Sennheiser 2012 Annual Report Download - page 12

22
220 Hz
j SENNHEISER MKH
800 TWIN
The separate, two-channel dual capsule makes it possible
to make adjustments to pick-up patterns later on – the
ideal microphone for surround sound and 3D images.
Sennheiser MKH 800 TWIN studio condenser microphone
Frequency response 30 to 50,000 Hz
Pick-up patterns omni-directional,
cardioid, figure-8
Nominal impedance 100 ohms
Weight 172 g
SURROUND SOUND
The feeling at the exhibition is at its strongest in
the two locations where the 3D installations resound. In
the first room is a 14-minute mash-up of songs from across
Bowie’s career, created by legendary Bowie producer Tony
Visconti. “When I first heard this remix, I immediately got
goose bumps,” remembers Zielinsky. To help museum visi-
tors share in his experience, Zielinsky readied the work us-
ing a formula he developed for Sennheiser’s surround
sound system. “Tony’s mix was so open and so beautiful
that his piece could be sent directly and unfiltered through
my algorithm,” he says. When Visconti heard the remas-
tered recording adapted to the premises for the first time,
he responded enthusiastically: “I don’t know how Gregor
does it, but – to me – it seems like magic!”
Zielinsky’s algorithm automatically
transforms images into 3D simulations. Though
there aren’t any stereo systems available right
now that could transport these sounds to the car
or living room of users, Sennheiser 3D audio tech-
nology will become available to consumers in the
future. Until then, a first impression of the sound
effect can be found in London.
The new surround sound is also celebrat-
ed in the second gallery with its larger-than-life
video triptych. In a long-lost recording, Bowie
rocks the BBC show Top of the Pops with ‘The
Jean Genie,’ while the music video directed by
Mick Rock and concert film Ziggy Stardust and
the Spiders from Mars by D.A. Pennebaker plays
in tandem. Since some of these recordings date
back to the early 1970s, Zielinsky had to fall back
on the mono recordings. However, by making a
few adjustments to his algorithm, Zielinsky has
been able to come up with an impressive repro-
duction in surround sound. “I was able to give the
instrumental passage the maximum bang while
keeping the major vocal passages more mono-
dominant, which I preferred because I didn’t
want to veer too far away from the original,”
says the audio engineer of his work. “These adjustments
take the old material and turn it into a treat for the ears of
today’s listeners.”
No wonder the Sennheiser sound experience, cre-
ated by Zielinsky, will tour with the exhibition when it trav-
els to international venues. As of spring 2014, “David Bow-
ie is” will be on loan in São Paulo. The German sound wizard
will also be on hand in Brazil to adapt the surround sound
system to the space. “I know exactly how to create this ef-
fect,” says Zielinsky and stows away his iPad. By the time
he’s completed his last sound check, Zielinsky knows every
nook and cranny of this immense room: “I didn’t want to
believe it at first, but I was completely bowled over by
David Bowie’s music in this amazing setting.”
g1. Spontaneous goose bumps: Zielinsky during a
sound check of a musical collage composed especially
for the show.