A virtual press conference from Sound & Video Contractor

Archive for February, 2012

VMP Launches New Multi-Just Mid-Size Flat Panel Flush Wall Mount w/Tilt at 2012 ISC West

STEVENSVILLE, Md., Feb. 22, 2012 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the security, commercial, CI, residential, and pro audio/video markets, is proud to announce its will launch the new FP-MFTB Multi-Just™ mid-size flat panel wall mount with tilt at 2012 ISC West, held in Las Vegas, Nev. from March 28-30 at the Sands Expo and Convention Center, booth 3080. Now shipping with an MSRP of $143.95, the low profile FP-MFTB holds medium-sized flat panels from 27- to 42-inches and up to 100 lbs.

“The FP-MFTB is incredibly manageable before, during, and even after installation, especially in security applications,” explained Keith Fulmer, president of Video Mount Products. “Preassembled, it only needs to be folded open once out-of-the-box. But, besides its durability and ease of installation, what makes the FP-MFTB a must for security installations are its kickstand, list adjustment, and vertical and horizontal level adjustment which allow for cable management and perfect placement once already wall mounted. No more uninstalling and remounting the hardware if you didn’t get the alignment right the first time, or if you need to adjust cable connections either immediately or down the road at some point.”

The FP-MFTB also has adjustable tilt of -5 degrees to +15 degrees while keeping the flat panel close to the wall.

Additional specs for the VMP FP-MFTB include:
• Maximum flat panel hole pattern – 415mm x 345mm
• Vertical height adjustment: 1 inch
• List adjustment: +/- 3 degrees
• Distance from wall to back of flat panel: 2.3 inches
• Black powder coat finish

“Backed by VMP’s years of industry acclaimed product design and customer service second-to-none, the FP-MFTB makes mounting medium-sized flat panels as quick, easy, and reliable as the rest of our mounting solutions,” Fulmer continued.

For more information on the FP-MFTB, please visit www.videomount.com or call (410) 643-6390 or toll free 877-281-2169. If you need help choosing the right mount for your application, try the Video Mount Finder at www.chooseamount.com.

About Video Mount Products
Born in 1994, Video Mount Products (VMP) is a leading provider of mounting solutions for the video, audio and security industries. VMP products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to substantially grow by adding several mounting systems to address the increasing popularity of flat panel technology, both LCD and Plasma, as well as other growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of the business.

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Production Consultants, A One Stop Shop For Any Audio, Video, And Voiceover Needs, Adds Creativity With Fairlight’s Xynergi And XE6 Side Cars

ST. LOUIS, Missouri – Production Consultants, a 25-year leader in audio post, with experience in video production, live sound and recording, among other environments, is deploying Fairlight consoles to meet its production needs. Founded by veteran producer/engineer and St. Louis Audio Engineering Society Chairman Bill Schulenburg in 1986, the company relies on Fairlight’s Xynergi and XE6 Side Car Consoles to keep clients on the leading edge of video and audio success.

Production Consultants often collaborates on projects with World Wide Wadio, a group of Hollywood writers, directors and producers who produce radio commercials, campaigns and audio tracks for internet, TV, film and CD’s, ranging anywhere from local radio and television campaigns to international corporate projects.

Schulenburg notes “We use the console daily on projects of all sizes. Xynergi’s complete system integration means we don’t have to worry about any project, file type, set of resources, delivery option, or any other limitation that may come up. With everything built in, I work with great confidence every step of the way. The ability to maintain flexible workflow allows me to say yes to any project we’re presented.”

Recently, the company has worked with legendary St. Louis, Missouri based Anheuser-Busch brewery, to showcase its more than 14 decades of beer making. Produced by Wildstone Media, the project included an in-depth brewery tour providing inside access to the most popular beer brands. Production Consultants utilized Fairlight’s Xynergi console, alongside three XE6 Side Cars, adding tactile mixing controls to the hardware platform for the ultimate audio experience.

Schulenburg adds, “The console is extremely easy to manage. The Fairlight method allows me more creative freedom than other systems, as I can relate to the console very well.” He says the way you interact with your equipment says a lot about you as an individual, and he believes the Fairlight consoles seem expressly designed for the work that he does, remarking, “Fairlight doesn’t just sell consoles, they solve problems and help make my job more effective and efficient.”

For Schulenburg, the Xynergi is far beyond just a console – he compared it to a musical instrument: “The audio quality is superb. It encourages you to use your ears, and rewards you for doing so. Instead of just seeing a waveform, you actually hear all its nuances, which is very rewarding. The seamless transition into working on a Fairlight system from either analog or digital techniques just seems right.”

Many aspects of the console help to overcome technical challenges. “The file handling is extremely flexible and allows us to work on many kinds of projects without worry. The drag-and-drop import capability while editing helps to connect audio and video together to improve workflow speed and ease of use.”

“Fairlight systems are made for people who need to get lots of work done without procedural issues,” stated Schulenburg. “The function you need is always right under your fingers when you need it,” enhancing intuitive operation and ability to keep projects moving forward.

“I still think of a mix as a performance, and Fairlight continues to allow me to do that unlike any computer-only DAW. They have provided the advantages of the visual point-and-click method of working without giving up having your hands on the controls and your ears on the sound. Xynergi provides so many more tools that facilitate critical listening and make creative work on projects easier and more satisfying” Schulenburg added.

The support that Schulenburg and the rest of the Production Consultants team continue to receive from Fairlight is beyond expectations he said, “They support us in ways that you do not get from other companies. They understand my business and the service I need to provide to my clients. I have been very happy with the installation and everything that Fairlight and the Xynergi/XE6 consoles allow me to do.”

For more information on Production Consultants, please visit: http://www.productionconsultants.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.

NAB Preview: Real-Time 3D Rendering, Multi-Platform Distribution and Centralized Workflows to Take Center Stage at Vizrt’s NAB Booth

Bergen, Norway, Vizrt Ltd. (Oslo Main List: VIZ)

At NAB 2012, Vizrt Ltd, will showcase its latest advances in live graphics, channel branding, video editing, interactive content, multi-platform distribution, live sports and graphics analysis. Vizrt will exhibit in Booth SL5605 during the NAB 2012 convention, being held from April 14-19th at the Las Vegas Convention Center.

What’s next for Vizrt

Get a glimpse of what the future of Vizrt has to offer at the What’s Next stand. Vizrt will show the latest innovations in newsroom content timing, IP streaming video output plus much more. Vizrt will also demonstrate the Viz Media Engine integration with Adobe Premiere allowing users to search and access video content directly in Premiere. Users will also be allowed to edit and overlay Vizrt graphics directly in the Premiere timeline.

The timing of video and graphics in the newsroom just got easier with innovations in Viz Content Pilot. Users can also transcode real-time content with graphics embedded and adjusted for any mobile device type using device adapted graphics.

Vizrt’s real-time 3D rendering platform, Viz Engine can be expanded now to give live video input, multiple channel playout, DVE effects, vision mixer, internal chroma keying, and real-time compositing of videos and graphics making the Viz Engine truly a TV in a box.

Live Graphics Production

The latest version of Viz Trio, the world’s number one character generator (CG) and template graphics system, now has enhanced video content management support with the integration to Viz Media Engine. Retrieve HD video content and add videos as part of your Viz Trio graphics workflow.

Viz Content Pilot, Vizrt’s core graphics and video content solution, is now fully integrated with the Viz Media Engine video production solution. Journalists in the newsroom can search videos assets and edit videos directly from their desktops and build a newsroom playlist containing both graphics and video elements.

The Viz Virtual Studio is always a major part of NAB for Vizrt. This year we will show you how to engage the audience at home by letting them be part of your live newscast, triggering real-time rendered graphics from iPads with a second screen app. The Vizrt public show will run every half hour and will include on-air talent using the latest multi-touch screens, iPads, immersive graphics and real-time rendered content to tell a story with the most compelling tools around.

From Acquisition to Device-Adapted Video

Serving as the core of Vizrt’s multiplatform video distribution architecture is the Viz Media Engine – the central point for complete control over all assets – metadata, playlists, archive and storage. The Viz Media Engine is a digital management solution that includes tools to manage the entire multi-platform distribution process – from ingestion, transcoding and publishing content that’s automatically adapted for playout on TV, web, phones or other handheld devices.

“By covering the entire workflow – from camera ingest to final play-out on TV, web, and mobile devices, our Viz Media Engine covers broadcast, mobile and web in one workflow,” explained Petter Ole Jakobsen, CTO of Vizrt. “A complete video platform approach delivers dramatic benefits in terms of speed, quality and volume of video production. It can also be used with other archive systems without any manual file management required.”

Also in the booth will be the latest version of Viz Reporter for the iPhone, enabling live news gathering from the field. Viz Reporter is a fully integrated solution, from video recording on the mobile phone, live streaming directly from the phone, and playback on the back-end server. Videos can be edited, embedded with metadata and geo-tagged.

3D Sports Analysis

LiberoVision, fully acquired by Vizrt, will demonstrate the latest innovations in 3D sports analysis at Vizrt’s stand at NAB. LiberoVision sports analysis tools are now integrated into Vizrt’s general graphics and video workflow.

The newest version of LiberoVision’s Libero Highlight 4.5, includes the ability to embed virtual advertisements onto the live programming, iPad-enabled control of the LiberoVision annotator, 3D arrows, detection of camera angles used in American football, faster video processing, and a simplified user interface.

Multichannel play-out and channel branding

With Viz Multichannel, broadcasters can insert commercials on multiple channels in a fully automated way. It combines pre-scheduled, timecode-based playlist operations with the possibility of adding real-time 2D and 3D graphic effects and powerful branding capabilities. It centralizes the entire workflow onto one desktop.

The newest version of Viz Multichannel will feature improved integration with Viz Trio, including new features such as multi-playlist support, faster playlist loading, integration with Viz Media Engine, support for timeline editors, and for setting up an external preview channel.

Over the top TV & and content distribution to all platforms

With Vimond Media Solutions’ integration with the Viz Media Engine and Escenic Content Engine, users now get a complete online video platform handling live streaming from mobiles, editors’ ingest, insertion of graphics and advertisements, automatic transcoding, and multiplatform content distribution, in addition to a full range of monetization VoD functionality, DRM adaption for multiple platforms, advanced geoblocking, reporting and business intelligence, and over-the-top (OTT) functionality.

Other highlights at this year’s Vizrt NAB booth:

Viz Weather 2.3

- Multiple radar and satellite sources used together in the same scenes

- Weather Alerts

- Faster playlist initialization

Viz World - New DigitalGlobe Online service allows access to global high-resolution imagery

- First Look option gives access to crisis event imagery from DigitalGlobe from inside Viz World

- Photoshop plugin that allows access to the Viz World server for the production of maps.

2D to 3D Conversion

SterGen, a strategic partner of Vizrt, will show its groundbreaking software for live 2D to stereoscopic 3D conversion. SterGen’s software can produce realtime 2D to 3D conversion on soccer with a result that surpasses regular 3D productions.

System Security

Viz Secure monitors both on-air and content preperation systems, provides continuous visual status updates, reports failures, suggests remedial and preventative actions to make sure your Vizrt envioronment is safe and functioning properly.

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry and media houses – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154.

Press contacts:

Martin Burkhalter Ofra Brown Håvard Myklebust
President & CEO CFO Executive VP Products and Marketing
+41 22 365 75 01 +47 5351 8040 +47 918 45 602
mbu@vizrt.com ofra@vizrt.com hmyklebust@vizrt.com

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IAVI Introduces Hitachi’s Newly Released CP-WX8240, CP-WX8255, CP-X8150, & CP-X8160 Installation Series 3LCD Projectors

FOR IMMEDIATE RELEASE:

IAVI Introduces Hitachi’s Newly Released CP-WX8240, CP-WX8255, CP-X8150, & CP-X8160 Installation Series 3LCD Projectors

Fort Lauderdale, FL, February 22, 2012 – IAVI, a leading commercial ProAV Distributor announces Hitachi’s newest additions to their line of innovative projectors. Holistically, the CP-WX8240, CP-WX8255, CP-X8150, and CP-X8160 Installation Series provides reliability, convenience, and the most economic cost effective pricing available. When combining the unique technology and engineering qualities of each of these 3LCD projectors and utilizing the maximum protection IAVI offers, you can provide a confident and secure foundation with end users resulting in a significant increase in your margin.

These advanced models offer significantly more brightness, contrast, and resolution than recent projectors, providing an intense display of colored graphics for screen sizes up to 300 inches. In addition, they also include flexible connectivity, network capability controlled by a LAN connection, technical specs, and a various amount of other enhancements creating the most simplistic usage.

Furthermore, these models offer additional features such as; a motorized focus and zooming lens shift to assist in simple image adjustment, connection options providing two HDMI inputs, two computer inputs and a monitor out and two USB inputs, mouse or wireless adapter, an Ethernet jack to obtain a network connection, and a high-performance filter lasting up to 15,000 hours among others effective characteristics.

Established in 1997, IAVI has always offered the most innovative and quality products, service, and competitive pricing. We also promise to support our dealers protecting them with secure registration to maintain our consistent superior service. Contact one of our experienced IAVI Sales Representatives today for additional details on Hitachi’s new CP-WX8240, CP-WX8255, CP-X8150, and CP-X8160 Installation Series 3LCD Projectors and other benefits we offer on our top manufactured brands and extensive product-lines.

For more information, please visit www.iavi.com or call (888) 999-6564.

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About IAVI
With headquarters in Fort Lauderdale, FL, IAVI employs a devoted team of Display Technology Specialists focused on the Pro AV marketplace. To discover what solutions IAVI can offer you and to find out how IAVI can help build your business and improve your competitive advantage contact IAVI toll free at 888-999-6564 or sales@iavi.com. IAVI is available Monday through Friday, 8am -8pm EST.

About Hitachi America, Ltd.
Hitachi America, Ltd., headquartered in Tarrytown, New York, a subsidiary of Hitachi, Ltd., and its subsidiary companies, offers a broad range of electronics, power and industrial equipment and services, automotive products and consumer electronics with operations throughout the Americas. For more information, visit www.hitachi-america.us. For more information on other Hitachi Group companies in the United States, please visit www.hitachi.us.

About Hitachi, Ltd.
Hitachi, Ltd., (NYSE: HIT / TSE: 6501), headquartered in Tokyo, Japan, is a leading global electronics company with approximately 360,000 employees worldwide. Fiscal 2010 (ended March 31, 2011) consolidated revenues totaled 9,315 billion yen ($112.2 billion). Hitachi will focus more than ever on the Social Innovation Business, which includes information and telecommunication systems, power systems, environmental, industrial and transportation systems, and social and urban systems, as well as the sophisticated materials and key devices that support them. For more information on Hitachi, please visit the company’s website at www.hitachi.com.

 

FOR MORE INFORMATION PLEASE CONTACT:
Bill Woodard
VP Purchasing & Marketing
Phone: +1 (954) 315-3340
billw@iavi.com

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Integrated Media Technologies, Inc. Announces Sports Digital Asset Management Service

Essential for the Successful Future of Teams, Leagues, Universities & Associations

Integrated Media Technologies, Inc. (IMT) has announced a new Sports Digital Asset Management Service specifically designed for the athletics industry.  For sports content owners and producers, having a digital asset management strategy has become an essential part of doing business and affects virtually every aspect of the organization’s operations and future multi-media ROI opportunities.

“A well designed digital asset management strategy gives a sports organization the ability to properly manage rich media assets” explained Mike Braico, EVP of Sales at IMT.  “Think life cycle of the production process, including acquisition, editing and distribution for all digital media files and the underlying metadata.”

IMT worked with the Tennis Channel to design and build a new state-of-the-art file-based workflow, which allows their broadcast operations, editorial, graphics, and post-production teams to share and archive content.

“Growth at our network required an expanded approach to production workflow and storage,” remarked Dean Hadaegh, Senior Vice President of Broadcast Operations and CTO, Tennis Channel.  “IMT quickly targeted our specific needs and came up with an across-the-board strategy that allowed us to re-design our operation without any downtime.”

IMT’s Sports Digital Asset Management Service takes advantage of new technologies and distribution outlets through a centralized efficient digital workflow. It also enables real time collaboration and coordination throughout the organization, capitalizing on video assets through increased output, accelerated operations, and optimum utilization of staff.

“Our new Sports Digital Asset Management Service focuses on protecting video assets for the long term,” emphasized Tom McGowan, IMT VP of Business Development, “and provides our clients with the ability to create new marketing capabilities and revenue streams through increased advertising inventory, sponsorship opportunities, in-venue promotions, social media exposure and e-commerce platforms across broadcast, web and mobile distribution platforms.”

IMT’s Sports Digital Asset Management Service drives new branding opportunities and significantly increases the ability to reach fans on any platform, and anywhere they want to enjoy content.   As an internal competitive benefit, Sports Digital Asset Management Service also enables management to provide the coaching staff and players with the latest tools and innovations for video capture and display in the locker rooms, coaches’ offices, team meeting rooms/theaters, family lounges and with minor league and remote scouting operations.

IMT at NAB 2012, April 16-18, Las Vegas
IMT will be hosting a number of technology briefings in their hospitality suite on the second floor of the Renaissance Hotel located at 3400 Paradise Road. The hotel is conveniently located across the street from the Las Vegas Convention Center.
Please contact IMT’s Marketing Coordinator, Kate Metzger, for more information – kate@imtglobalinc.com.

ABOUT INTEGRATED MEDIA TECHNOLOGIES, INC. (IMT)
IMT is a consulting, design, construction, and systems integration company providing scalable technology systems for business operations.  IMT addresses three major market sectors: Communications Media & Entertainment (CME), Information Technologies (IT), and Healthcare. Through an active engagement process, IMT consultants and engineers collect, interpret, refine, design, build and maintain technology systems that deliver optimum results for clients.
Learn more at: http://www.imtglobalinc.com    tel:  877.761.9770

 

Latest Version of Alcorn McBride’s WinScriptLive! For V16Pro Show Control Now Available as Free Download

WinScriptLive!

WinScriptLive!

Continuing its policy to provide software updates for its products at no charge, Alcorn McBride has released a new version of WinScriptLive!, the programming tool for its Pro line of show controllers. Customers can now download the latest version of WinScriptLive! at www.alcorn.com/support/software.html.

WinScriptLive! is a software tool that provides easy-to-use sequence and event programming. It now has a refreshed look and enhanced navigation with additional features such as a new resources view, drag-and-drop functionality, new V16Pro/V4Pro events, and additional internal variables. This release includes new example scripts and a Product File Creator tool.

WinScriptLive! supports a wide range of Ethernet protocols and provides support for unsolicited incoming messages. Users can modify scripts while running in “Live Mode” and all of the files necessary to run a show – including touchscreen configuration files and artwork – are stored on a CompactFlash card in the controller for easy retrieval and editing.

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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Peregrine Andrews Uses Prism Sound’s Orpheus To Record David Tennant For The BBC

Long-time SADiE user Peregrine Andrews has now added a Prism Sound Orpheus FireWire interface to his equipment list to help tackle recording, digital to analogue conversion and monitoring with 5.1 capabilities.

Renowned for his high-end radio and TV mixing work for clients such as the BBC, Mentorn, Wall to Wall and Falling Tree Productions, Peregrine Andrews operates mainly from his own private studio, Moving Air, which is based in west London.

“I spend about half my time mixing, and occasionally producing, radio (documentaries and drama), and the other half mixing TV (documentaries and comedy)… and the odd film,” he says.

“Recently, on the new series of the BBC sitcom Twenty Twelve, I used the Orpheus to record David Tennant’s voiceover. I also used it for all the ADR on the new BBC Dickens-style comedy Bleak Old Shop of Stuff. As a straight wire device, I don’t really expect the Orpheus to have a ‘sound’, but the voice recordings I’ve done where I’ve plugged the mic straight in have sounded excellent with very little EQ added in the mix.”

The Moving Air studio is equipped with SADiE, Nuendo, PMC monitoring and a Smart AV Tango control surface. His reason for buying the unit was to access a high grade DA/AD converter and monitoring controller so that he could replace the old Yamaha O1V desk that had previously been performing that function.

“I mix in the box so I don’t need any kind of console in the room,” he says. “The Orpheus is three things in one box – Preamp, AD/DA and monitoring controller. Prism Sound loaned me a unit and it worked well, sounded good and looked great, so I decided to buy it. I like its precise volume control of multiple outputs and its ability to derive an independent headphone mix. It’s a single box solution and removes any requirement for a separate soundcard, preamp/mixer, volume control etc.”

Andrews adds that although he had good practical reasons for buying an Orpheus, there were also more sentimental concerns at stake – not least his long association with SADiE, which is now part of the Prism Sound group.

“I’ve been a SADiE user since 1995 and rely heavily on it to make my business work,” he explains. “For precise speech and music editing it’s unequalled. The slip function and the trim editor alone make intense speech editing and assembly very fast. A lot of radio now is recorded in stereo by default (e.g. using flash recorders with built-in mics) but sometimes only one leg is really useful. SADiE allows stereo pairs to be split or re-joined in a keystroke. Also, the ability to have multiple EDLs is very useful at the assembly phase of documentary-making.”

Given this background, it’s no surprise that sentiment played a part in Andrews’ buying decision.

“Prism Sound has an excellent reputation – I’ve never read a bad review and I know, from talking to them, that they design their products using a sensible engineering approach,” he says. “I admit I was looking for a way of continuing to invest in Prism Sound/SADiE because it’s been a long time since I sent any money their way, yet I use their systems almost daily with fantastic support.”

-ends-

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

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Lady Antebellum Expands Tour and Sennheiser Endorsement

Old Lyme, Conn.– February 21, 2012: Few need an introduction to Lady Antebellum, who, in the four short years since its formation, has won six Grammys, scored six number one hits on country radio, has sold over six million albums across the globe and is currently on its 2012 Own The Nightworld tour. Sennheiser is supporting the tour with equipment, such as SKM 5200-II wireless vocal microphones and ew 300 IEM G3 wireless personal monitors, along with the expertise to ensure that no glitches ever distract from Lady Antebellum’s spellbinding performance. With an agreement brokered by Tim Moore, artist relations manager for Sennheiser USA, and Kristy Jo Winkler, Sennheiser global relations manager for the Americas and Canada, reigning Country Music Awards and Academy of Country Music Awards Vocal Group of the Year Lady Antebellum is now a Sennheiser Global Relations endorsed artist.

FOH engineer Brett “Scoop” Blanden was careful to select the perfect wireless vocal mic for the tour. “The stage setup includes a forty-foot runway that extends well in front of the house PA,” he said. “I needed a microphone and a capsule that would be well-suited to all six vocalists – who might all be on that runway at the same time! By using the same capsule, with the same frequency response and polar pattern, on all six mics, I am able to tune the PA without fear of the unpredictable interactions that can occur when different capsules are open on stage.” Blanden selected the Sennheiser MD 5235 dynamic capsule, which features a floating directivity that is super-cardioid at high frequencies and cardioid at low frequencies. The Sennheiser SKM 5200-II handheld RF transmitter completes the vocal setup, and two additional SKM 5200-II/MD 5235 combinations go to the opening acts.

Monitor engineer Peter Bowman organizes the RF channels for the show. “I have had zero RF issues since we made the switch to the Sennheiser 5000 series on vocals,” he said. “In addition, I’m also very happy with how useful the Command Function is for Lady Antebellum. Whether they need the guitar turned down or a cup of tea, they can communicate with ease from any point on the stage.”

Instrument mics include the Sennheiser e 901 on kick, the e 904 on rack toms, the e 902 on the floor tom, and a small diaphragm e 614 on the ride. “I’m particularly fond of the e 904 and e 902 on the toms,” said Blanden, who is himself a drummer. “I love the tonal picture of those dynamic mics – it’s familiar and comfortable to me. The frequency response and transient response are perfect. I can run those inputs flat on my channel strip because all the right color is captured by the mic. The convenient mounting hardware on the e 904 is also nice.” For all three guitar cabinets on stage, Blanden uses the classic Sennheiser MD 421-II. “What a standard! Even in my studio days,” he said, “I was always a fan of the MD 421 on guitars. It has the perfect combination of top-end bite and low-end growl to deliver the ideal rock ‘n roll guitar sound.”

In addition to the eight Sennheiser SKM 5200-IIs for vocals (and their associated command channels), Bowman manages eight Sennheiser EK 300 IEM G3 stereo wireless personal monitors, for a total of twenty-eight wireless frequencies. “I set them myself every day,” he said. “And with the scanning options available on both the G3 and 5000 series, that process is fairly simple. I love that when the monitor system is networked together, I have the ability to set all the transmitters to new frequencies using just one bodypack. I usually scan one bodypack during the day, even before I get power to monitor world, and then use it later to synch up all the transmitters.” For antennas, Bowman uses one Sennheiser paddle antenna and one Sennheiser A 5000?CP circularly polarized antenna. “Although I know there are several valid approaches, this system works well for me,” he said. “Our RF performance has been perfect.”

Even the band’s guitars and bass benefit from Sennheiser wireless technology. To navigate the tour’s large stage with the crowd-pleasing confidence that a wire won’t allow, every fretted instrument is equipped with a Sennheiser ew 572 G3 wireless transmitter, save for one acoustic guitar which uses an ew 572 G2 unit. There are eleven units in all. “Our RF performance has been absolutely flawless,” said guitar tech Steve Castro, who formerly worked with Sugarland. “We all work together to maintain clean channels. If someone gets stepped on, it’s a simple matter to use the scan feature to dial in a new clean channel.”

“The Sennheiser team has really gone above and beyond for us,” said Blanden. “Tim Moore has been there for us during the last four years. Throughout our trips to Australia, Europe and various television performances, Sennheiser is the gear we rely on for consistency wherever we are performing.”

Winkler added, “For decades, Sennheiser has supported emerging artists as well as mega-stars. All of us on the Global Relations team welcome Lady Antebellum to this special tier of artists and congratulate them on their creativity, musicianship, performance excellence, and industry dedication.”

(Photo Credit: © 2012 Adam Boatman)

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Waves Audio Releases InPhase Plugin

— New Plugin Corrects Track Phasing and Alignment Issues —

KNOXVILLE, TN, February 21, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, is now shipping its InPhase plugin. Designed for recording, mix, mastering and live FOH/monitoring engineers, InPhase has been developed to correct phasing issues between tracks. Phasing can cause drops in volume and wreak havoc on frequency response and stereo image; InPhase gives users a comprehensive tool to correct such problems.

As many engineers and producers know, phasing problems are encountered during all stages of the production process:

In recording, when multiple sources such as microphones and direct signals are used to capture the same sound (e.g., individual drums and drum overheads, guitars recorded using both an amp and DI, amps recorded using multiple mics, etc.).
In mixing, when phase issues that were not addressed during the recording process need to be corrected.
In mastering, when the stereo mix has phasing issues.

Even small timing differences can cause subtle drops in volume as well as reduced punch and clarity. Waves’ InPhase gives users the power to align their tracks and restore phase coherence.

InPhase is the ultimate phase correction plugin, featuring high resolution dual waveform displays with up-to-sample resolution zoom; phase shift filters with adjustable frequency and Q; and an intuitive correlation meter, which shows users just how much they are in or out of phase. Users can move their waveforms manually or using the delay control, and even align them in relation to a sidechain input. The phase shift curve window shows users the phase shift curve across the frequency line; the correlation meter shows to what extent tracks are in- or out-of-phase; and the plugin features dual second-order allpass filters. InPhase includes mono, stereo, and dedicated live components, plus InPhase LT, a simplified version that gives you easy access to creative phase manipulation.

InPhase Controls:

Alpha and Beta processing sections.
Process controls let us choose what to process.
Activity LED shows when there is input signal activity.
Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Monitor selects the output monitor configuration.
Output LED displays the peak signal output level.
Collapse closes the waveform display section.
Capture, with Automatic & Manual modes, captures up to two seconds of signal.
Scroll Bar scrolls the x axis of the captured waveform.
Correlation Meter displays general correlation metering between the Alpha and Beta waveforms.
Correlation Markers display the maximum value of the correlation meter.
Correlation Value Box displays the current correlation value.
Zoom X zooms in on the x axis, at up to sample resolution.
Zoom Y Alpha zooms in on the Alpha section y (amplitude) axis.
Zoom Y Beta zooms in on the Beta section y (amplitude) axis.
Zoom Y Link links Zoom Y Alpha and Zoom Y Beta.
Reset Zoom resets the zoom to its default setting.
Alpha Waveform is the waveform captured in the Alpha section.
Beta Waveform is the waveform captured in the Beta section.

InPhase LT Controls:

Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Output LED displays the peak signal output level.

Waves InPhase is now available with a special introductory price of USD $99.00 Native / $149.00 TDM. It is also available at no additional charge to owners of Waves Mercury with current Waves Update Plan coverage. InPhase LT, included with InPhase, is also available separately with a special introductory price of USD $59.00 Native / $99.00 TDM.

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

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Union Editorial Takes Commercials Into 5.1 Surround with Genelec Monitoring

— From Fiat to Chevy, Diet Pepsi to McDonald’s, Los Angeles commercial post facility Union Editorial is working in the high end of broadcast post production, and their recent acquisition of a 5.1 surround monitoring array of Genelec 8250A and 8240A Bi-Amplified DSP Monitors and a 7260A Active DSP Subwoofer will help keep them there —

NATICK, MA, February 21, 2012 — Prime-time broadcast commercials have followed sports and entertainment programming into the domain of discrete 5.1 surround sound. That has raised the bar for post production facilities in that business, and those looking to produce the best have found Genelec Active Monitors to be the optimal solution. That’s what Union Editorial discovered when it recently needed to upgrade the monitoring in the larger of its two audio production and mixing studios. The facility regularly handles high-end agency clients, including Chevy, McDonald’s, Fiat and Diet Pepsi, and a hit commercial featured on the 2011 Super Bowl broadcast, Volkswagen’s “The Force” (which won five AICP Awards), as well as its sequel at the 2012 Super Bowl. And the L.A.-based firm also does a fair share of feature film work and movie trailers, so it needs 5.1 monitoring that can cover the gamut of media needs. And that’s just what they now have, thanks to a new monitoring system that consists of three Genelec 8250A Bi-Amplified DSP Monitors for the L-C-R array, a pair of Genelec 8240A Bi-Amplified DSP Monitors for the left and right rear surrounds, and a Genelec 7260A Active DSP Subwoofer. The system was purchased from Universal City’s RSPE Audio Solutions and installed late last year.

Senior Sound engineer Milos Zivkovic had been a fan of Genelec performance for some time, and when the upgrade was approved, he whole-heartedly endorsed going for Genelecs. “We were looking for a speaker that could serve as a good mid-field monitor — not too big and not too small, because we have a pretty sizeable control room,” he explains. “I decided to go with the 8200 Series because they are just the right size and they also come with a lot of great features like the Genelec AutoCal™ automatic calibration system. Having things like an adjustable crossover in a speaker is fantastic. But the bottom line on the Genelec speakers is their clarity. You can hear everything and hear it accurately and without coloration. Clients are always judging our facility based on what they hear at other studios, and they know that Genelecs have got a reputation around Hollywood for being the best. That’s a reputation we like being a part of.”

For more information, please visit www.genelecusa.com/ .

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