television Arts & Sciences; Chris Cookson, President, Sony Pictures Technologies; Kevin Hamburger, Sr. Supervising Producer, THE TALK; Eileen Horta, Sound Editing Governor, Academy of Television Arts & Sciences; David Jensen, Partner, Monitor; Geoff Katz, Vice President, Watchwith; Frank Morrone, C.A.S., Sound Governor, Academy of Television Arts & Sciences; John D. O’Brien, Video Control/Consultant “The Big Bang Theory”; Mark Scott Spatny, VP Digital Effects, Stargate Studios; Barry Zegel, Senior Vice President and General Manager, CBS Television City.

About Sennheiser:

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.

Caption: Daniel Sennheiser and Dr. Andreas Sennheiser accepting the prestigious Philo T. Farnsworth Award at the Engineering EMMY® Awards Ceremony

Emmy®: The Emmy name and the Emmy statuette are the trademarked property of The Academy of Television Arts & Sciences and the National Academy of Television Arts & Sciences.

Genelec 2013 AES Convention Press Kit

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or visit http://clynemedia.com/genelec/AES_2013/index.html

Audio-Technica 2013 AES Convention Press Kit

Please click the graphic below to view the Audio-Technica 2013 AES Press Kit

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Hal Leonard Publishes Beyond Mastering

“This is the perfect trail guide for musicians, engineers and anyone else interested in how the universe of sound operates.” – Jovino Santos Neto, Brazilian American jazz pianist, composer, and arranger

Montclair, NJ (October 22, 2013) – Hal Leonard, the musician’s best source of books on the music business, audio technology, instrument history and more, releases Beyond Mastering, the highly anticipated second book by mastering engineer Steve Turnidge.

In his first book, Desktop Mastering, Turnidge gave readers a tour of his unique approach to mastering, all the while providing glimpses of his mind-set and resulting workflow. Now, in Beyond Mastering, he unveils the physics and philosophy that drives the mastering engineer. He has found parallels between mastering music and mastering life, and he helps the reader to find the internal state required to achieve happiness and success.

Beyond Mastering is full of guiding principles gained from Turnidge’s 25-plus years in art and technology. He expresses universal truths with a mix of anecdotes, analogies and metaphors, and reveals ways to truly enjoy work and be more productive when fully integrating your profession into the rest of your life.

The book is written for the audio enthusiast who wants to get a better handle on deeper aspects of the art and craft of mastering. It is also for people who enjoy reading philosophical ideas that extend beyond routine education, and for those who want to better understand the world of audio, frequency, and amplitude.

“Although it can seem impossible at times, we can make peace with the demands of making a living and our passion. We can make a life that includes everything we really need. For those who are paying attention to the doors that are opening, rather than the one that just closed, the book may be the way in.” – Frank Sheldon, Guitar Craft

“Steve was the first person to ever do mastering for me on my songs, and let me witness firsthand what his process could do to fix a multitude of sins on the original recordings… In this latest book, Beyond Mastering, the deeper part of Steve Turnidge’s mind comes out and shows incredible insight gleaned from this lifetime living inside of creative music and technology (technology that he not only owns and uses, but also has designed, invented, and sold around the world).” – Gordon Raphael, producer (The Strokes)

About the Author
Steve Turnidge is a noted mastering engineer at UltraViolet Studios with vast professional experience, a history of service in the international audio community, an entrepreneurial outlook that utilizes all available levels of technology, an intellect that finds incredible keys to universal truths and insights, and scores of albums and thousands of licensed music tracks to his credit. Turnidge also has an electronics background as a designer for Rane Corporation, and he currently designs and fabricates modular hardware synthesizers at Synthwerks, as well as guitar pedals for Pigtronix.

Media Contact:
Please contact Music Marcom for review copies, author interviews and excerpts:
Martina McConnon v: 610-577-4982 e: martina@musicmarcom.com

Beyond Mastering
$24.99 (US)
Inventory #HL 00333850
ISBN: 9781458474513
Width: 5.5″ Length: 7.75″ 262 pages
More information at www.halleonardbooks.com

“Scary Deals”: Save 60% at Soundsonline.com until 10/31/2013!

Select 3 EASTWEST/QUANTUM LEAP titles and save 60% off the retail price

Hollywood, CA (October 22, 2013) Soundsonline.com, the industry leader in virtual instruments distribution, is offering Scary Deals this month, which allows musicians to purchase any 3 of the eligible EASTWEST/QUANTUM LEAP virtual instruments for 60% off the individual retail price.

All eligible titles can now be played with EASTWEST’s newest version of its proprietary software PLAY 4to support Avid’s new AAX format. This will allow Pro Tools 11 users to work with EASTWEST’s virtual instruments in 64-bit, greatly improving performance. PLAY 4 is compatible with all popular hosts (see compatibility chart). PLAY 4 also includes new time-stretch software optimized for loops (with sync to sequencer); offers a new mixer page (with sub-channels for mic positions), background loading, SSL/EW FX suite that includes SSL EQ & Dynamics Channel, SSL Transient Shaper, SSL Stereo Compressor, EASTWEST Expanded Convolution Reverb, and many other new features.

Purchasers can choose any three or more products from EASTWEST’s 20 eligible collections. The 60% discount will be available until October 31, 2013.

For complete promotion details and ordering information, visit http://www.soundsonline.com/Scary-Deals or http://www.soundsonline-europe.com/Scary-Deals for European purchasers. Promotional offers may not be combined.

About EASTWEST
EASTWEST (www.soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer.

iZotope Releases Nectar 2 Production Suite


Flawless vocal production is just a click away

AES, New York City, (October 18, 2013) - iZotope Inc., a leading audio technology company, has released Nectar® 2 Production Suite. Designed specifically for voice, Nectar 2 harnesses the power of iZotope’s award-winning vocal technologies to quickly and easily treat your voice to sweet results. Whether you’re tracking or mixing, Nectar 2 is designed to deliver professional vocals fast.

“When developing Nectar 2, we focused on adding cutting edge tools like the new Harmony and FX modules, as well as classic tools that have made vocal recordings sound great for decades, like the new EMT 140-modeled plate reverb,” says Brett Bunting, Product Manager at iZotope. “By providing all the tools necessary to create a unique vocal chain, we’re excited to make working with vocals even more inspiring for our users.”

Exclusive to the new Nectar 2 Production Suite, two additional plug-ins are included for perfecting your vocal sound. Pitch correction is simpler than ever with the new Pitch Editor plug-in, and you can remove distracting breaths without tedious, time-consuming editing with the new Breath Control plug-in.

Key Features
Explore eleven powerful tools within Nectar 2: Harmony, Plate Reverb, FX, Pitch, Delay, De-Esser, Saturation, Compressors, Gate, EQ, and Limiter.

- Add impact and space to a vocal track with a new EMT 140-modeled Plate Reverb
- Transform a vocal take into a dynamic, harmonized ensemble of up to twelve voices with a few mouse clicks or by playing your MIDI with the Harmony module.
- Get smooth, pitch-perfect takes quickly with new dedicated Pitch Editor and Breath Control
plug-ins.
- Expand your palette of vocal sound with seven new creative effects in the new FX module.
- Tweak each module’s powerful settings and controls in the Advanced View, or make quick adjustments in the streamlined Overview panel.
- Switch easily between Tracking and Mixing modes to improve vocals at all stages of production.
- Hear instant results with over 150+ new presets inspired by current and classic vocal styles.
For more information about Nectar 2, visit www.izotope.com/nectar.

Pricing & Availability
Nectar 2 Production Suite, featuring the dedicated Pitch Editor and Breath Control plug-ins, will be available for $219 through October 30, 2013 (regular MSRP $299 USD / €185 EURO).
Customers who purchased Nectar after August 1, 2013 will receive an email with a free upgrade to Nectar 2 Production Suite upon release.
Users of Nectar 1 or Nectar Elements can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

Compatibility

Nectar 2 can be used as plug-ins in your favorite host. Supported plug-in formats include 64-bit AAX (Pro Tools 11), RTAS/AudioSuite (Pro Tools 7.4-10), VST, VST 3, and Audio Unit.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX® For more information on iZotope products, please visit www.izotope.com.

Media Contact
Music Marcom
Martina McConnon
e: martina@musicmarcom.com
v: 610-577-4982

Mick Wingert, “Voice of Awesomeness,” Relies on Neumann U 87 and Sennheiser MKH 416 to Capture Nuances of Animation Performances

Wingert, a ‘Natural Born Mimic’ and Voice of Po in Kung Fu Panda, Says Sennheiser and Neumann Microphones Capture Authenticity of Performances

Old Lyme, Conn., – October 19, 2013- Mick Wingert, who is also known as “Voice of Awesomeness” in and around Hollywood, began his love affair with voice acting by imitating and mimicking his favorite cartoon characters at an early age. As his career blossomed and his acting skills matured, he gravitated towards Neumann and Sennheiser microphones as the primary tools of his trade and hasn’t looked back since.

Wingert has made his calling card in large part through his highly outstanding voice performances as Po in Kung Fu Panda over the last four years, in which he has been featured as Jack Black’s vocal stand-in. However, since the beginning, he has always had an ear for the sound of his characters.

“Every time I played a character in the community theater where I started acting, my first question would be, “What does this character sound like,” Wingert recalls. “The movement, the physical sense and even the emotions of the character were never as important to me as the voice. I knew voice acting would probably be my niche early on.”

Now, whether lending his talent to Nickelodeon, DreamWorks or another major Hollywood studio, Wingert prefers using the Neumann U 87 large diaphragm condenser microphone or the Sennheiser MKH 416 shotgun microphone for all of his voice acting work — whether playing animated characters or doing more traditional voiceovers for advertisements.

“In voice acting, people expect the whole world to come through the audio,” observes Wingert. “It behooves the character actor to be able to create a reality both through their acting voices and through their microphone technique. It fascinates me how often I will dance with the microphone to get the best possible sound.”

For his animation work, Wingert most often uses the Sennheiser MKH 416 shotgun microphone. “For me, the MKH 416 seems to capture a solid sound with a nice, crisp upper end and full bottom end,” he says. “My voice has a bright, brassy sound, and for my animation work, the MKH 416 really works with this, and I tend to use the U 87 for more traditional commercial and narration work. I have never had a ‘big announcer’ type voice, but the U 87 does a great job in capturing the baritone/tenor qualities of my voice.”

While voicing Kung Fu Panda’s Po character, Wingert must capture a broad palette of emotions and dynamic expression. “Po often has to apoligize and have sincere moments during the show, because he is the one with the character arc. I might have an apologetic moment where I have to get really close the mic and sound super-sincere. I let the mic do its job by capturing the intimacy of that moment by bringing out the rich, warmer tones of my voice so it sounds like I am standing right next to the person I am speaking with.” Wingert says this intimacy might contrast with another moment in the script where, say, Po is calling out across the courtyard to a crocodile bandit. “For something like this, I might be a little farther off the mic to allow for more space and room tone.”

Wingert, who also teaches voice acting, recommends the Neumann U 87 to his students whenever they are ready to make an investment in a great microphone. “To make your calling card in this industry, you need to combine your best performance and the best microphone for your sound. Get your own Neumann, because that’s what you will be working with in the ‘real world.’ The Neumann sound is solid, and there is a lot of depth and character to it. It captures nuance in a way that other microphones simply cannot.”

About Neumann:

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

About Sennheiser:

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

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

The Freedom of Sound: The New Neumann TLM 107 Microphone

Standard-setting Microphone Features Multiple Polar Patterns for Studio, Broadcasting and Demanding Home-Recording Applications

New York City – October 18, 2013: At this year’s Audio Engineering Society Convention, premium audio brand Neumann [booth 2831] announced its newest studio microphone: The TLM 107 large diaphragm microphone. It stands for innovation based on tradition and is a universal, standard-setting microphone with multiple polar patterns for studio, broadcasting and demanding home recording applications.

The TLM 107 features a surprisingly fresh design and a novel operating concept. Wolfgang Fraissinet, President of Neumann.Berlin, explains: “The TLM 107 is a modern, high-resolution sound transducer with excellent reproduction characteristics that enable it to capture the original sound without any coloration, thus ensuring unlimited design freedom in mixing and post-production.”

For the first time, all of the microphone switch functions are controlled through an elegant, wear-resistant navigation switch. The contemporary, intuitive operating concept includes an illuminated pattern display in the chrome ring, with the Pad and Low Cut status LEDs positioned to the left and right. The switch and display are located on the rear of the microphone so as to not distract singers. After 15 seconds, the display is turned off automatically, allowing the TLM 107 to be positioned discretely on the stage.

The newly developed double diaphragm capsule is inspired by one of Neumann’s top models, the D-01. With its exceptional impulse fidelity, the TLM 107 is particularly suitable for percussion and the finest overtones of stringed instruments. As a multi-pattern microphone made by Neumann.Berlin, the TLM 107 is impressive not only in the cardioid setting, but delivers balanced sound for all five directional characteristics: Omnidirectional, cardioid and figure-8, with the intermediate patterns wide-angle cardioid and hypercardioid.

For all polar patterns, up to 8 kHz the sound reproduction is almost linear, while a slight high frequency boost lends brilliance and freshness to recordings. Particular attention has been paid to the natural reproduction of the human voice, especially the critical “s” sound. Low sensitivity to pop sounds is ensured by an acoustically optimized grille, which has a characteristic Neumann design, with youthful, flowing lines. The capsule is designed to minimize sensitivity to humidity and other environmental influences. For example, the front and rear diaphragms are at ground voltage, thus preventing the electrostatic attraction of dust particles. In order to ensure that no dust enters the interior, the sound transducer — like all Neumann capsules — is mounted in one of the best cleanrooms in Germany.

Transformerless circuitry permits a high degree of linearity and a large dynamic range. The self-noise of only 10 dB-A is practically inaudible. The maximum sound pressure level, specified as 141 dB SPL, can be increased to 153 dB SPL via the two-stage pre-attenuation, so that sound from even the loudest sources can be transmitted without distortion. The switchable Low Cut with the settings Linear, 40 Hz and 100 Hz has been carefully adapted to practical recording situations: The 40 Hz setting eliminates interference noise below the range of fundamental tones, while the 100 Hz setting is ideally suited to speech and vocal recordings.

The TLM 107, which is priced at $1,699.95 and available in late November, is supplied in the colors matte nickel or black, and includes a stand mount. Detailed product information can be found at www.tlm107.neumann.com.

About Neumann:

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

About Sennheiser:

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

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

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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