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Archive for December, 2011

From Sitcoms To Zombies, Cinedeck Extreme Delivers Great Rental Results For Filmscape

The Award-winning Cinedeck Extreme cinema grade monitoring, recording and playback device is delivering great results for digital facilities company Filmscape, which recently supplied units to a variety of clients including a major feature film production and a pilot for a new television sitcom.

Established in 2005 by two independent filmmakers, West London-based Filmscape is passionate about the latest digital technology. As one of the major UK suppliers of film and television equipment, Filmscape’s customers include most of the UK’s top TV networks, production companies and indie producers, as well as major universities and UK film schools.

Anthony Holt, Filmscape’s Operations Director, says: “We are passionate about the latest digital technology and continually invest in new equipment. We have always been at the forefront of 35mm replacement cameras, pioneering the Red One in this country and growing today to include RED Epics, Arri Alexas and Sony F3s and a huge stock of 35mm lenses. Stocking a unit such as the Cinedeck Extreme makes perfect sense because it complements our camera range and we can see plenty of rental opportunities for it.”

Supplied through Oxygen DCT, Cinedeck EXTREME is an ultra-portable, affordable, camera-mountable, high-grade DDR that is revolutionising digital cinematography and TV production by enabling a digital video tapeless workflow that drastically reduces production time and associated costs. This single, compact unit, which has already won numerous awards and accolades since making its first public appearance at NAB 2010, negates the need for a separate time-code generator, monitor and field recorder, thus reducing location set-up time and simplifying video acquisition. Furthermore, the device has three internal codecs that allow users to make recordings in the edit format of their choice, which improves workflow by removing the need for the often fraught process of file ingest and format translation.

Filmscape now has two Cinedeck Extreme units available for rental and Holt says they are becoming increasingly popular with customers.

“When we were first shown the Cinedeck we were massively impressed with its size and recording quality, combined with its price,” he explains. “Equivalent decks were previously ten times the price and, as a playback unit, it was much better than anything else on the market. It was increasingly frustrating in an age of cameras that only output HD signals that the only playback unit ever requested or known about was the DV Clamshell from Sony. In our opinion this has a terrible low resolution image, records to DV tape that we don’t stock and requires a down converted signal before going into it as it can only take standard definition. This leads to bulky cable setups, an outdated workflow and frustrated calls from clients.”

After being introduced to the Cinedeck by Oxygen DCT, Filmscape realised that the unit had the potential to serve multiple purposes. It could increase the quality of recording on smaller cameras such as the EX3, record an equal quality backup of the footage being recorded on higher end cameras such as the Alexa and replace outdated playback systems.

“As the Cinedeck takes HD signals, has a high resolution display and comes equipped with a variety of staple modern recording formats, it fits perfectly with our current stock. With future upgrades available there’s no end to what it can potentially record.”

Customers who have recognised the potential of Cinedeck include Objective Productions, which used it to film a new sitcom pilot, and The Tea Shop and Film Company, a new production company established by James Harris and Mark Lane, which used Cinedeck on its first feature film Cockneys Vs Zombies.

Holt says that in both cases the production companies didn’t specifically request Cinedeck but were steered towards it because they needed an HD playback unit that was easy to use.

“The unit fitted perfectly with their existing monitor and camera setups and it got fantastic feedback from both crews,” Holt says. “Generally the feedback was excellent. It’s small, solid and incredibly versatile. On one of these productions it was handed to the continuity supervisor to manage and was found to be very reliable and simple to use as a playback unit.”

The success of Cinedeck Extreme has now prompted Cinedeck LLC to release Cinedeck RX, a rack mountable, multi-format version of the Extreme that offers multi-channel HD-SDI recording, monitoring and playback. This unit is designed to meet the challenging requirements of the mobile broadcaster and is ideal for production facilities and OB productions.

For further information about Cinedeck Extreme or Cinedeck RX, please visit Oxygen DCT’s website at www.oxygendct.com

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About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles.

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ALTINEX ANNOUNCES WEBINAR SERIES

***** Photo Description: AVSnap logo *****

Brea, CA – December 2011… Altinex, a leading manufacturer of Signal Management Solutions®, will, in January 2012, initiate a free, extensive webinar training program designed to provide AV system designers, consultants, and sales professionals the skills to utilize the company’s highly acclaimed AVSnap AV system design / control software to their best advantage. The program coincides with the recent release of AVSnap Version 5, the latest revision of the software.

The AVSnap webinar series commences on Friday, January 13th, 2011 and runs each Friday (for twelve weeks / sessions) through March 30th. Each online session will have a duration of approximately 1 hour. Jack Gershfeld, author of AVSnap and President and CEO of Altinex, will conduct the online sessions. more

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WIRELESS FIRST USES NEW CLAIR GLOBAL WIRELESS ANTENNA TO HANDLE EIGHTY-SIX RF CHANNELS AT ROCKEFELLER TREE LIGHTING CEREMONY

rockcenter_xmaslighting_2011.JPGNEW YORK, NEW YORK – DECEMBER 2011: When construction workers decorated a twenty-foot tree with paper garlands, cranberry strings, and the tinfoil ends of blasting caps in the early years of the Great Depression, they had no way of knowing they were starting a beloved holiday tradition. Today, the Rockefeller Center Christmas Tree in midtown Manhattan is a national symbol of the season. The tree’s lighting ceremony in late November has blossomed into a two-hour television special, complete with nostalgic hosts, the Radio City Rockettes, and performances by pop music icons, both contemporary and enduring. As in years past, NBC hired Wireless First, a Clair Global Company, to wrangle eighty-six channels of mission-critical wireless RF that spanned a full city block. In addition to an encyclopedic knowledge of all things RF and decades of in-the-trenches experience, Wireless First’s successful package included the new, innovative more

College of the Canyons Anchors Remodeled Studio with Broadcast Pix Granite 5000 Live Video Production System

Billerica, Massachusetts – Broadcast Pix™ today announced that College of the Canyons, a community college in Valencia, Calif., that serves the Santa Clarita area, has installed a Granite™ 5000 live video production system as part of an upgrade to HD production for its studio and control room facilities. The system is used for classroom instruction as well as the production of Cougar News, a student-produced news program that is streamed live to www.cougarnews.com.

Part of the Division of Fine and Performing Arts, the Department of Media Entertainment Arts (MEA) has more than 400 students, including more than 85 broadcast students. Ron Entrekin, broadcast lab technical engineer, said part of the certification offered through the department is based on providing training on professional equipment. The move to HD production was a must, he added, because “HD is where a lot of broadcast and high-end production houses are going.”

Local bond funds allocated for upgrading the college campus paid for the $1 million renovation. In addition to a new Granite 5000, which was installed in February by the Garden Grove, Calif.-based offices of VMI, Inc., the facility now features a Yamaha LS9 digital audio mixer and three new JVC GY-HD250U ProHD cameras with studio configurations on Libec pedestals.

Entrekin praised the 2 M/E workflow of the Granite 5000. With its DVI output, one M/E is used to feed background monitors on the set and change them on the fly during a show. “It did exactly what we wanted at a price we could afford,” Entrekin said. “The 2 M/E workflow is how we want to teach in the control room, and Broadcast Pix works better than any other system out there.”

For Entrekin, one of the main reasons for choosing the Granite system was Fluent™ Watch Folders, which allows students to import video files over the network, even during a live program. He also said they use the built-in clip and animation stores, as well as the built-in Harris Inscriber GS CG. Entrekin said there are also plans to integrate Fluent Rapid CG into the system to feed a handful of 46-inch monitors across the facility with updated news and weather, along with programming.

Granite 5000 includes support for Fluent-View customizable displays, but MEA added support for an additional two monitors for its facility. Three Fluent-View monitors are used in the control room – one for the director, two 60-inch LCD monitors for the technical director – while the fourth is used in the audio room. “The audio person can see what’s coming before it gets to air,” Entrekin explained. “We couldn’t do that before. Our audio students love being able to see what’s coming next.”

Students produce seven episodes of Cougar News each semester, as well as four specials. Episodes are also shown on SCVTV, the local PEG (public, education, government) channel on Time Warner Cable. The programs are also available on demand on the school’s Web site and www.scvtv.com.

Meanwhile, MEA’s previous production system, a Broadcast Pix Targa 2000 purchased in 2007, is now being used by advanced students to produce live school baseball and basketball coverage, which is streamed to the Web site via Skype. “Our students have found a use for it beyond what we expected,” Entrekin said.

About Broadcast Pix Broadcast Pix is the leader in integrated live video production systems. Its systems provide the best control surface for combining cameras, clips and graphics to create compelling live video. These surfaces enable total control of the built-in multi-format switcher, clip store, graphics system with a Harris or Chyron CG, and device controls. Its Fluent™ workflow enables files and data to be easily incorporated from other parts of the studio. Broadcast Pix systems are a fraction of the cost of a conventional control room to buy, staff and operate. System range from small systems controlled by a touch-screen or voice-automation to sophisticated 2 M/E control panels. Customers include leading broadcast, corporate, education, religious, government, webcast, entertainment and mobile studios in more than 90 countries. Learn more at www.broadcastpix.com.

Broadcast Pix, Granite, and Fluent are trademarks of Broadcast Pix, Inc. Patented.

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Sonnox Announces 64-Bit Support For Oxford Plug-Ins

OXFORD, UK: In a move designed to provide full native 64-bit support for DAWs such as Logic and Cubase, Sonnox has announced the release of 64-bit versions of native Oxford Plug-ins. In addition to 64-bit compatibility, the new versions also sport updated graphic interfaces. Updates can be obtained from the Sonnox website for as little as $23.00 per plug-in. Sonnox Sales & Marketing Manager, Nathan Eames comments, “We’re constantly working with ever-advancing platforms, and are delighted to be giving our users native 64-bit compatibility with this update. We will also be adding AAX native plug-ins (for Pro Tools 10), free of charge to license holders of the new native versions.”

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For more information about Sonnox 64-bit plug-ins, or AAX native plug-ins,
please visit www.sonnox.com

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OOBAXS Brings Switches Capable of Mixing CATx & Fiber to US Market

High Definition (HD) KVM DVI Draco matrix switches are capable of mixing both CATx and fiber optic connections


Hollywood Studios Jump on New Technology

OOBAXS (pronounced Out of Band Access), the console access authority for data centers and broadcasting today announced that it is bringing High Definition (HD) KVM DVI Draco matrix switches capable of mixing both CATx and fiber optic connections between source and target to the US market. The switches are manufactured by IHSE Germany, a leading developer and innovator in high speed, high definition DVI and KVM/Video extension and switching solutions.

OOBAXS, one of Hollywood’s leading technology integrators will provide installations, support and guidance on deployments at numerous post-production facilities. “The Draco series is the fastest core switching product on the market,” said Alan Frank, technology strategist and founder of OOBAXS. “IHSE’s willingness to be a responsive partner with their end-users has led to the evolution of a product that is changing the way movies are made.”

The Draco offers DVI video extenders over CATx or Fiber for “mission critical” server and computer access, as well as, fiber optic HD-KVM matrix switches. The Draco, featuring ZERO blocking, high speed switching, HD DVI to 1920×1200, and four HID, has already made its impact on Hollywood studios.

Working with OOBAXS to design and deploy a solution using Draco, Shapeshifter Post was the first post-production facility in Hollywood to embrace the high speed technology. “We had been researching KVM Matrix switching/extension options for many months, and needed a robust solution that could support all our input devices without issue, including our Avid Symphony, DS, and Media Composer, as well as De Vinci Resolve, and Final Cut Pro workstations,” said Russo Anastasio, president of Shapeshifter Post. “We knew that by installing the IHSE Draco, we would increase our productivity, but didn’t realize the extent of that increase would be such a game changer!”

“Post-production tasks can be time consuming and draining on resources and typically depend on individual hardware and locations,” added Alan Frank. “An editor may have traditionally worked in one bay for picture editing, but then would need to move to a new location to add in special effects or color-time. With the Draco, an entire production house worth of resources becomes accessible at any single end-point.”

OOBAXS (pronounced Out of Band Access) provides anywhere, anytime console access to broadcast facilities and data centers. The company has a long track record integrating access solutions to help data center managers gain access to any appliance or piece of equipment in their network. OOBAXS has been instrumental in bringing the latest technologies to data centers helping them improve anytime access, image/video quality, productivity, access speed, and a more flexible infrastructure. OOBAXS has brought modern data center tools and techniques into the broadcast world. The result is a client list that includes the world largest movie, recording, radio and television studios as well as Fortune 100 company data-centers. As video, speed and visual interfaces continue to improve; OOBAXS will remain a leading resource for CIOs, CTOs, and broadcast engineers.

All trademarks are the properties of their respective owners.

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Canadian Indie Music Fest Rifflandia Gets Amped With DiGiCo

Canada’s Rifflandia Festival has been called Victoria’s version of SXSW, featuring some of the best and brightest Canadian and international indie artists. This year’s stellar lineup included 4 days of 110 artists on 9 stages and showcased bands from City and Colour and Cold War Kids to De La Soul and Blackalicious. Doug Lyngard of Victoria’s D.L. Sound & Lighting Productions handled three stages of the audio production for the event, rounding up two DiGiCo SD9s from its inventory, supplemented by an additional SD9 and SD11 provided by Vancouver’s Gerr Audio. The feedback from engineers handling the event—as well as the guest engineers who sat in with their bands—was nothing short of glowing, with all citing the ease of use and stellar sound among their favorite DiGiCo traits.

Lyngard purchased the SD9s back in 2010 and has used them on myriad festivals and events over the last year with great success. “The sonic quality of the console is the main reason why I purchased them,” he explained, “and of course, the DiGiCo name. I also like the fact that once you learn one SD console, you’re good to go on the rest of the series.”

At FOH on the festival Side Stage was Craig Brittain on an SD9. No stranger to DiGiCo, he’s been using DiGiCo consoles handling monitors for the better part of the last four years with Michael Buble. “After falling in love with DiGiCo and a D5 on a European tour with Michael, it became my go-to console of choice for any tour/artist. I am a big fan of the DiGiCo sound and currently am using an SD7 as we tour around the world.

At Rifflandia, having a chance to spend a bit of time on the smaller SD9, I was impressed at how DiGiCo have managed to keep the sonic quality utilizing the Stealth Digital Processing. It’s nice with the DiGiCo to know what you are getting yourself into and how things are going to sound. From the SD9 to the SD7—and now the new additions to the SD line—nothing matches where DiGiCo is at sonically. Having taken the next step in processing using Stealth technology, it’s easy to forget the limits of traditional DSP chip configurations. I have said it before and will repeat it until I am blue in the face, but nothing on the market compares to that of any DiGiCo consoles!”

“When looking at the festival line-up I was responsible for, and knowing I was going to be using an SD9, I simply came up with a template the day/night before the first day of shows that I programmed in to accommodate all of the bands and was good to go for the first soundcheck the following day. I knew that my knowledge of the console would aid the visiting engineers with little or no experience on the desk. Any artist with the luxury of a morning soundcheck, I simply stored the snapshot and carried about the rest of the day!”

Over at the Metro Theatre stage on an SD11, it was FOH engineer Jim Kent’s first time on a DiGiCo. With only a day of preparation prior to the fest, he found the console’s interface and layout extremely intuitive to use. “The graphic interface was fantastic! I found it very helpful that the screen was speaking to me in an analog/graphic way. I really liked the channel layouts and found them very natural for mixing on the fly. I had some guest FOH engineers with a few of the bands and they found it very easy to navigate. We all particularly liked the fact that the controls were right below the compressor graphics, i.e. threshold/ratio/attack. I also found the FX rack to be very easy to manipulate the same way, and was able to pull live echo repeats and reverb effects on the fly. Being a festival setup, we went from 4 channels to 32 in less than 30 minutes… add a vintage guitar pedal as a vocal effect and a video feed, and all was accomplished well within time. The SD9 performed perfectly and did not get in the way of the creative process. The DiGiCo, too, sounded great. I had a solo artist on stage at one point and the console was able to reproduce voice and guitar with all the meat one needs and get the spit in the throat that I like to hear on an intimate vocal.”

Another DiGiCo newbie was engineer Tim Herron, stationed on an SD9 at monitor world at the Alix Goolden Hall. Given the task of operating both lights and monitors for multiple bands an evening—and with no hands-on time prior to the event—Herron found the console allowed him to work quickly and efficiently. “Arriving at 1pm we did the first show at 9pm and that was without even having seen the board before. I was able to learn how to navigate everything I needed and get up to speed relatively easily without having to have a dumbed-down feature set, and the SD9 had a nice combination of great features combined with pure usability. I felt like the board was working for me and not the other way around (which is not always the case with digital consoles). The SD9 had the look and feel of an analog console with its ability to label and save during soundcheck. During the festival, we had some very hardcore analog-console-using FOH engineers. One said that it was the best-sounding digital board he had encountered and another said that it was the most sonically transparent console she had used. My impressions were that the sound quality was superior to the other digitals I have used and that the console certainly was an excellent choice for an event like Rifflandia where sonic quality was the major consideration in intimate event venues. I know that I will be looking forward to using this console again.”

Mixing FOH at the Alix Goolden Hall was Paul Gatien on another SD9. Gatien’s extensive experience mixing on the console for the 2010-2011 summer seasons at Victoria’s Butchart Gardens proved invaluable—with a diverse entertainment schedule showcasing around 64 shows from folk and Jazz to classic rock and the Victoria Symphony. “The SD9 proved handy especially for the store and recall ability when dealing with the repeat and weekly shows, both at Butchart and Rifflandia. The sonic quality of the SD9 was amazing, too; it didn’t have that ‘digital edge’ that I have encountered with other digital consoles.”

Handling up to 32 channels of inputs from the stage at Rifflandia, Gatien opted for a basic festival stage microphone patch as they were missing some of the technical riders from the artists. Fortunately, most bands were able to soundcheck prior to their sets, which helped with changeovers.

“To avoid gain sharing, we used a passive splitter snake and sent a monitor split to a D-Rack located at the monitor mix position and another split to a D-Rack located at the FOH position. At FOH I used 2 line outs from the D-Rack for the Left and Right speaker mains and 1 output for the lip fill speakers. I also used 2 line outputs for the balcony fills. I ran all of these outputs as Matrix outputs off the Master fader. Being able to store the soundcheck and then recall the settings for the show was probably my favorite feature of the SD9. I stored each soundcheck as a session file and then recalled it for the show. In order to be consistent, I made up a session file template and at the end of each soundcheck made sure that I was consistent in what channels I had muted and/or left turned on, such as the music from the laptop. This way as I was loading the next band’s session file all parameters would stay the same and there was no noticeable transition from one bands session file to the next.”

Vizrt Gives Worldwide Broadcasters On-Demand Access to DigitalGlobe High-Resolution Earth Imagery

Enables Designers to Quickly Add DigitalGlobe’s Most Up-to-Date Satellite and Aerial Content Into Interactive Broadcast Graphics and Maps

LONGMONT, CO, Dec 12, 2011 – DigitalGlobe (NYSE: DGI), a leading global provider of high-resolution earth imagery solutions, today announced that Vizrt (VIZ: NO) has launched a new online service enabling designers to quickly find, preview, and add DigitalGlobe imagery into their broadcast graphics packages using Vizrt’s Viz World production software. The subscription-based service, titled “DigitalGlobe Online,” is available now.

“We are approaching a point where having access to high-quality satellite and aerial imagery in newscasting isn’t a nice-to-have, it’s a must-have,” said Havard Myklebust, executive vice president of marketing. “Using Viz World, design teams can now integrate the highest quality, most up-to-date DigitalGlobe images for use in their interactive, touch-screen graphics packages. Unlike other solutions, this can include fresh imagery from high-risk regions where it is either too difficult or too dangerous for journalists to access on the ground.”

Using the familiar and intuitive Viz World interface, subscribers can quickly search the DigitalGlobe archive to find and preview the imagery that best suits their needs. They can then immediately begin using the imagery to create high-accuracy maps of a region, adding dynamic touchscreen-based drawing tools and controls that give on-air talent the freedom to move, resize, highlight, and animate areas of the map.

In addition to using archived imagery, subscribers will also be able to use newly captured imagery of crisis events taking place worldwide. This allows production teams to consistently monitor high-risk events as they unfold, then quickly begin using images from before, during and after the crisis to maximize newscast impact and accuracy.

“Providing on-demand access to our imagery through Viz World gives broadcasters one more critical tool for transforming good shows into must-see events,” said Andrea Bersan, international vice president at DigitalGlobe. “With direct access to the largest, most consistently updated repository of high-resolution imagery available today, production teams can be confident they are using the latest imagery available, with worldwide coverage and maximum accuracy.”

About DigitalGlobe DigitalGlobe is a leading global provider of commercial high-resolution earth imagery products and services. Sourced from our own advanced satellite constellation, our imagery solutions support a wide variety of uses within defense and intelligence, civil agencies, mapping and analysis, environmental monitoring, oil and gas exploration, infrastructure management, Internet portals and navigation technology. With our collection sources and comprehensive ImageLibrary (containing more than one billion square kilometers of earth imagery and imagery products) we offer a range of on- and off-line products and services designed to enable customers to easily access and integrate our imagery into their business operations and applications. For more information, visit www.digitalglobe.com.

About Vizrt Vizrt creates leading-edge content production tools for the digital media industry — from award-winning 3D graphics & maps through integrated video workflow solutions and online publishing tools. Vizrt’s product suite is used by the world’s leading broadcasters, publishing houses and telecom operators, including: CNN, CBS, Fox, BBC, Sky, ITN, ZDF, SVT, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, The Telegraph, Welt Online, Etisalat and Telia Sonera.

DigitalGlobe is a registered trademark of DigitalGlobe.

Safe Harbor Statement Our reports, filings, presentations and public announcements may contain or incorporate forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995, as amended. Forward-looking statements relate to future events or our future financial performance. We generally identify forward-looking statements by terminology such as “may,” “will,” “should,” “expects,” “plans,” “anticipates,” “could,” “intends,” “target,” “projects,” “contemplates,” “believes,” “estimates,” “predicts,” “potential” or “continue” or the negative of these terms or other similar words, although not all forward-looking statements contain these words.

Any forward-looking statements are based upon our historical performance and on our current plans, estimates and expectations. The inclusion of this forward-looking information should not be regarded as a representation by us that the future plans, estimates or expectations will be achieved. Such forward-looking statements are subject to various risks and uncertainties and assumptions. A number of important factors could cause our actual results or performance to differ materially from those indicated by such forward-looking statements, including: the loss, reduction or change in terms of any of our primary contracts; the loss or impairment of our satellites; delays in the construction and launch of WorldView-3; delays in implementation of planned ground system and infrastructure enhancements; loss or damage to the content contained in our ImageLibrary; interruption or failure of our ground system and other infrastructure, decrease in demand for our imagery products and services; increased competition that may reduce our market share or cause us to lower our prices; our failure to obtain or maintain required regulatory approvals and licenses; changes in U.S. foreign law or regulation that may limit our ability to distribute our imagery products and services; the costs associated with being a public company; and other important factors, all as described more fully in our filings with the Securities and Exchange Commission, including our Annual Report on Form 10-K.

We undertake no obligation to update any forward-looking statement to reflect events or circumstances after the date on which the statement is made or to reflect the occurrence of unanticipated events. Readers are cautioned not to place undue reliance on any of these forward-looking statements.

SOURCE: DigitalGlobe

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AURALEX PROVIDES EXQUISITE DINING EXPERIENCE AT NEW YORK’S TRENDY EMPELLÓN TAQUERIA

NEW YORK, NY — Auralex® Acoustics, Inc., the industry leader in innovative sound control solutions, recently retrofitted the ceiling of Empellón Taqueria, a premier casual-dining Mexican restaurant in New York City, with Auralex ELiTE™ C44 ProPanels™. The ELiTE C44 ProPanels help absorb additional sound energy throughout the busy restaurant, providing a memorable dining experience for all the senses.

Dan Ross at Dale Pro Audio consulted for the project in terms of placement and quantity of panels, to optimize the effects of the product. “This install was a retrofit, based on the need to reduce the sound level of the restaurant, as it was very reflective,” says Ross. “The restaurant was getting great reviews, food wise, but the common complaint was the noise level. After installing several Auralex C44 panels on the ceiling, the owner and customers have heard a discernable difference in the sound level.”

Auralex’s Elite C44 ProPanel is a 4′x4′ absorption panel with a 2″ thickness, providing a cost-effective and professional broadband treatment option when a significant amount of coverage is needed. Its overall NRC of 1.05 makes it the perfect choice for controlling many common acoustical problems at a wide range of frequencies. C44 ProPanels are available in sandstone fabric and are typically available for immediate shipment.

“We love the Auralex ProPanel product and it is working out great at our restaurant,” says Empellón Taqueria Operating Partner David Rodolitz. “The panels have drastically cut down the noise and sound in the restaurant, making it a much more enjoyable dining experience for our guests. Not only are the panels extremely functional, but they also look quite nice and add to the overall design of the space.”

Founded in 2011 by head chef and owner Alex Stupak, Empellón Taqueria opened its doors with the intention of treating tacos with a high level of respect and serving them in an unpretentious and social environment. Empellón offers a diverse selection of tacos and other casual Mexican fare. Empellón’s approach to cuisine is informed by authenticity and tradition but is not limited by it.

“I am so impressed with Auralex, that I have already ordered additional panels for our new restaurant Empellón Cocina, which is slated to open in the early months of 2012,” adds Rodolitz.

About Auralex Acoustics, Inc.
Located in Indianapolis, Auralex Acoustics was founded in 1977 with a mission to provide top-performing acoustical treatment products at the best value. Since then, thousands of satisfied Auralex customers have experienced improved acoustics, expert advice and exceptional customer service. Auralex products enjoy widespread use among prominent artists, producers, engineers, corporations, celebrities and government agencies.

Auralex Acoustics has become the industry leader in innovative sound control solutions and continues to enjoy rapid growth through an international network of authorized dealers. Visit the Auralex Web site at www.auralex.com. Auralex can be reached via email at auralexinfo@auralex.com or by calling 1-800-959-3343.

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Mt. San Antonio College Prepares For Full HARMAN Upgrade With Addition of Soundcraft Vi1™ Consoles

WALNUT, California — Mt. San Antonio College, located in the city of Walnut, California, needed a console that could satisfy all of its audio needs around campus. In order to do so, Chris Rodriguez, Head Audio Engineer at the College, advised the school to purchase a pair of HARMAN’s Soundcraft Vi1 consoles and large stage boxes for respective uses in broadcast mixing and in the new Design Technology building, which is home to a 400-seat theater.

The first console, purchased for permanent use within the broadcast truck located on campus, is ideal for broadcast mixing and with the optical MADI card, can be synced in order to do splits with the other Vi1 console. The second console, housed in the new theater, is used for many of the performances in the theater, arts, music, and dance departments, along with graduations both on and off campus.

“I am aware that Studer is the broadcasting standard, however, with that being out of our price range, I looked for the next best thing,” stated Rodriguez. “The ‘bang for the buck’ was perfect with the Vi1. The console easily supports MADI, which is huge because it allows us to do everything using fiber, and connect the consoles. Other consoles I’ve seen in this price range do not have an easy solution for this.”

Sound quality also led Rodriguez to the Vi1. ”The first time I heard the console, I liked the way it sounded,” he said. “To sound as good as it does at that price is simply amazing. It responds well and works well with the large stage boxes, and all the functions are smooth and easy to manage. I can’t get everything I need while fitting in the budget with any other machine.”

The Soundcraft Vi1 consoles are the first step in what Rodriguez hopes will become a major upgrade to all HARMAN products for the College. “We hope to get everything together in order to integrate the system with HiQnet System Architect™. It will be a major upgrade to our whole system and we look forward to that in the future,” Rodriguez explained.

While using the consoles, especially in an education atmosphere where there are constantly events and performances taking place, Rodriguez explained how nice the digital aspect of the console helps on a day-to-day basis. “The ISO feature is also extremely helpful as it loads every time with the certain aspects pre-routed, always the same way. Whoever is using the system doesn’t have to worry about patching even when loading a new show, which is nice to know that it’s always ready to go.”

“I am extremely excited to explore all the options that are now available with both the Vi1 consoles. It is a small step in a long process of a complete upgrade which will help to benefit all departments of the college,” Rodriguez summed up.

For more information on Mt. San Antonio College, please visit: http://www.mtsac.edu/

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 12,000 people across the Americas, Europe and Asia, and reported sales of $3.8 billion for the twelve months ending September 30, 2011.

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