A virtual press conference from Sound & Video Contractor

Archive for April, 2012

Boxx Communications Debuts Meridian Lite and Meridian Tallis at NAB

LAS VEGAS, NV—Boxx Communications, the North America headquarters and official reseller for Emmy Award®-winning manufacturer Boxx TV, unveiled Boxx TV’s latest available technology, including the Meridian Lite and the Meridian Tallis, at its booth (C7219) at the NAB Show®. The annual conference will be held in Las Vegas, Nevada, April 14-19. Boxx’s Meridian product line is used on a wide variety of projects from the upcoming James Bond film Skyfall, to the live Brit Awards, and Emmy Award-winning Modern Family, among others.

“Our demonstrations at NAB will illustrate the ongoing development and innovation in the product line,” notes Boxx Communications Owner Mark Walker. “The team at Boxx is constantly in the field, working events, in venues, and with broadcasters. Our understanding is derived from hands-on experience and drives us to continually evolve and improve our products. What Boxx offers is an incredible option for the industry in terms of functionality and affordability. In many, many tests, we have beaten head-to-head ratings with the more expensive, and in some cases more well-known, competitors.”

The Meridian Lite is an affordable, entry-level RF HD camera system with zero-delay transmission for live broadcast and videography. The less than $10,000 price puts the technology in reach of more budget-conscious users, and is upgradable to Boxx TV’s full-featured, high-end Meridian wireless RF HD camera system. With its lightweight, wireless transmitter, Meridian Lite supports full 4:2:2 video including all formats up to 1080/30p, and delivers uncompressed, artifact-free broadcast video and sound in synch.
Conference goers will also get their first look at the Meridian Tallis, an iris control and tally indicator accessory that provides tally and iris only control, and complements any brand of broadcast camera on a wireless rig or Steadicam. The product is small enough to mount on any camera and the control knob gives accurate high-resolution control to the iris. As Tallis only controls the lens, there is no black level or red/blue gain control, but at a price of around $3,500, it opens up a solution to productions where iris only control is sufficient.

“The Meridan Tallis solves the tricky problem of providing iris control for a variety of different manufacturers’ cameras by tapping directly into the lens to adjust the aperture,” explains Boxx TV co-founder Scott Walker. “There simply isn’t another solution as this price point to control the iris on wireless camera rigs. This enables you to match the brightness of the video from a wireless camera with other cameras.”

In addition to the Meridian Lite and the Meridian Tallis, Boxx will also be demonstrating the Meridian System which provides 4:2:2 uncompressed video with zero delay; the Cobalt system which offers an alternative to COFDM systems with a bi-directional packet acknowledgement protocol that offers extremely robust transmissions; the Cerulean which delivers the quality and reliability of full HD uncompressed fiber link in a cable-free, wireless environment; and a prototype of a lightweight h.264 HD system designed for UAV (unmanned aerial vehicles) including a quadcoptor.

For more information about Boxx Communications, visit www.boxxusa.com, call 310.287.1285 or follow us on Twitter @BoxxComm.
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About Boxx Communications
Boxx Communications is the Los Angeles-based headquarters and official North America reseller for Boxx TV, an Emmy Award®-winning manufacturer. Boxx Communications provides the broadcast industry with a wide range of innovative digital microwave systems for live broadcasts, as well as Steadicam, portable field, video assist and ENG applications. The Boxx product portfolio includes the Meridian System which provides 4:2:2 uncompressed video with zero delay; the Zenith Wireless system which is designed for HD live productions, big screens, helicopters, and reality shows where range and signal reliability are essential; and the Meridian Tallis, an iris control and tally indicator accessory that provides tally and iris only control, and complements any brand of broadcast camera on a wireless rig or Steadicam. Boxx is revolutionizing the industry with reliable, cost-effective, and groundbreaking technology. Continually innovating, constantly advancing, Boxx Communications offers impeccable solutions. For more information about Boxx Communications, visit www.boxxusa.com or call 310.287.1285.

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FotoKem’s nextLAB Puts Solid Workflow Into Place for Canon Cinema EOS C500/C500 PL Debut

FotoKem’s nextLAB, a powerful end-to-end software solution for film and television productions using file-based workflows, played a pivotal role in the production of demonstration footage to support the development announcement of the Canon Cinema EOS C500 and the Cinema EOS C500 PL for use with EF-mount and PL-mount lenses respectively. Both upcoming cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording. The Cinema EOS C500/C500 PL are upcoming additions to Canon’s Cinema EOS System, a transformational line of digital cameras and lenses that applies advanced Canon digital imaging technology to cameras designed for professional cinematographers. FotoKem provided complete production support for the Cinema EOS C500 demo film, Man & Beast, which premiered Sunday, April 15, at the 2012 NAB Show.

From the early beta stages, FotoKem collaborated and consulted with Canon Inc. on the design of the first end-to-end, 4K production-to-post file system. FotoKem built nextLAB’s high-resolution pipeline on the Academy Color Encoding Specifications (ACES) architecture, making the EOS C500 the first Canon camera to take files from production all the way through post in ACES.

FotoKem’s nextLAB has an enviable pedigree, arising from the 50-year-old post production leader’s deep experience in finishing and workflow alongside their innovative software group, which operates as a development arm and launch pad for services in an ever-changing industry. Enabled by this development arm, FotoKem’s nextLAB system has quickly become the backbone of the company’s file-based workflow solution for feature, television, and commercial productions.

nextLAB’s all-in-one mobile solution for on-set media and asset management is an advanced technological extension of FotoKem’s state-of-the-art, in-house services. Its unique and proprietary core application software enables the nextLAB Mobile system to essentially bring the full power of FotoKem’s data management systems to production. Based on an open architecture, nextLAB Mobile solutions effectively bridge the gap between production and post, while enabling other platforms to easily interact with its functionality.

Notably, nextLAB’s powerful color capabilities were utilized to grade dailies and set the look on Man & Beast, which was shot by acclaimed, Oscar-nominated cinematographer Jeff Cronenweth, ASC (The Girl With the Dragon Tattoo, The Social Network, Fight Club), and produced by MJZ for Canon. Margarita Mix, a FotoKem company that boasts an enviable list of feature, television and spot audio credits, handled the mix for the film.

“It has been exciting to work with Canon at the very edge of new camera technologies, experiencing first-hand the latest features available to filmmakers and defining the way they finish their work,” says FotoKem Vice President Mike Brodersen. “Our nextLAB software has helped to define on-set services across a number of productions, and our original, all-in-one dailies and media management platform has evolved to the next level in this process. With Man & Beast, we are seeing the next phase of creative technology for filmmakers come to life.”

“About 99% of the file-based TV and feature projects at FotoKem utilize the nextLAB software,” notes Tom Vice, Vice President and General Manager of the nextLAB system. “Its powerful features provide assurances to cinematographers and directors that their digital media files are safe, viewable, and maintain data integrity at every step of the process. We look forward to working with Canon again in the future to help continue to break the barriers of technology.”

For more information on the innovative Canon Cinema EOS C500 professional camera and demo film, visit www.canoncinemaeos.com.

About FotoKem
FotoKem is an independently owned, full-service post production facility that has become the go-to resource for the worldwide creative community. Since 1963, the company has serviced every corner of the entertainment market, providing unmatched expertise, high-end solutions and innovative technologies. The company’s systems approach to the imaging chain assists filmmakers in successfully bridging production and post, and supports them in navigating the many formats and choices for telling stories. FotoKem offers a broad spectrum of services, including file-based workflows, 3D digital intermediates, digital cinema packages, mobile dailies, global data delivery, film and video finishing, audio mixing and mastering, visual effects, full service film lab, restoration, and production rentals. FotoKem has expanded over the years with the acquisition of SPY, Keep Me Posted, L.A. Studios, and Margarita Mix.

For more information, go to www.fotokem.com, or follow FotoKem on Facebook (www.facebook.com/fotokem) and Twitter (@FotoKem).

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.
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†Based on weekly patent counts issued by United States Patent and Trademark Office.
All referenced product names, and other marks, are trademarks or registered trademarks of their respective owners.

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Now Shipping, VMP Features New ER-S1U4P Rack Shelf at InfoComm 2012

Now Shipping, the ER-S1U4P is a One Space Adjustable, Four-Post Vented Rack Shelf Fitting Components up to 16.85-Inches Wide with a Load Capacity of up to 200 lbs.

STEVENSVILLE, Md., April 17, 2012 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the commercial, residential, security, and pro audio/video markets, is proud to announce that it will feature its new ER-S1U4P Vented One Space Adjustable Four Post Rack Shelf at InfoComm 2012, held in Las Vegas, Nev. from June 13-15 at the Las Vegas Convention Center, booth N2540. Now shipping, the ER-S1U4P has an MSRP of $129.95.

“We designed the new ER-S1U4P for both form and functionality, especially for the installer who also seeks a rugged rack shelf solution,” explained Keith Fulmer, president of VMP. “The unique four post design and 200 lb. load capacity make it the ideal choice for installing today’s larger and heavier racked-mounted equipment.”

Additional features of the ER-S1U4P include:
• Fits components up to 16.85in. wide (17.4in. when shelf is inverted)
• One space rack height (1.75in.)
• Adjustable tray depth – 14.75in. to 25in.
• Includes 10-32 and 12-24 rack screws
• Black static resistant powder coat finish

For more information on the ER-S1U4P, 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 for 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 and come with the industry’s only Forever Warranty. 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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Bexel Announces Multimillion-Dollar Commitment to Sony

State-of-the-Art Cameras, Switchers to Be Used at Several Upcoming High-Profile Events

LAS VEGAS, APRIL 17, 2012—Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, is pleased announce its recent commitment to advance its equipment and service offerings with multimillion-dollar purchases of Sony camera systems and production switchers. In preparation for several major events taking place this year, Bexel has committed to purchase four Sony MVS-7000X switchers and 20 Sony HDC-2500 camera systems over a two-year period, with the initial delivery of five due at the end of the month.

“At Bexel, we are excited about these purchases and look forward to offering clients the leading technologies they’ve come to expect from us as they prepare for some of the major broadcast events up ahead,” says Tom Dickinson, chief technology officer, Bexel.

The HDC-2500 system camera incorporates Sony’s advanced technologies for studio cameras. A newly developed 2/3-inch CCD and the new digital signal processing (DSP) capability with a 16-bit A/D converter provides high dynamic range and amazing picture quality with very little noise. The HDC-2500 also provides more transmission flexibility by way of a side panel that can be easily replaced to fit HD-wireless (3rd party) or triax-transmission (availability TBD) systems. “The purchase of these camera systems is part of our dedication to move our inventory to all be 1080p-capable,” adds Dickinson. “A lot of the equipment that we buy has 1080p as a feature, but this is the first camera system that we’ll offer with 1080p as the standard feature. The images this camera produces are incredible and a great addition to our inventory.”

What’s more, Bexel is also making a million-dollar investment in Sony’s MVS-7000X switchers. As part of a major initiative to provide new, high-end, multi-camera full-production flypack systems for clients in markets around the world, Bexel plans to increase its inventory with the purchase of four systems. The company will provide complete services for small to large applications, complementing their element systems. “Historically, Bexel has provided switcher systems for very large, 25-camera events as well as small two- to three-camera events,” says Dickinson. “The MVS-7000X is an excellent production switcher that’s moving us into a new market, where excellent production value is needed with a medium-sized, four-to-six camera production. These switchers are central to us building a whole new generation of flypacks and will be absolutely essential for the upcoming events this summer.”

The MVS-7000X is available for SD, HD or 1080/50P (3G) production. A simple software upgrade will allow the user to switch between these modes. Powerful features include eight high-performance keyers per full ME bus, eight channels of format conversion and two channels of multi-viewer output. An internal two- or four-channel DME processor can also be installed, offering visual effects of superb quality, equivalent to those of the external MVE-9000 processor.

For more information, stop by Bexel Rentals (Booth C6833) and Bexel Professional Sales (Booth C9046) at the 2012 NAB Show or visit www.Bexel.com.

About BexelBexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com.

A Snapshot of The Vitec Group Vitec is an international Group principally serving customers in the broadcast, photographic and military, aerospace and government (MAG) markets. Listed on the London Stock Exchange with 2011 revenue of £351 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Imaging & Staging, Videocom and Services. Imaging & Staging designs, manufactures and distributes equipment and accessories for photography, video and events. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production teams and film crews. More information can be found at http://www.vitecgroup.com.

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132nd AES Convention Offers Diverse Tutorials

From Beach Boys Smile Sessions To Notes On The Brain

BUDAPEST: A destination for listening, learning and connecting, the 132nd AES Convention, will feature a uniquely varied assemblage of Tutorials. Scheduled for April 26-29 at the Novotel Budapest Congress & World Trade Center, the gathering will draw attendees from around the world.

Tutorial Event highlights include:

The Making of The Beach Boys Smile Sessions: Arguably the greatest “lost” album of all time, The Beach Boys’ Smile sessions were finally released last November, in a variety of CD, vinyl and other digital configurations. Producer/Educator Barry Marshall will conduct a rare interview with Project co-producer Mark Linett about the legendary 1966-67 sessions. Their discussion will include the producer role Brian Wilson played in the project, as well a look at the technical and logistical challenges of mixing and mastering this landmark production from 45-year-old tapes at different configurations, speeds and sizes.

Noise on the Brain-Hearing Damage on the Other Side: Presenter: Poppy Crum – Did you know that drinking a glass of orange juice every day may actually protect your hearing? Most discussions of hearing damage focus on what happens to the cochlea and inner ear. While this understanding is crucial to predicting and avoiding trauma that can lead to hearing loss, this session will explore the latest research regarding the effects of acoustic and chemical trauma. It will also consider recent research in chemically preserving hearing and combating these conditions.

How Does It Sound Now? The Evolution of Audio: Presenter: Gary Gottlieb – One day Chet Atkins was playing guitar when a woman approached him. She said, “That guitar sounds beautiful.” Chet immediately quit playing and asked, “How does it sound now?” The quality of sound in Chet’s case clearly rested with the player, not the instrument. The technical and aesthetic quality of recorded music lies with engineers and producers, not solely on their equipment. This Tutorial will address the differences and similarities between their standards for excellence.

Please visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.

Photo: Novotel Budapest Congress & World Trade Center hosts the AES Convention April 26-29.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Natural History Museum Opens New Dinosaur Hall Featuring Displays Installed by Electrosonic

Natural History Museum

Natural History Museum

Visitors to the Dinosaur Hall in the Natural History Museum of Los Angeles County experience the wonder of the prehistoric creatures in a totally new way with innovative exhibits featuring audio-visual systems provided by Electrosonic.

Twice the size of the old galleries, the recently-opened 14,000 square-foot Dinosaur Hall displays specimens – including the world’s only T. rex growth series of baby, juvenile and adult skeletons – mounted on unique platforms and preserved and articulated using modern methods. The skylit L-shaped Hall is flooded with natural light; a glass-sided mezzanine runs along the short side of the L where additional wall-mounted exhibits reveal more about the amazing creatures and show what it’s like to find fossils in the field and study them in the lab. Electrosonic was responsible for the design, engineering, fabrication, installation and programming of the Hall’s audio, video and interactive displays.

Electrosonic’s Design Consulting team was approached by museum project manager Jennifer Morgan and asked to develop an AV system design that would subtly support the new interpretive material. “In the Hall, the dinosaurs are the stars. You don’t want to compete with the T. rex – people are there to see the bones,” says Electrosonic design consultant Steve Coe. “The museum was looking for small, high-quality systems, not over-the-top AV.”

Electrosonic project manager Steve Calver explains that “each touchscreen panel in the hall is implemented in a slightly different way to support its exhibit. Some stand alone, some are built into the wall or embedded into the bases of the platforms. Each proved a challenge in terms of where to locate the equipment required for it.”

“The AV interactives for the dinosaur specimens are integrated into the bases that support them,” says Steve Coe. Electrosonic was charged with mounting rugged ELO touchscreens into the bases’ access panels so visitors can review graphic panels and interactive videos created by Unified Field to learn more about the bones.

Electrosonic was also challenged to build the interactive computers into the bases, which minimized the use of extenders that would have been required if they were located in the third-floor equipment room. “It was more efficient and reliable to hide the content players in the exhibit than position them in a remote location,” says Coe.

When visitors walk past the Triceratops and the 68-foot Mamenchisaurus in the new Hall, they encounter a 15-foot wide front projection screen suspended about nine feet above the floor. Its looped “Investigating Dinosaurs” video describes the hunt for the prehistoric creatures. Electrosonic chose a Christie HD10K-M series projector for the display with Medialon playback and fiber optic connections from the players to the projector. A pair of Renkus-Heinz speakers is located behind the screen.

“The challenge for this display was how to project from the ceiling-mounted Christie over the neck of the Mamenchisaurus and onto the other wall,” says Coe. “It was difficult to figure out, and we only cleared the neck by a few inches.”

Below the projection is a 43-foot Fossil Wall showcasing 100 diverse dinosaur specimens. Two ELO touchscreen kiosks from Electrosonic were positioned in front of the wall to allow visitors to explore each bone and zoom in and rotate some of them 360 degrees on the screen.

A five-screen ribbon of 40-inch Samsung LCD monitors on another wall is hung at head height. Five Medialon MIP HD players in the equipment room are synced together to display edge-blended content across the screens or five discrete images.

The mezzanine level features a number of exhibits with AV components. One display about the structure of dinosaur heads has an interactive touchscreen in its base that enables visitors to simulate dinosaur calls thanks to a compact, flat Innovox full-range speaker. “Its low-end range is different from speakers we specify for dialogue,” says Steve Calver. “The dinosaur calls, which scientists can approximate based on the way air travels through the skull, were in a much lower range than normal animals.”

A multi-touch screen, which can handle 32 simultaneous touches, is positioned alongside an exhibit of excavation tools. Its table-style configuration, made by CyberTouch with PQ Labs’ infrared touch technology, allows groups of kids to assemble and play a game that simulates a dinosaur excavation. Several wall-mounted 46-inch Samsung LCDs with ceiling speakers display content supporting nearby exhibits.

Electrosonic supplied Dell computers for the interactives and implemented BSS London BLU audio signal processing; Medialon Showmaster show control connects to all AV points.

The exhibit design was by Evidence Design. Fabrication of the entire exhibit was awarded to Lexington Design & Fabrication, whom Electrosonic was contracted with and has worked with on many projects over the years. The project manager for Lexington was Howard Smith. All interactive media programs were created by Unified Field, another firm whom Electrosonic has a strong working relationship with.

Although Electrosonic Design Consulting became involved in Dinosaur Hall in August 2010, fabrication and equipment orders didn’t begin until April 2011 for the Hall’s July opening. “The big challenge was working with other vendors on the sequence of events so we knew what equipment to bring on site,” recalls Calver. “So much of what we did integrated to what was designed and fabricated in place. We needed to be able to evolve with the exhibits as they were built.” In the end, a successful integration was realized due to thorough design documentation and an experienced working relationship among Electrosonic, Lexington and Unified Field.

Steve Coe reports that the new Dinosaur Hall has been “packed” with visitors and that there are long queues to get in.

Electrosonic’s Peter Alexander served as project engineer for the Dinosaur Hall ensuring that everything was well coordinated on site; he also handled Medialon programming and calibrated the touch panels.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, video conferencing and control rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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Clark Expands HFC Series of SMPTE Hybrid Fiber Camera Cables

Clark Wire & Cable™, NAB Booth #C8137, is introducing an improved and expanded line of its HFC Series of SMPTE 311M hybrid fiber camera cables. Designed as a turn-key solution for broadcast camera systems, Clark’s HFC Series now includes three distinct products for portable, permanent installation and direct burial applications – all with high-strength core constructions.

Clark’s original HFCTP studio and field SMPTE 311M camera cable has been improved for both greater durability and flexibility. Now featuring tactical-grade tight buffers, the new HFCTP fiber elements have three times the tensile strength for added ruggedness. For improved flexibility, the outer jacket of the HFCTP utilizes a new TPE jacket compound that is abrasion resistant and exceptionally flexible, even in low temperature environments.

New to Clark’s SMPTE product line are the HFCPV and HFCDB cables. These versions are specifically designed for permanent installation applications requiring a riser rated or a direct burial construction. The HFCPV features a PVC outer jacket and a UL riser rated CMR listing for permanent installation in most in-wall and conduit locations. For direct burial applications in underground or partially exposed environments, Clark’s new HFCDB features a puncture resistant polyethylene jacket and water blocking tape barrier that absorbs moisture if the jacket is penetrated.

All Clark HFC Series hybrid fiber cables feature precision specifications that meet or exceed SMPTE 311M-2009 requirements for optical and electrical loss, mechanical strength, and environmental performance. For ease of installation all Clark HFC Series cables feature a unique directional arrow printed on the cable jacket that identifies the gender end of the cable. This feature simplifies termination by labeling the correct end for connector termination and offers the user a quick visual identification when running portable cable assemblies.

“We are excited to announce the expansion of our HFC Series of SMPTE 311M cables,” stated Scott Fehl, Product Manager for Clark Wire & Cable. “With the expansion of our SMPTE camera cable product line we are able to offer a complete hybrid fiber solution for almost any application – studio, production, remote broadcast, and stadium. Built for broadcast-grade performance, Clark SMPTE camera cables have a proven history of being exceptionally flexible, user friendly, and durable. Combined with our ModBox™ modular rack system and in-house custom cable assembly service, Clark delivers a complete SMPTE hybrid fiber system uniquely built to the customer’s requirements.”

About Clark Wire & Cable

Clark Wire & Cable, a leader in broadcast and professional AV interconnect technology, is celebrating over 23 years of business. With a focus on quality and innovation, Clark Wire & Cable delivers unique and reliable solutions dedicated to the markets it serves. From precision engineered bulk cable and cable assemblies to connectors, tools and custom panels, Clark Wire & Cable has remained committed to delivering comprehensive interconnect solutions. For additional information, please visit www.clarkwire.com.

Red Sox Spring Training Takes a Step Up With Community

Fort Myers, FL, April 2012… For sunbirds and residents of Arizona, Florida and other warm-weather environs, baseball’s spring training is a special treat. It’s a time to catch an intimate pre-season game and view a team’s favorite and newest players, in a casual, up-close and personal environment.

Boston Red Sox fans are particularly pleased these days, thanks to the opening of the new Jet Blue Park in Fort Myers, Florida. The 11,000-capacity venue is a striking bit of architecture that affords great views from virtually every seat in the house, and excellent sound thanks to a high-end audio system that includes a selection of Community WET and R-Series weather-resistant loudspeakers. The audio system, designed by WJHW’s Gary White and installed by Jupiter, FL-based Peerson Audio, was a relatively routine project, though as Peerson’s President Allen Peerson explains, the new venue’s architecture presented a few minor challenges.

“The asymmetrical roof covering the seating areas is ornamental, rather than structural,” he says. “It’s designed to be a sun shade. So we had to go above the roof and rig the loudspeakers to the structural steel instead. That meant working off the warning track with a lift to install them 80 to 85 feet high.”

Needless to say, that height also affects coverage patterns, all the more critical in spring training venues. “Unlike modern major league stadiums, spring training parks are typically located fairly close to residential areas,” says Peerson. “Achieving a tight coverage pattern is important in keeping the sound away from neighboring homes, and the Community WET Series offers an excellent coverage pattern. We did a pretty good job of it – even out in the parking lot, it’s pretty quiet.”

Audio for the main covered seating area is provided by a selection of 39 WET W2-228T loudspeakers, with a single R1-66Z and R2-52Z loudspeaker firing out into the bleachers and berm areas. Crown CTs-series amplification powers the system, and Biamp Audia units handle system drive and processing.

“South Florida gets quite a bit of extreme weather, including wind, rain and monsoons,” says Peerson. “The WET and R-Series loudspeakers also offer excellent weather resistance, making them an excellent choice for this project.”

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Community Professional Loudspeakers has been a leading supplier of professional sound systems since 1968. Headquartered in Chester, Pennsylvania, Community distributes its products to over fifty countries on six continents. Visit www.communitypro.com for more information.

Neumann Introduces KK 204 and KK 205 Microphone Capsules, Designed to Complement Sennheiser’s 2000 Series Wireless Handheld Transmitter

Old Lyme, Conn. – April 16, 2012: Premium audio brand Neumann announced that it will be showcasing its new KK 204 and KK 205 microphone capsules at the Sennheiser booth [C2632] during NAB 2012. The new capsules, which are available in cardioid (KK 204) and supercardioid (KK 205) patterns, are compatible with Sennheiser’s 2000 series of wireless handheld transmitters.

The acoustic features of the KK 204 and KK 205 capsule heads are derived from the multiple award-winning wired Neumann stage microphones, the KMS 104 and KMS 105. The KK 204, with its cardioid pattern, ensures the best possible suppression of sound originating from 180 degrees to the rear, while the supercardioid KK 205 has greater directivity, and maximizes incident sound from the front as compared to sound from the rear. Due to the “single polar pattern design,” the polar patterns are very uniform over the entire frequency range and provide excellent resistance to feedback.

Wolfgang Fraissinet, President of Neumann, commented: “Neumann capsules have already been used in combination with the Sennheiser SKM 5200 handheld transmitter for the past 10 years on some of the largest stages of the world, where the highest demands are placed on a high-resolution sound and transmission reliability. With the development of the KK 204 and KK 205 capsule heads, the Neumann sound is now also available for the Sennheiser 2000 Series. The synergies between the key areas of expertise of Sennheiser handheld transmitters and Neumann capsule sound permit us to offer our customers a wireless system of absolutely uncompromisingly quality, even for the most demanding live applications.”

In developing the new capsules, particular importance was placed on the effective damping of pop sounds and handling noise, as well as on the extremely low level of self-noise. The KK 204 and KK 205 capsule heads also have an extremely wide dynamic range and were designed to be very easy to service.

The aesthetic design complements the construction of the SKM 2000 handheld transmitter, and each capsule — like the SKM 2000 transmitter — is available in both nickel and black finishes. Each capsule includes a large nylon bag designed to hold the capsules, the handheld transmitter, battery packs and additional accessories.

    Both the KK 204 and KK 205 feature:

Reduced handling noise: Very low sensitivity to handling noise with a steep roll-off from approximately 78 Hz
Reduced plosives and sibilance: Both capsules feature a foam-lined grille to ensure smooth sound
Wide dynamic range with high SPL capability: 126 dB-A of dynamic range with 150 dB MAX SPL
Low feedback: Incredibly smooth and flat frequency response provided high gain before feedback
Easy to service components: Neumann understands the rigors of the road and has made the KK 204 and KK 205 exceptionally robust but easy to service if necessary

    Specifications:

Directional pattern: Cardioid (KK 204) / Super-cardioid (KK 205)
Frequency range: 40 Hz – 20 kHz
Sensitivity (at 1 kHz into 1 k?): 2.8 mV/Pa ± 1 dB
Equivalent noise level, CCIR1): 35 dB
Equivalent noise level, A-weighted1): 24 dB-A Max. SPL for 0.5% THD2) 150 dB
Dynamic range (A-weighted): >126 dB-A
Weight (including transmitter and power supply unit): Approx. 17.6 oz.
Dimensions (including SKM 2000)/length: 10.7 in., ø 2.2 in.

1) according to IEC 60268-1; CCIR-weighting according to CCIR 468-3, quasi peak; A-weighting according to IEC 61672-1, RMS
2) measured as equivalent el. input signal

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Sennheiser adds the SKP 300 G3 plug-on transmitter to its evolution wireless series

Old Lyme, Conn.–April 16, 2012– Audio specialist Sennheiser is extending its evolution wireless ew 300 G3 series with the addition of the SKP 300 G3 plug-on transmitter. Whether it is for a speaker’s podium or for fast mobile use in video productions, the SKP 300 G3 converts any conventional cabled microphone quickly and easily into a wireless version. The phantom power required by condenser microphones is also supplied by the rugged transmitter – a highly versatile device that enables cabled microphones to become wireless with ease.

“With the new SKP 300 G3, we are further expanding the application possibilities for the evolution wireless series,” explained Robb Blumenreder, channel manager for professional systems products at Sennheiser’s U.S. headquarters. “The plug-on transmitter comes with its own phantom power supply, enabling it to be combined with any microphone with an XLR-3 output.”

For applications in the Installed Sound sector, the plug-on transmitter can be combined with an EM 300 G3 rack-mount receiver, thus making it possible, for example, to have a speaker’s podium without the visual interference of cables or to implement mobile lecterns. For video journalists, the SKP 300 G3 is an ideal partner for the EK 100 G3 camera receiver.

The SKP 300 is powered by two AA batteries or the optional BA 2015 accupack. The plug-on transmitter is available in eight frequency ranges, and is quickly and easily synchronized with its receiver using an infrared link.

The SKP 300 will be available in April 2012.

Caption:
SKP 300.jpg: Wireless with ease: the SKP 300 G3 plug-on transmitter with switchable phantom power turns cabled microphones into wireless ones in next to no time

Technical Data: SKP 300

Modulation wideband FM
Frequency ranges A: 516–558 MHz; G: 566–608; GB: 606–648 MHz;
B: 626–668 MHz; C: 734–776 MHz; D: 780–822 MHz;
E: 823-865 MHz

Frequency banks 20 frequency banks each with up to 24
intermodulation-free presets; 6 frequency banks
with up to 24 frequencies freely selectable by the user
in 25 kHz steps
(Please note that the EK 100 G3 camera receiver has
only twelve frequencies per channel bank)

Switching bandwidth 42 MHz
RF output power 10/30 mW
Nominal/peak deviation ±24 kHz/±48 kHz
Phantom power 48 V ± 2 V
Compander system HDX
Audio frequency response 80–18,000 Hz
THD 0.9%
Signal-to-noise ratio > 120 dBA (1 mV peak deviation)
Audio input XLR-3F, balanced
Power supply 2 AA batteries (1.5 V) or BA 2015 accupack
Operating time typ. 8 hrs (30 mW RF power, without P48)
Dimensions 105 x 43 x 43 mm
Weight with batteries 195 g

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