Article

Thursday, October 29, 2009

Sennheiser Appoints Herman As Channel Partner To Distribute Integration Product Line

Herman will distribute Sennheiser's innovative evolution and installed sound series microphones, as well as its full line of conference and RF/infrared assistive-listening systems

Sennheiser Electronic Corporation announces an agreement with Herman Procurement & Logistics to be a distributor for Sennheiser integrated solutions throughout the U.S.

Herman will distribute Sennheiser’s innovative evolution and installed sound series microphones, as well as its full line of conference and RF/infrared assistive-listening systems. Herman plans to stock an extensive array of Sennheiser products in all five of its distribution facilities located in Miami, Atlanta, New Jersey, Dallas and Nevada to provide local availability and better serve Sennheiser customers.

Herman is a leading provider of connectivity and infrastructure products and services to the commercial AV and broadcast industries. In addition to being a nationally-known distributor, Herman has leveraged its 45 years of industry experience to help customers improve operational efficiencies and achieve cost savings related to the procurement and management of project materials.

“With its renowned reputation as a premier manufacturer of award-winning audio products, Sennheiser offers several unique and innovative products that will enhance our value offering to our customers,” said Jeffrey Wolf, executive vice president of Herman.

“Our partnership with Sennheiser marks another milestone as we continue to implement our growth strategy in becoming the premier solutions provider to the commercial AV industry.”

New additions to Sennheiser’s portfolio of integrated solutions include the WiCOS digital wireless conference system and evolution wireless G3. WiCOS is an advanced, flexible wireless conference system that transmits in both the license-free 2.4 and 5 GHz ranges. Driven by Sennheiser’s pioneering RF expertise, the system automatically and unnoticeably changes the transmission frequency when it detects potential sources of interference.

The evolution wireless G3 series is the third generation of Sennheiser’s successful line of wireless microphones, which are ideal for a range of installed sound applications. Key features include remarkable flexibility and range, easy set-up, outstanding audio fidelity and extreme reliability with additional protection against poor reception.

“This partnership with Herman opens Sennheiser products up to many of the industry’s leading commercial AV integrators, which will prompt greater brand exposure in many rapidly growing markets,” said Jeff Alexander, vice president of sales for professional products at Sennheiser.

“We chose Herman because of its expansive product line and unique value offering and service programs offered to the commercial AV marketplace. The Herman team will undoubtedly deliver enhanced value and benefit to the channel.”

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Meyer Sound Constellation Creates Mythical World For Cirque du Soleil’s ZED

As applied in ZED, Constellation utilizes 97 compact loudspeakers, 32 microphones, and five dedicated VRAS™ processors to afford the liberty of creating fully adaptable acoustics.

Cirque du Soleil’s ZED thrills Tokyo audiences with a soaring, acrobatics-filled musical fantasy about a mythological-comical character who reconciles earth and sky.

At Tokyo Disney Resort’s purpose-built 2,150-seat theater, the dynamic soundscape created by sound designers François Bergeron and Vikram Kirby helps entice the guests into a world of imagination, giving the show a heightened emotional texture using Meyer Sound’s Constellation electroacoustic architecture.

Part of Meyer Sound’s LCS Series, Constellation incorporates the physical acoustics of a space with powerful technology and expert services to create flexible acoustical environments.

As applied in ZED, Constellation utilizes 97 compact loudspeakers, 32 microphones, and five dedicated VRAS processors to afford the liberty of creating fully adaptable acoustics.

“Constellation can sound absolutely natural, if that’s what you want,” says Principal Sound Designer François Bergeron, who is also CFO of Burbank, Calif.-based Thinkwell Design and Production and designer for six prior Cirque du Soleil shows, “but in pure sound design it also lets you play with the laws of physics.

“You can create acoustic spaces that cannot exist in the physical world. For example, at one point, the director wanted to create the sounds of a bizarre world using only ambient sounds in the room. With Constellation, we met his request, creating room acoustics impossible to achieve with physical architecture.”

Constellation in the ZED theater is designed to work hand-in-glove with the Meyer Sound self-powered primary and surround audio systems.

Everything is linked and controlled by what may be one of the largest CueConsole modular control surface ever assembled: 14 Matrix3 processors, six fader modules, 11 meter bridges, plus transporter and editor, together giving discrete access to 192 inputs and 168 outputs.

Throughout the show, Constellation presets are recalled from a cue list and controlled using the CueConsole.

“The Meyer Sound system affords a whole different level of capabilities,” adds Kirby, “including tailoring inputs and outputs to suit the show, specifying exactly what each cue does, and configuring the control surface to the size of the booth.

“ZED was in rehearsals for five months and, by the end of that time, the LCS system felt like a musical instrument that played the spectral and spatial composition of the mix.”

The ZED theater is designed to be an acoustically dry room, which tends to keep the audience from perceiving themselves to be part of a crowd. According to Tim Younghans, head of audio for ZED, Constellation’s early reverberation provides an effective solution to this problem.

“Dynamic mixing with Constellation enables me to evoke a greater response from the audience, allowing a burst of applause, or of ‘oohs’ and ‘aaahs’, to spread across the theater,” says Younghans.

“You could say Constellation is the bridge between the show and the audience.”

The main audio system comprises main left and right hangs of five M’elodie line array loudspeakers each, in addition to an unusual arrangement of a center array of five matrixed and cross-firing SB-2 sound beams.

Arranged in an upstage arc, they anchor the sound to the stage while maintaining a uniform L-C-R image at all seats. Thundering bass descends from ten flown 700-HP subwoofers, while intimacy is maintained at more distant seats by delay systems of 12 CQ-1, 11 UPJ-1P VariO, and 16 MM-4 loudspeakers.

Surround effects envelop the audience with 81 additional UPM-1P, UPJ-1P, CQ-1, and Stella-8C loudspeakers, the latter models recessed into pony walls behind the audience.

For Bergeron, the main system provides the primary instrument for carrying the performance, but it’s Constellation that allows him to play the room acoustics for emotional effect.

“Constellation allows us to transport the audience from one specific room to multiple environments,” he relates. “It’s like an audio zoom-in and zoom-out.

“When you zoom in, the theater sounds dry and closed in, but when you zoom out it feels spacious and lush. It becomes part of the emotional roller-coaster for the audience.”

The Meyer Sound audio systems were provided by SC Alliance, with support from ATL, Inc., Meyer Sound’s Japanese distributor; installation was by Yamaha YST. The theater’s striking, circus-tent-inspired design is the work of Canadian architects Saucier + Perrotte. The hosting company for the production is Oriental Land
Company, Ltd., with planning cooperation from Disney.

Meyer Sound

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