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Archive for February 13th, 2012

GRAMMY® Awards Show Uses Audio-Technica Microphones for 15th Straight Year

— Audio-Technica provided over 250 mics for the live broadcast of the GRAMMY® Awards, as A-T maintains its definitive presence at high-profile awards shows—

STOW, OH, February 13, 2012 — For the 15th year in a row, Audio-Technica microphones appeared on GRAMMY® Awards Show, known throughout the industry as Music’s Biggest Night®. This year, the 54th Annual GRAMMYs, held February 12, 2012, at the Staples Center in Los Angeles, featured a wide selection of artists from various genres of music. For the live show and broadcast, Audio-Technica supplied over 250 of its acclaimed microphones, including an impressive array of hard-wired mics and Artist Elite® 5000 Series UHF Wireless Systems.

The GRAMMY Awards ceremony itself has garnered widespread notice throughout the years as it continually raises the standard for broadcast entertainment. The EMMY®-winning production was the first major awards show to venture into HDTV and 5.1 surround sound, and it was outfitted with the most advanced tools to ensure the highest fidelity for the evening’s performances. Audio professionals continually select Audio-Technica microphones to achieve exceptional quality amidst the ever-increasing sonic demands of the show’s musical portions. The team working on this year’s GRAMMYs featured many top-tier contributors who returned to ensure the success of this landmark event.

The sound system was provided by ATK AudioTek with FOH (front-of-house) Engineers Ron Reaves and Mikael Stewart, with the house audio supervised by Leslie Ann Jones, a prominent member of the Producers & Engineers Wing® of The Recording Academy®. New Jersey/California-based remote facilities company M3 (Music Mix Mobile) were onsite with their Eclipse and Horizon trucks to create the music mix, facilitated by Broadcast Music Mixers John Harris and Eric Schilling, while Tom Holmes was responsible for the overall broadcast mix. The broadcast audio was supervised by Phil Ramone and Hank Neuberger, also leading members of The Recording Academy® Producers and Engineers Wing®. Michael Abbott returned as Audio Coordinator, and M3’s Joel Singer served as Engineer-in-Charge for the Eclipse broadcast mix truck, while M3’s Mark Linett served as Engineer-in-Charge in the offline Horizon remix truck.

For the home audience, CBS once again delivered the most advanced form of HDTV, with 1,080 lines of picture resolution and 5.1-channel surround sound. To meet the sonic demands of this format, the audio engineers and music mixers employed a wide range of Audio-Technica microphones for the GRAMMY Awards.

Artists who performed throughout the evening using Audio-Technica’s Artist Elite 5000 Series UHF Wireless System included Audio-Technica endorser Jason Aldean and The Beach Boys. Aldean performed using wireless AEW-T6100 Hypercardioid Dynamic Handheld Transmitters for his lead vocals, and The Beach Boys used a combination of AEW-T5400 Cardioid Condenser Microphone/Transmitters and AEW-T6100 units for their vocals.

The backline mic complement of A-T wired microphones included additional AE5400s for backing vocals, horns and rotary speaker cabinets (high and low); ATM350 Cardioid Condenser Clip-On Microphone for strings; AE5100 Cardioid Condenser Instrument Microphone for hi hat and ride; AT4050 Multi-Pattern Condenser Microphone for overheads; and AT4081 Phantom-powered Bidirectional Ribbon Microphones and additional AT4050’s for guitar cabinets.

For more information, please visit www.audio-technica.com.

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Rupert Neve Designed Portico 5045 Popular for Referee Mics

BUENA PARK, Calif.—The new Rupert Neve Designs Portico 5045 Primary Source Enhancer is becoming increasingly popular as an added tool for audio engineers on referee mics during sporting events, as recently witnessed by the installation of a unit at the Alamo Dome in San Antonio, Texas for the Valero Alamo Bowl. Clarity Media San Antonio installed the unit at the 66,000-seat Dome. The Alamo Dome joins other notable sports facilities where the unit has been used or are installed including Notre Dame, Northwestern, Green Bay Lambeau Field, Cowboy Stadium, Reliant Field in Houston, University of Phoenix Stadium, and UCLA at the Rose Bowl in Pasadena.

The request to Clarity came after a call from Ben Sturgis, Sr. Audio Visual Tech, Convention, Sports, & Entertainment Facilities, to Ben Strizu, Co-Owner, of Clarity Media Group. “Clarity had been analyzing the Dome’s sound system overall because they were having problems with their ref mics,” states Strizu. “After hearing a demo by Yamaha Commercial Audio Systems, we felt the unit would fulfill the Alamo Dome’s needs.”

Once Sturgis had an opportunity to hear the unit, he was hooked. “We use the RND 5045 on referee mics because the biggest issue we were fighting was not getting enough gain out of their mics without feeding back,” states Sturgis. “After Clarity installed the unit, it was the first time we could turn down the refs’ mics as opposed to turning them up. The 5045 gave us an additional 10db of gain before feedback.” In addition to sporting events, the RND 5045 is used for public address announcements, trade shows held at the venue, and whenever handheld mics are required.

The Dome also houses a Yamaha M7CL digital console, and in the 7,000-seat Illusions Theatre located at the north end of the complex, Clarity Media installed a NEXO GEO S12 line array used as a portable system. The GEO S set up is configured with six boxes per side, PS10s for front fills, and two NXAmps (one 4×4 and one 4×1) power the entire system.

For more information on Clarity Media Group, visit www.claritymediagroup.net.

For more information on the Rupert Neve Designed RND 5045, Yamaha M7CL digital console, and NEXO products, visit www.yamahaca.com.

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PHOTO ID: Ben Sturgis

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Sound Design Corporation Deploys Fairlight’s Xynergi Console, Develops Assortment of Entertaining Digital Material for the GRAMMY Awards

(from left to right) Paul Sandweiss and Kristian Pedregon of Sound Design.

HOLLYWOOD, California- Anticipation, suspense and recognition are essential to the production of awards shows, so it is no surprise that the GRAMMY Awards also deliver entertainment to its audience with a highlight reel of nominees before honoring the winner. Sound Design Corporation, Hollywood’s premier post-production audio facility, turns to Fairlight’s Xynergi consoles when developing ‘edge of your seat’ digital material for the GRAMMY’s.

Sound Design’s President, Paul Sandweiss, a voting member of NARAS (The National Academy of Recording Arts and Sciences) has been working with the GRAMMY’s since the late 1970’s, offering his expertise and knowledge of sound production to make sure that the show runs smoothly as well as provide viewers and nominees with thrilling anticipation before the winner is announced.

“It’s an honor to be apart of the industries most prestigious live music award show,” says Sandweiss. The GRAMMY’s, which is typically a three hour music award show, has anywhere from 10-20 awards with four to six nominees per category. Sandweiss and his team are responsible for creating the sound of the clip packages that highlight the nominee’s efforts, as well as any other video packages that roll in the show. “Once the packages have been edited, we have the task of recording the announce copy, blending, mixing, and sound designing any transitions, as well as the overall mixed sound of the packages.”

The process from start to finish can be tricky, especially as changes are made on the fly and different awards and presenters are added or dropped. However, with the Xynergi console, Sandweiss says the workflow is easily manageable. “Once we are done with our final mix, we use the Xynergi controller to control the HDCam recorder, where we marry our mix with the final picture. The final mix is layed back as two stereo stems. One stem is the final mix minus the announcer, and the other stem is the announcer, so the front of house and monitor mixers can build their own mix regardless of our broadcast mix. That way everyone has control of the sound elements they need for their audience, be it performers, audiences in the live venue, or those at home watching the broadcast live on TV.”

Sound Design Corporation is also responsible for mixing the in memoriam package, a showcase of renowned members of the music community who have passed away over the last year. “This can be quite difficult,” Sandweiss says. “As seen this year, we have to be ready to update the packages as devastating events happen so close to the show. This is never a highlight of the job but the Xynergi helps to make the update seamless.”

One aspect of the Xynergi and Fairlight is the ability to save everything. This proves to be useful in situations when Sandweiss can pull up a template from the previous year and look at the settings that were used. “I always keep notes, sometimes different producers like certain techniques, having that knowledge helps to make the process easier the next time around.” Fairlight’s ability to import different file types without the need for external plug-ins eliminates difficulties in opening past projects or dealing with new ones.

There are strict time limits for each project, and more so with a show as big as the GRAMMY’s where everything is closely watched. “There’s no need for any external devices, all the plug-ins including reverb are all there with the push of a button. It saves us a lot of time with no need to flip through menus and pages to find what you’re looking for,” Sandweiss explained.

With the Xynergi’s ability to interpret a variety of file extensions, it makes the sending and receiving of audio and video straightforward. “We can import and export our audio and video in a variety of formats which makes interaction with picture post houses easy, and quick. From there we can easily send it to be reviewed and are able to work alongside the other members involved, a difficult process if you aren’t using Fairlight,” Sandweiss mentioned.

“Our main challenge is time,” Sandweiss stated. “It’s called television for a reason, emphasis on vision. If there is a certain amount of time allocated for video, the audio cannot be added until that is established. Fairlight and the Xynergi make it easy to view everything together and enables me to track the changes as they occur.”

Sandweiss and his team have been in the industry for over a decade, and continually strive to advance through creativity, “Fairlight understands my job and how to make it easier. I couldn’t imagine my work without it.”

For more information on Sound Design Corporation, please visit: http://www.sounddesigncorporation.com

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About FairlightUS:
FairlightUS is headquartered in New Jersey USA and is the exclusive distributor for Fairlight products in the North American market. Fairlight has been at the forefront of digital audio development since its inception in 1975. Fairlight designs and manufactures media creation tools including digital audio recording, editing and mixing systems for standard and high definition audio post, broadcast and music production applications. www.fairlightus.com

About Fairlight:
Headquartered in Sydney, Australia Fairlight designs and manufactures media production systems powered by the company’s groundbreaking CC-1 FPGA digital processing engine. The Fairlight product range includes EVO, Xynergi and the new PyxisG2, all of which feature in the world’s leading broadcasters, commercial post facilities, music studios and film production studios. Fairlight has a rich tradition of innovation and development and is at the forefront of green computing technology.

CMI Communications Strengthens Lineup With HARMAN’s Soundcraft® Si Compact Digital Consoles

ROCHESTER, New York — Adding to its inventory of HARMAN’s Soundcraft® consoles that already includes a Vi1™ and Vi6™, Rochester, New York-based CMI Communications recently purchased Soundcraft Si Compact 16 and Si Compact 24 models, giving the company all the digital Soundcraft features it is so fond of at a great price.

CMI Communications is an AV rental and production facility that works with a range of Fortune 500 companies and international and national associations for many special events.

“After having the chance to use the Soundcraft Vi6, we were hooked on Soundcraft,” stated Dan Lamphier, Event Manager at CMI Communications. “We wanted to stay with the Soundcraft brand and continue to build our inventory around HARMAN products. The simplicity of use and the way the interface is developed makes a lot of sense to an analog user, making the transition to digital easy and allowing many different operators to use the board.”

Lamphier explained the transition to the digital age has allowed CMI Communications to spend less time working on analog issues and connections, enabling them to focus on mixing the events. “It’s great to use the desk for its intended purpose rather than worrying about troubleshooting. It’s easy to set up and be ready to go immediately,” he said.

For a small footprint, the Si Compact consoles provide a great amount of functionality, which is perfect for high-end events that don’t have space for a large board. “It fits into any venue and any situation,” Lamphier stated. “It provides a tremendous amount of value; wherever we take it, everyone is always extremely happy.”

CMI Communications often uses the Si Compact consoles in conjunction with the Vi series stage boxes. “It’s perfect to get even more use out of the board and really opens up our repertoire and capabilities to serve different clients,” Lamphier added.

Many of the features of the Si Compact help to make the work easier and smoother for whoever is using the board. “The acoustic delay and graphic EQ are great. Changing settings is straightforward and fast, adding to the overall simplicity of the console. The ability to use fiber optics along with the MADI card slot make it easy to connect the board universally,” Lamphier noted.

“We have really become a big advocate for HARMAN based on the success and design of their products, as well as the support and service,” Lamphier expressed. “The Soundcraft Si Compacts are perfect for what we needed and fit right into our wheelhouse with the products we already carry.”

For more information on CMI Communications, please visit: http://www.cmiav.com

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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HARMAN’s Studer OnAir 1500 Mixing Console Makes UK Debut at BVE 2012

LONDON, United Kingdom — At BVE 2012, HARMAN’s Studer is showcasing its unique and versatile OnAir 1500 digital mixing console for the first time in the UK. The OnAir 1500 is a flexible solution for radio broadcasting and production, and the result of Studer’s close attention to the needs of its customers, who are increasingly requesting more versatility and connectivity from their mixing systems at an affordable entry budget price point.

The Studer OnAir 1500 is a 12-channel, 6-fader console (expandable to 12 faders), ideal for studios needing an additional professional-grade fader unit and additional I/O or a compact and cost-effective mixing console for a production room or on-air studio. Integrated USB playback and record functions make the OnAir 1500 a very compact yet complete production unit and mixer. With simple point-to-point connectivity it can easily be moved around as a backup or secondary unit.

Flexibility is increased with the addition of a 6-fader extension bay, creating either a 12-fader surface, or an additional six faders that can be remotely placed in a producer’s bay or used as a redundant surface. The system bridges the gap between production and on-air needs, offering an all inclusive feature set to simplify great programming in either setting.

Channel parameters such as EQ and dynamics can be comfortably edited using console controls in combination with the OLED channel displays without requiring an additional screen or PC. For more advanced operation and configuration, the console provides interfaces for connecting a PC screen, keyboard and mouse.

The master section gives the operator simple yet comprehensive access to the signal monitoring and switching for control room and studio with an internal speaker preconfigured to output CUE and talkback signals. Audio monitoring is augmented by two 29 segment stereo bargraph PPMs, providing constant overview of all-important signals; six different meter standards are available. Unique features such as Headphone Split allows the user to listen to two different sources, one through the left earpiece and the other through the right. Preset buttons also allow one-touch control of all monitoring. Additional monitoring for separate studios is available via an external Monitoring/ Talkback unit for added flexibility.

The separate NANO SCORE of the OnAir 1500 contains the audio and control engine. Its straightforward design provides standard sockets, making any additional breakout panel unnecessary. Two separate card slots can be equipped with any optional D21m I/O module, such as MADI (up to 64 ch in/56 ch out), ADAT, AES, or additional MIC inputs. The front panel carries three USB ports, one of which is used to identify the console operator. The second port can host a USB stick for recording and playout, while the third one can be switched to deliver an additional eight channels of I/O to/from a USB device. The core connects to the surface via one Cat5 cable, which also supplies power to the surface.

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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Peregrine Andrews Upgrades His Studio With A White Mark Fast Studio System

Recording engineer Peregrine Andrews, who specializes in mixing radio and television, has installed a White Mark Fast Studio acoustic system in his west London-based private studio.

Developed by studio and design consultancy White Mark Ltd, Fast Studio allows producers, composers and studio owners to build high performance facilities in far less time and at far less cost than would normally be anticipated. The system uses properly constructed and individually specified acoustic modules that are assembled off-site, making them very quick and easy to install. It is ideal for rooms using free-standing monitors and in which there is no need for full isolation.

White Mark’s managing director David Bell says: “Fast Studio meets market demand for high quality studios that are acoustically accurate, quick to install and preserve more of the character of the original building. Not everyone has the time or the requirement to invest in high levels of isolation. With Fast Studio, we can install a room that sounds good and delivers great acoustic results. We always insist that Fast Studio customers have their initial drawings and monitor set-ups carried out by our team of experts so that we can guarantee both the viability of using the system and the level of performance that will be achieved, but, provided the room meets our criteria, we can deliver a studio that satisfies our customers’ requirements – and in a fraction of the normal time.”

Peregrine Andrews says he chose White Mark for his studio upgrade on the basis of the company’s reputation for excellence in acoustics.

“My studio is a converted room in my flat and I use it for all my radio work and an increasing amount of TV,” he explains. “It is equipped with SADiE and Nuendo, a Smart AV Tango control surface set into a bespoke desk and stereo PMC monitoring, although I’m planning to install surround sound monitoring soon.

“I chose White Mark because I knew they had designed a lot of the top audio post rooms in London and a couple of friends in the business had used them. David Bell recommended the Fast Studio system as suitable for my needs and the company installed a set of panel absorbers and a bass trap in a void at the back of the room. David and Matt Dobson optimized the height and position of my speakers using their measurement system and they achieved an impressively flat response. I am really delighted with the sound of the room and the speed at which the work was carried out.”

Andrews, who trained at the BBC and now runs his own company Moving Air, has already put the studio through its paces mixing a variety of projects.

“In radio I do a lot of fast turnaround mixes, mainly documentaries, for the BBC
and also some drama. Recent TV work for the BBC includes the comedies “Twenty Twelve” and “The Bleak Old Shop of Stuff”, the Queen music doc “Days of their Lives”, and a series of “Motorway Cops”.

White Mark’s Fast Studio system has now been used to great effect on a number of other studio projects including an advertising agency in Mexico City, Giles Martin’s new room at Abbey Road and Cenzo Townshend’s new mixing facility in Suffolk.

For more information about Fast Studio visit www.whitemark.com

For more information about Moving Air, please contact Peregrine Andrews. Email: pez@moving-air.com

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About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last decade it has designed and supervised the construction of over 170 audio production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Hit Factory in New York (for which the company won a coveted TEC Award for Best Acoustic Design), Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 100 studios for more than 40 companies in Soho alone. The list includes Grand Central, Hackenbacker, Envy, Scramble, Lipsync, Molinare, Ascent Media, Wave and Boom. This impressive achievement means that a significant proportion of mainstream British television output passes through rooms designed by White Mark. www.whitemark.com

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T-VIPS expands its footprint in Digital Terrestrial Television with the launch of the TNS547 DTT Monitor

The TNS547 DTT Monitor extends T-VIPS’ portfolio of DVB-T2 solutions and enables “end to end” monitoring – from the headend to the RF signals at the transmitter – delivering a complete toolset ensuring top class Quality of Service in terrestrial networks

Oslo, Norway – T-VIPS, a global leader in professional video contribution and distribution solutions, today announced the launch of the TNS547 DTT Monitor for DVB-T and DVB-T2 Networks, which provides true end-to-end monitoring for DVB-T and DVB-T2 operators. The TNS547 is the newest member of the T-VIPS nSure product line and is designed to ensure the delivery of high-quality video content by simplifying the monitoring and analysis of DVB-T/T2 transport streams and services throughout a terrestrial network. This new solution has been developed in close cooperation with customers and will ship at the end of Q1 2012.

“With the switch off of analogue systems imminent, Quality of Service and reliability in DTT systems are of critical importance. Errors and service breaks need to be detected the second they occur, and that is what we enable with our nSure monitoring and switching solutions,” said Johnny Dolvik, CEO, T-VIPS. “By providing the capability to monitor off-air signals at the transmitter site with the T-VIPS TNS547, we can now offer powerful end-to-end DTT monitoring – from the head-end to the transmitter site – for both DVB-T and DVB-T2 infrastructures.”

The T-VIPS TNS547 provides efficient monitoring of all major interfaces, formats and layers found in DVB terrestrial networks. The monitoring and analysis features enable fast fault-detection and diagnostics either through an intuitive web-based user interface or integration with a network management system. Improved operational efficiency and network reliability are compelling reasons to deploy the TNS547 DTT Monitor in digital terrestrial networks.

As broadcast infrastructures become increasingly complex, the TNS547 provides an ideal tool for the continuous monitoring of relevant QoS parameters at important points in the terrestrial transmission chain. The TNS547 provides an extensive range of RF measurements, T2-MI analysis capabilities (DVB A14-1), IP/Ethernet statistics and EPG/EIT verification. Error detection and alarms are compliant with ETSI TR 101 290 (Pri 1-3) for DVB signals.

Applications:

Off-air RF monitoring of signals at DTT transmitter sites
Simultaneous monitoring of signals in the transmission chain including ASI, IP, T2-MI and RF
TS monitoring, error detection and advanced analysis
24/7 continuous supervision of signals.

Key Features:

DVB-T/T2 RF monitoring and analysis using two demodulators
Round-Robin monitoring of up to 16 frequencies (both DVB-T and DVB-T2)
Monitoring of 6 Transport Streams over ASI or IP
Transport Stream monitoring and error detection
Powerful Transport Stream and T2-MI analysis
Compact and cost-effective with simultaneous, real-time monitoring of 6 multiplexes in 1 RU
User-friendly configuration and control.

For further information: David Bramley, Platform PR, Tel: +44 (0)20 7486 4900, Email: david@platformpr.com

About T-VIPS AS

T-VIPS is a global leader in professional video transport solutions. We help our customers deliver next-generation TV services such as 3D, HDTV, live events and local content. Our IP based video transport and Digital Terrestrial TV solutions allow network operators, broadcasters, and content providers to deliver the highest picture quality at the lowest cost. Leveraging our technology expertise in video over IP, video compression, transport stream processing, monitoring and seamless switching we deliver products and solutions that improve Quality of Service (QoS), ensure high quality in live contribution workflows and enable state of the art DTV.

Our wide range of products enables fast time-to-market, increased reliability and improved video quality. We also provide fully customizable solutions, tailored to customer needs to deliver increased efficiency in video transport infrastructures.

T-VIPS is driven by innovation, customer success, and the application of new technologies to enhance both traditional video transport and Over The Top infrastructures and ensure the delivery of high quality content to TV ready mobile devices.

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IOGEAR USB 3.0 Card Reader/Writer Supports 59 Memory Card Formats

Data transfer from almost any memory card is faster and more efficient with new IOGEAR SuperSpeed USB 3.0 card reader/writer.

Foothill Ranch, CA – February 13, 2012 – IOGEAR, a leader in convergence through connectivity products, announces a new SuperSpeed USB 3.0 Multi-Card Reader/Writer (GFR381) with data transfer speeds up to 10 times faster than USB 2.0 and support for 59 different memory card formats. Moving data at a clip of 5Gbps, the new USB 3.0 Card Reader/Writer saves time and improves the efficiency of computers and the devices that capture and store digital content.

Equipped with SuperSpeed USB 3.0, IOGEAR’s newest multi-card reader/writer can transfer data from 59 different memory card formats (listed below) with ease. Simply connect to a USB 3.0 Hub or computer input and the Multi-Card Reader/Writer transfers HD and other content taken from digital cameras, smartphones, tablets and more at a blazing clip of 5Gbps. For added convenience, multiple memory cards may be inserted into the GFR381 for use at the same time. Small but powerful, the SuperSpeed USB 3.0 Multi-Card Reader / Writer bridges the data transfer gap between mobile devices and computers for unmatched data hustle.

A major jump from USB 2.0, USB 3.0 allows the sending and receiving of data simultaneously, through different data lanes, while requiring less power. How much faster? A 25-30GB HD movie transferred to a media device can take more than 15 minutes with USB 2.0. Using USB 3.0, that same HD movie takes only 60-70 seconds for data transfer. IOGEAR SuperSpeed USB 3.0 products work with each other and are backwards compatible with USB 2.0 and 1.1 devices and connections.

Supported Media List:
• Compact Flash/Micro Drive: CF-Type I, CF-Type II, CF-Ultra II, Microdrive, CF-Pro II, CF-Extreme, CFExtreme III, CF-PSP II, CF-Supper, CF-Ultra X
• SD/SDHC: SD, SDHC, SDXC, MicroSDXC, SD-Pro, SD-Pleomax, SD-Pro C, Ultra II SD, Ultra II Plus SD, SD-Extreme III, SD-Ultra X, SD-Turbo, SD-Supper, SD Max, Mini SD, Mini SD-Pro, Mini SD-Pleomax, MMC, MMC-Pleomax, MMC Pro, HS-MMC, MMC Plus, MMC-Plus Turbo, RS MMC, RS MMC-Pleomax, RS MMCSpeed, RS MMC-Max, MMC Mobile, MMC Mobile-ProC, MMC Mobile-Pocketnet, MMC Micro (adapter required)
• Olympus DC Card: Olympus DC Card, Olympus DC Card(M), Olympus DC Card(H)
• MicroSD / microSDHC: microSD / microSDHC, T-Flash
• Memory Stick: MS, MS-Magic Gate, MS-PRO Magic Gate, HS-MS-PRO Magic Gate, MS-DUO, MS DUO Magic Gate, MS-PRO Duo, HS-MS-PRO Duo, HS- / MS-PRO Duo Magic Gate, MS-PRO Duo-PSP, MS-PRO Duo-Gaming Memory Stick
• M2: Memory Stick Micro (M2)

For users with limited USB 3.0 ports to work with, also available is the IOGEAR SuperSpeed USB 3.0 4-Port Hub (GUH374). Connectivity is enhanced with the expansion of four USB 3.0 ports enabling SuperSpeed data transfer between a computer and up to four devices. HD cameras, USB 3.0 Multi-Card Readers, storage devices, docks, adapters, RAID configurations, printers, high resolution webcams, scanners and hard drives work more efficiently with the IOGEAR USB 3.0 4-Port Hub. The compact USB 3.0 Hub is plug-n-play for a no hassle installation and hot swappable for easy connecting and disconnecting of devices.

“Humans have long-pursued the greatest possible speeds in cars, planes and even factory production, and download time is no different,” said Bill Nguyen, senior marketing manager at IOGEAR. “We’re an on-demand society that wants to be entertained or productive immediately and there is no faster way to access content from our devices, than with the use of USB 3.0.”

Pricing for the IOGEAR USB 3.0 SuperSpeed products are:
IOGEAR SuperSpeed USB 3.0 4-Port Hub (GUH374) – $49.95
IOGEAR SuperSpeed USB 3.0 Multi-Card Reader/Writer (GFR381) – $37.95

For more information on IOGEAR and its connectivity solutions, please visit: www.iogear.com. Follow IOGEAR on Twitter, the company blog, and become a fan on Facebook for additional industry, company and product details.

About IOGEAR
IOGEAR, headquartered in Foothill Ranch, Calif., manufactures innovative Home Electronics and Information Technology solutions that enable convergence through connectivity. Founded in 1999, the company develops products that help integrate technologies, share resources, decrease clutter and energy consumption, and reduce electronic waste. IOGEAR distributes throughout North and South America, Europe and Asia.

The company emphasizes the conservation of natural resources to both employees and customers through its GREEN initiatives program and “Road to a Million Trees” campaign. In partnership with Trees for the Future, one tree is planted for every product purchased on the IOGEAR site or through an IOGEAR GREEN initiative partner.

(c)2011 IOGEAR. All rights reserved. IOGEAR and the IOGEAR logo are registered trademarks or trademarks of IOGEAR. Other company and product names may be trademarks of their respective owners.

Press Contact: Caster Communications, Inc. at 401.792.7080
Nick Brown: nbrown@castercomm.com
For digital images log on to www.castercomm.com

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WSDG Names Cheryl Fleming Official Photographer

NEW YORK: Walters-Storyk Design Group co-principal Beth Walters has named Cheryl Fleming official WSDG project photographer. “We have always prided ourselves on outstanding visuals of our completed designs,” Walters said. “Cheryl’s work has brought a new level of elegance to this key element of our overall image.”

An accomplished architectural and event photographer Fleming also specializes in ‘beauty’ shots of luxury yachts, (is there any other kind)? Among her high-visibility pro audio credits are covers of Jay-Z’s Roc The Mic Studio; the $6 million NYU Steinhardt/Dolan Music Technology Center and NY’s Jungle City Studios. Fleming has also collaborated with noted commercial photographer Patrick St. Clair to develop a unique interactive 360º video tour designed to provide comprehensive architectural facility ‘walkthroughs:’

http://www.stclairphoto-imaging.com/360/360tours/Thompson/TourWeaver_Thompson.html

“The recording studio projects I’ve shot for WSDG have been both challenging and gratifying,” Fleming said. “Lighting and glass reflection issues need to be addressed in very specific ways. Beth Walters and John Storyk have given me great direction and a tremendous amount of freedom to experiment with interesting angles and lenses. Their clients have been very complimentary about our collaborations. The fact that we’ve produced three magazine covers out of three shoots is equally encouraging,” Fleming concludes, “Patrick St. Clair and I also look forward to producing a number of video walkthrough tours. They’re affordable and they’re extremely effective.”

For information on Cheryl Fleming Photography visit: http://www.cherphotos.com/architecture

Photo: Jungle City Live Room photo by Cheryl Fleming

###

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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Oxygen DCT Launches The GlueBox™ Mio HD/SD-SDI To HDMI/DVI Converter at BVE 2012

At BVE 2012, Oxygen DCT will be launching the GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter, a high quality, compact, reliable device for broadcast television and digital film industries.

This useful and practical product addresses the everyday and ever changing requirements of video conversion and interfacing by offering an exceptional range of facilities that overcome many of the limitations commonly found with other converters.

Ideal for a wide range of applications, the highly adaptable GlueBox Mio HD/SD-SDI to HDMI/DVI converter is equally at home in a master control room, in the back of a rack, on a studio floor or mounted on a crane. It can be powered from a 12v DC battery or from the AC to DC power unit that is supplied as standard with each box.

A key feature of this unique product is its flexible multi-mode scaler, which has 14 modes enabling automatic output scaling or user selection of 13 different output resolutions from 1920×1200 down to 1024×768. The box also incorporates broadcast grade filtering, which delivers superior image conversion, permitting greater detail and eliminating the artifacts often found on low quality converters.

The GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter accepts all HD-SDI signal formats including 3G-SDI (dual or single link), HD-SDI or SD-SDI and from 1080p/60 down to 525i with automatic signal detection. There is also an active, non-reclocked looped out that negates the need for additional distribution equipment in the signal path.

Steve Hathaway, Oxygen DCT’s Managing Director, says: “This product is packed with features that are often not available on similar converters. These include audio monitoring on HDMI – a really useful facility that allows users to fully monitor a HD-SDI signal on a low cost HDMI monitor. By incorporating audio output with the HDMI signal, the audio within any of the four groups embedded in the HD-SDI stream can be extracted and output as a stereo pair. The side mounted dip switches allow users to select the stereo audio pair for the HDMI output or blank the audio output to the HDMI signal, if required.”

The GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter also offers a DVI connector output interface, as well as a DVI to HDMI converter for HDMI applications. Two LED status indicators show the unit is powered up correctly and that it has a valid video signal, free from errors.

Steve Hathaway adds: “This unit is perfect for both studio and field portable applications and is widely used with HD-SDI signals to provide a DVI/HDMI output for use with large monitors such as Oxygen DCTs Evolution Pro-M series. The fact that this product is both simple to operate and very affordable makes it ideally suited to customers who want an inexpensive conversion solution without having to compromise on quality.”

For further information about Oxygen DCT’s GlueBox Mio range, please visit stand i60 at BVE 2012 or the company’s website at www.oxygendct.com

-ends-

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. www.oxygendct.com

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