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Archive for February, 2012

RTW And HARMAN’S Studer Announce Collaboration at CABSAT 2012

RTW TM7 To Be Integrated Into HARMAN’S Studer Vista Range of Digital Consoles

DUBAI, UNITED ARAB EMIRATES, 28 FEBRUARY 2012 – RTW, a leading manufacturer and distributor of professional audio metering and control devices for studio recording and radio and TV broadcast applications, and HARMAN’s Studer, manufacturer of digital mixing consoles for the broadcast, production and live application markets, are jointly announcing at this year’s CABSAT show that the RTW TM7 TouchMonitor will be fully integrated in the Studer Vista range of digital audio consoles.

As a result of this partnership, RTW will provide a special version of the TM7 TouchMonitor touchscreen loudness meter that will be built into the meter bridge of the Vista 9 and Vista 5 M2 consoles. Studer chose the TM7 meter because it perfectly complements Vistonics(tm), the simple and elegant touchscreen user interface that Vista customers know and love.

The TM7 will include custom meter presets offering loudness metering that meets the EBU R 128 and ITU BS1770 standards as well as traditional bargraph and moving needle metering to comply with additional international standards. The TM7 will also be available for retrofitting to all Vista 9 consoles.

“We were thrilled when Studer approached RTW with its desire to introduce loudness metering to all of its Vista consoles,” says Andreas Tweitmann, CEO, RTW. “RTW has provided traditional meters to Studer for many years and we are happy to now supply its customers with the modern technology necessary to comply with new loudness regulations and improve their services overall.”

The TouchMonitor is RTW’s response to growing demands in modern production, post-production and broadcast environments. With its high-quality 7- or 9-inch touchscreen and intuitive user interface, the TouchMonitor breaks new ground in professional audio analysis for accuracy, performance, efficiency and flexibility.

RTW’s TM7 and the entire TouchMonitor family of loudness metering products will be on display during CABSAT at the QvestMedia stand (S2D3) in Hall Sheikh Saheed 2. The Vista family of products can also be seen during CABSAT at the Studer stand (S3-6) in Hall Sheikh Saeed 3.

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HARMAN’s Studer and RTW Announce Deal to Integrate Loudness Metering With the Studer Vista Range of Digital Consoles

REGENSDORF, Switzerland – HARMAN’s Studer today announced the introduction of Loudness Metering for all Vista consoles. This is a result of collaboration with RTW of Koeln, Germany, who is providing a special version of the TM7 touchscreen meter to be built into the meter bridge of Vista 9 and Vista 5 M2 consoles. The TM7 meter was chosen as it perfectly complements Vistonics™, the simple and elegant touchscreen user interface that Vista customers know and love.

The TM7 meter will include custom meter presets which provides not only Loudness Metering to EBU R 128 and ITU BS1770 but also traditional bar graph and moving needle metering to many international standards. This Loudness Meter may be retrofitted to all Vista 9 consoles.

Bruno Hochstrasser, Studer General Manager said, “This is a new chapter in our excellent relationship with RTW who has provided traditional meters to Studer for many years. The integration with our Vista range will provide our customers with integrated and easy capability to comply with new regulations and to improve their services.”

The Vista family can be seen this week at CABSAT at Hall Sheikh Saeed 3, Stand Number S3-6.

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 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

Visual Unity Helps TopFun Expand Into The Multiscreen PayTV Arena

TopFun, one of the first online video stores in the Czech Republic, is powering its new PayTV media distribution service, TopFun TV, using technology supplied by leading broadcast and multiscreen systems integrator Visual Unity.

Established in 2010, TopFun offers a huge range of movies to download and watch online via its video on demand (VoD) service. Similar to the hugely popular NetFlix, TopFun allows customers to sign up for an account and watch movies immediately, or save them locally on their PC or multimedia device. In January 2012, TopFun launched TopFun TV, a new service that distributes media streams commonly broadcasted via satellite and cable TV to smart phones, iDevices, set-top boxes and Smart TVs, including a unique application for Samsung TVs which lets viewers access live feeds and download movies direct to their TV.

Since its launch, TopFun has partnered with Visual Unity, a leading broadcast and multiscreen systems integrator, to design and expand its operations. Instrumental to the success of its services is Visual Unity’s award-winning vuMediaTM integrated content management and delivery platform. vuMediaTM ensures a cutting-edge viewing experience on any screen or connected device, enabling broadcasters to manage, monetize and monitor multiscreen delivery. The platform supports comprehensive VoD services, integrating with billing and CRM processes.

Visual Unity initially provided TopFun with a vuMedia-based solution for its movies on demand service. This incorporated a protected VoD solution alongside content delivery to the Czech and Slovak Republic through vuNet™, Visual Unity’s robust and secure distribution infrastructure that ingests, manages and distributes assets. vuNet™ connects seamlessly with global Content Delivery Networks and cloud-based services, although in the case of TopFun the company has employed Visual Unity’s own Content Delivery Network (CDN), which has an installed capacity of more than 100 GBps and almost 400 TB storage space. Capable of supporting tens of thousands of concurrent users, Visual Unity’s CDN provides secure local coverage across Europe and Central Europe, including Germany, Hungary, Slovakia and Romania, with new POPs now in action across the Middle East.

Tomas Petru, President of Visual Unity, says: “TopFun chose to work with Visual Unity on the basis of our proven experience in multiscreen integration. With over 20 years’ experience in delivering and technically supporting linear to multiscreen solutions, we were able to demonstrate to TopFun that we had successfully handled similar VoD projects for customers such as voyo.cz and cinema.cz.”

The success of this initial involvement was acknowledged in January when TopFun returned to Visual Unity for help in setting up TopFun TV. This involved an expansion of the vuMedia system to incorporate secure, live multiscreen content distribution to mobile devices and on the fly transcoding of 15 live channels in SD and HD quality. Plans are in place to expand the system to 30 channels.

Radek Přikryl, sales director of TopFun, says: “We enlisted Visual Unity’s help with this project on the basis of our excellent relationship with the company and our good experiences with its vuMedia platform, which has allowed us to get as close as possible to our end customers. We are also very happy with Visual Unity’s vuNet module, which has enabled us to stream digital content in the Czech and Slovak Republics and to distribute both VoD and linear broadcast streams. Visual Unity has given us all the technical support we have needed and this on-going assistance is greatly valued by TopFun.”

Tomas Petru adds: “The TopFun projects have worked extremely well and it is always satisfying when a customer returns to Visual Unity for help in expanding their business. We are continuing to support TopFun and TopFun TV and we are confident that our in depth understanding of the complexities of the broadcast chain, coupled with our in-house software expertise, will enable them to optimize their workflow and control how their brand is managed and monetized in the multiscreen environment.”

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About Visual Unity
Visual Unity is an international Systems Integrator bridging the gap between broadcast and software-based media systems, to help clients reach and engage audiences – wherever they are. The team has been designing and delivering turnkey TV systems, broadcast-IT convergent and multiscreen solutions worldwide since 1991 – from HD Outside Broadcast vehicles and major playout facilities to automated Direct-to-Web platforms.

Visual Unity’s award-nominated vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetised in the multiscreen environment. Through four highly scalable and flexible modules, the vuMediaTM platform delivers a cutting-edge web-based and mobile viewing experience, comprehensive VOD services and a secure robust Content Delivery Network – all of which can be seamlessly deployed into existing workflows.

Visual Unity is based in Prague, London, Dubai and Belgrade.

For further information, please visit www.visualunity.com

Visual Unity: Na hrebenech II 1718/8, Prague 4, 147 00, Czech Republic
T: +420 271 742 111 F: +420 271 742 112 E: info@visualunity.com

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Colourist Jason R Moffat Chooses Penta Monitor For Grading

As an acclaimed colourist with a reputation for delivering a great film grading, Jason R Moffat is understandably fussy about the equipment he uses.

This is particularly true of colour grading monitors, which need to be critically accurate in a film grading studio, where ‘almost there’ is not good enough.

For this reason Moffat, who owns and runs a DaVinci Resolve-based grading suite in London, recently upgraded his Grade 1 picture display to a Penta HD2Line Pro 32″ monitor, which was supplied, installed and calibrated by leading UK monitor supplier Oxygen DCT.

“I wasn’t happy with the level of calibration I was achieving with my previous monitor, so I decided to upgrade,” he explains. “Steve Shaw from LightIllusion, who provides some of my film profiles, recommended the Penta and when I approached the company for a spec they put me in touch with their UK partner, Oxygen DCT.”

After consulting with Moffat about his work and aspirations, Oxygen DCT’s staff provided him with both 23” and 32” Penta models for comparison. Moffat conducted extensive testing within his work environment before choosing the 32” version as more suitable, particularly for the size of the room and detailed images.

“I was very impressed by the colour range in the monitor and how faithfully it matched cinema projection,” he says. “What I particularly like about the Penta is the scale and response of the display which allows me to make faster decisions on density and how much light to put in a scene without having to consult the scopes as often. As the vast majority of my work is film, it’s good to have a large, highly detailed display that I can trust. Like most colourists, I have a slightly OCD approach to grading, so precision is vital. Knowing that what you see in front of you is accurate makes the process more transparent from grading session to theatre.”

Oxygen DCT’s Penta series monitors are precision monitors that are built to order, using only the highest ‘grade A’ 10-bit LCD panels. Every aspect of the monitors is optimised to give the highest level of performance with precision accuracy, with user adjustable parameters right down to tolerance of 0.1Cd of brightness. The introduction of 10-bit LCD technology has pushed the quality boundary even further, enabling the recently introduced Penta Gold Series to exceed, in many parameters, the performance of Grade 1 CRT reference monitors.

“Numerous grading houses and post facilities including Framestore, Objective Productions, Mwinci, Films@59, Sequence Post, BBC, C4 and ESPN have chosen Penta Series picture monitors because they offer such exceptionally high performance – and they are tremendously affordable,” says Oxygen DCT’s Managing Director Steve Hathaway. “All the monitors in the Penta Series have a long life cycle and require minimum calibration because their factory calibration is so well within the REC709 colourimetry specifications, which saves our customers considerable time and money. What’s more, these monitors deliver astonishing detail, lifelike colour and sublime results, which is a very important factor for a sector of the TV and film industry where monitor quality has become such a critical issue.”

Since installing his Penta, Moffat has used it to grade a variety of film projects and commercials, including Romola Garai’s directorial debut Scrubber, shot on 35mm, one of Nigeria’s most celebrated directors Kunle Afolayan’s new feature Phone Swap, and Emily Wardill’s art feature Full Firearms, in association with the Serpentine Gallery, where precise colour palates were a critical part of the process.

“The majority of my work involves fiction features and shorts and there tends to be an even split of 35mm and 16mm film and digital formats,” he explains. “Depending at what point I enter the process, my job can range from just working on the final filmed project, through to consulting during the pre-production stage and providing tests setting the basis for film stock choices, lighting conditions and pallets.”

Moffat adds that, apart from the actual manipulation of the colour of the filmed footage, colourists generally have a good knowledge of formats, colour spaces, colour science and film stocks.

“We’re there to bring the director’s and DOP’s visions together in a cohesive visual harmony that is also appropriate for the tone and pace of the film. In the best case scenario, a colourist will balance and create continuity scene by scene and additionally, if required, apply an aesthetic look to a piece. In less than ideal situations, a colourist may have to effectively relight scenes or fix extreme colour contamination or temperature issues.”

As collaboration is key to the success of a colourist’s role, it is no surprise that Jason Moffat expects an equally collaborative service from the people who supply his equipment.

“I’ve certainly received that from Oxygen DCT,” he says. ““The level of attention they gave me was vital when it came to choosing the Penta, because Oxygen DCT will ultimately be responsible for keeping the display calibrated and accurate. They have already calibrated the unit on-site and have been very interested in what I am doing with it. I’ve continued to have a rewarding experience with both Penta and Oxygen DCT and I’m delighted I chose this monitor, I’ve seen very little that can touch it in terms of accuracy and size in the LCD market.”

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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. www.oxygendct.com

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Worldstage Supports Fine Jewelry’s GEM Awards at Cipriani 42nd Street

Gem Awards

Gem Awards

It was the fine jewelry industry’s night to sparkle, and Worldstage was there to support the big-screen display needs of the 10th Annual GEM Awards, January 6 at Cipriani 42nd Street in New York City. Worldstage provided Dataton WATCHOUT systems for the gala event, which was held by the Jewelry Information Center, the consumer education arm of Jewelers of America. The GEM Awards recognize the outstanding achievements of individuals and companies whose work raises the visibility and status of fine jewelry and watches.

Joe Parlagreco, a producer/director/cinematographer with New York City-based Filmworks, says he wanted to use “a sophisticated video approach” for the video set pieces. “I had the five LEDs and a big HD screen above the stage all fed by separate sources that had to be timed. Worldstage gave us the time necessary to consult and figure out the right components to use. They really partnered with us to solve our problems – they didn’t just rent us equipment.”

He notes that he was able to visit Worldstage and work with the WATCHOUT programmer prior to the show, a process that proved to be invaluable. “We were able to break down the show and virtually rehearse it,” Parlagreco explains. “Worldstage was just great to work with – very flexible, fast and trustworthy. They know what they’re doing.”

Worldstage partnered with Cipriani 42nd Street’s inhouse AV and lighting company, Star Group Productions, to supply the WATCHOUT systems. “Five vertical 65-inch plasmas were built into the set piece on stage,” says Worldstage event manager/video engineer Michael Cruz. “We provided two WATCHOUTs to send 720p signals to the five plasmas. more WATCHOUTs sent 1080p signals to the main center screen where two HD cameras were iso recording the awards for IMAG. Each display – the five plasmas and the center screen – were able to display independent images.”

Joe Parlagreco, a producer/director/cinematographer with New York City-based Filmworks, says he wanted to use “a sophisticated video approach” for the video set pieces. “I had the five LEDs and a big HD screen above the stage all fed by separate sources that had to be timed. Worldstage gave us the time necessary to consult and figure out the right components to use. They really partnered with us to solve our problems – they didn’t just rent us equipment.”

He notes that he was able to visit Worldstage and work with the WATCHOUT programmer prior to the show, a process that proved to be invaluable. “We were able to break down the show and virtually rehearse it,” Parlagreco explains. “Worldstage was just great to work with – very flexible, fast and trustworthy. They know what they’re doing.”

Alex Bright was the WATCHOUT programmer. At Star Group Productions, Clifton Cloud was the director of operations.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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GUITAR CENTER CONTINUES TO EXPAND AS IT OPENS NEW STORE LOCATION IN SALEM, OREGON

— Company hits milestone with 225th location —

— New store offers on-site lessons and repair services —

Westlake Village, CA (February 27, 2012) – On February 16, 2012, Guitar Center hit a milestone by opening its 225th retail location, Guitar Center Salem, at 6325 Ulali Drive NE, Keizer, OR 97303. Guitar Center Salem’s grand opening introduced customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To commemorate the store opening, Guitar Center hosted a Grand Opening Weekend celebration (Feb. 16-19) featuring exclusive savings, gear giveaways and free events for local musicians. The grand opening also included free live performances throughout the weekend.

Guitar Center’s newest Oregon location features showrooms equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment. In addition to the special Grand Opening Weekend programming, shoppers who came out early also enjoyed exclusive savings throughout opening weekend, including deals on guitar and drum essentials.

“The opening of our 225th store in Salem, Oregon, is truly a landmark occasion for Guitar Center,” commented Gene Joly, Guitar Center Executive VP of Stores. “Our Salem location further underscores Guitar Center’s ongoing commitment to our customers, and to providing an extensive range of products, services and events. Like all openings in the past year the Salem location reflects our new open format design principles and streamlined merchandising layout.”

The new store also features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which will create unrivalled opportunities for Salem musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios is now the most modern and affordable lessons facility in the area. Guitar Center Salem also features GC Garage, Guitar Center’s on site guitar repair service. Musicians were able to try out the GC Garage for free on Grand Opening night (Feb. 16). With a guitar purchase, customers also received a free, 22-point personalized set-up.

As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center Salem offers unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry are able to come to the store to interact with and ask questions of several industry leaders. Free “Recording Made Easy” classes are conducted every Saturday from 10:00 to 11:00 am. Salem shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include Salem inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of stores and warehouses across the nation. Customers have the ability to combine a variety of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new Salem store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. Salem residents will now be able to participate in these ongoing national events from their hometown:

Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crue, KISS and Jane’s Addiction.

Guitar Center Singer-Songwriter is an artist discovery program that aims to find the nation’s best unsigned singer-songwriter. The winner receives a career-altering prize package including recording three songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at the state-of-the-art Brooklyn-based Converse Rubber Tracks studio and $10,000 cash. The grand finale took place in Los Angeles on Feb. 18.

Guitar Center’s King of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Jonathon “Boogie” Long, performed alongside GRAMMY-winning guitarist Warren Haynes at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.

Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center Salem is open seven days a week. Store hours are 11 a.m. to 9 p.m. Monday through Thursday, 10 a.m. to 8 p.m. Friday, 10 a.m. to 8 p.m. Saturday and 11 a.m. to 6 p.m. Sunday. Guitar Center Studio hours follow the same schedule.

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Lowell Introduces New Rack Bundles

— Rack bundles offer customer convenience —

PACIFIC, MO, February 27, 2012 — Lowell Manufacturing Company, a U.S. manufacturer of professional AV Products for more than 60 years, introduces new rack bundles to their line of racks and enclosures. Customers now have the convenience of ordering a complete rack set-up using a single part number, according to Marketing Communications Manager Kathy Lane.

The new rack bundles are available for Lowell’s gangable racks (LGR series) and enclosed racks (LER series). Bundled accessories are not installed but packaged individually and shipped to the job site along with the rack. Accessories in the “BAV” bundle vary according to size and type of rack ordered but include commonly ordered items for AV rack set-ups like horizontal and vertical cable managers, power strip, fan panel, leg levelers, velcro cable wraps, extra hardware, etc.

Lowell is also offering a ready-to-use, time- and labor-saving option for their new LXR floor rack. The open-frame LXR has a slim (19.2-in. W) footprint that requires only a minimal amount of floor space. While the standard LXR ships unassembled, selecting the “IAV” option means the rack will be pre-assembled and outfitted with accessories that include shelves, vented panels, 15A power strip, vertical cable manager and fine-floor swivel casters to protect wood, marble and tile floors from mars and scratches. The quantity of accessories varies with rack height. The LXR with the “IAV” option is available in 14, 30 or 38 rack units with 21-in. depth.

Lowell also has an “IAV” option of pre-installed accessories for their LER rack series, which is available for 18, 21 or 35 rack units with 27-in. depth.

For more information, visit www.lowellmfg.com or e-mail Lowell at sales@lowellmfg.com

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New EAW® NTL720 PA System at Norwood-Young America High School Would Be Right at Home on a Major Concert Tour

Video Services Inc. installs an EAW® sound system that vaults local high school into the major leagues of sound, based around the remarkable EAW NTL720 compact, self-powered, 3-way line array loudspeaker

Whitinsville, MA, USA, February 27, 2012 – In 1997, Minnesota’s cities of Norwood and Young America, in Carver County, merged into one city, Norwood-Young America. As the new city grew over the past 14 years, its largest high school, Norwood-Young America High School, needed to have the sound in its auditorium enhanced to enable it to handle lectures with highly intelligible audio, and theatrical productions and concerts with full-bandwidth stereo sound.

A newly installed sound system based around the EAW® NTL720 compact, self-powered, 3-way line array loudspeaker took care of all of those requirements with a single elegant solution. The system consists of 6 NTL720 modules arrayed in a single center cluster. They are flanked on either side by two EAW AX364 3-way full range installation loudspeakers as the left-right stereo pair. Two EAW SB1001 subwoofers that are floor-mounted on casters and can be wheeled out as needed complete the full-range system, which was installed by Video Services, Inc. (VSI), a premiere technology solutions contractor based in Mankato, Minnesota. And all loudspeakers are controlled via DSP processing from an EAW UX8800 Digital Signal Processor. Hopkins, Minnesota-based Bormann Marketing, EAW’s central and upper Midwest manufacturer’s representative, sold the system and worked closely with VSI during the installation.

“This was the largest school auditorium we have done to date, and we knew it needed to be a high-end installation,” notes Mike Kimes, Project Manager for VSI on the installation. “It’s exciting to have done a project of this caliber, and the equipment that we were going to use had to be top-flight.”

The consultant on the job had already specified EAW’s NTL720 as the main speaker enclosure, and Kimes says he could not have been happier with that. “I’ve been an EAW fan since forever,” he says. “The installation went very smoothly – we used the EAW FB172 Flybar for the center cluster hang and that really facilitated the installation. The UX8800 handles the speaker processing well, and the system has great performance and no surprises – just what you want to have.”

Kimes says the center cluster is tuned to provide full-range coverage of the auditorium from the main seating area all the way into the upper balcony. A Biamp® Nexia system is installed upstream of the UX8800 and is used as a preprogrammed switcher to allow high school staff to easily reconfigure the system between lecture and theatrical/music applications. “They can wheel the subwoofers out as needed, and the whole system is incredibly easy to operate and still offers top performance in any mode,” says Kimes. “I’m a live-sound mixer on the weekends and the way this system sounds for music, I’d be happy taking it out on any concert tour. It’s that good. It really raises the bar for what can be done in a high school auditorium. I’d like to see other high schools make this kind of investment in their future.”

For more information, please visit www.eaw.com .

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Atlanta Bows to Carl Tatz Design’s PhantomFocus™ System

— Atlanta, Georgia’s Reach Records steps up their game in a dramatic way by implementing a new PhantomFocus System 4 enhanced monitor system in their existing control room —

Nashville, TN: “I’ve worked in many, many studios over the years, including the ‘cost-no-object’ super studios in Tokyo, London, Paris, L.A. and Nashville, but I never heard the precise imaging, detail and sonic impact that near-fields could deliver until I heard the PhantomFocus™ System (PFS) at Reach Records,” states Atlanta-based top-tier mix engineer Carlton Lynn (Leona Lewis, India.Arie, Ciara, Pink, Fantasia).

Ben Washer, CEO of the uber-hot independent label Reach Records, consulted with Carl Tatz for over a year about implementing a PFS encouraged by media coverage, reviews and press releases as well as Lynn’s urging. Washer indicated that it was taking way too long to mix and no one could figure out the low end in the Reach Records control room.

Fast forward to the present — on his drive back to Nashville after the Reach Records PFS implementation, PFS creator and award winning studio designer Carl Tatz received an email from Washer, who commented, “I spent several hours this morning listening to some CDs I bought. There is a large puddle of drool on the studio desk now. I hope heaven has sound this good. We listened to some of our old mixes and see much room for improvement. We’re excited to see how we use the system to upgrade the quality of our releases. My only regret is not doing this earlier.”
“It’s really fun to know,” muses Tatz, “that until the next Atlanta studio implements a PhantomFocus System, Reach Records has the best monitoring in the state of Georgia – hands down. Anyone who has a chance to sit in the engineer’s chair at Reach will have that fact revealed to them in very short order.”

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CHARTMAKERS MASTERING STUDIO EXPANDS INTO MIXING WITH AN SSL AWS 948 HYBRID CONSOLE/CONTROLLER

Renowned Helsinki mastering studio installs an AWS for sum-mixing

HELSINKI, FINLAND – Chartmakers, a high-end mastering studio used by major European performing artists including Rammstein and Amorphis, has installed an AWS 948 Hybrid Console/Controller in its Green Room studio. Chartmakers purchased the AWS to expand its business into mixing, a new direction for the facility. Chartmakers’ engineers chose the AWS to preserve the analogue workflow they already have, while gaining advanced DAW control to work with their clients’ project files.

Henkka Niemisto seated at the SSL AWS 948

more

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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