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Archive for May, 2012

Meyer Sound’s MINA Clears the Path for TONY-Nominated Bonnie & Clyde

Photo credit: Nathan Johnson

A recipient of two 2012 TONY nominations for best original score and best performance by an actress, Bonnie & Clyde was a musical based on the infamous Depression-era folk heroes. The show ran at New York’s Gerald Schoenfeld Theatre and featured a large complement of Meyer Sound equipment, including the new MINA line array loudspeaker.

MINA, the newest and smallest member of the MILO family of line array loudspeakers, was critical to the successful system design and installation at the Schoenfeld. “We’re always up against the wall, literally and figuratively, in trying to get these things in without impeding sightlines,” says sound designer John Shivers. “MINA loudspeakers are quite powerful in a very compact package, which makes them ideal for theatrical applications.”

Weight was also a factor in the loudspeaker specification for Bonnie & Clyde. “We had limited structure in the theatre to support the speaker system, so we couldn’t have an inordinate amount of weight,” says associate sound designer David Patridge. “We’re happy Meyer released something in the size and profile of the MINA; it’s a musical-sounding speaker with a smooth frequency response.”

New York–based Masque Sound provided Meyer Sound equipment comprised of eight MINA and 22 M’elodie line array loudspeakers, six UPM-1P loudspeakers, two UPJunior VariO loudspeakers, four 500-HP and two 700-HP subwoofers, and a Galileo loudspeaker management system with three Galileo 616 processors. Masque also provided a DiGiCo SD7T console and microphone and wireless equipment from Shure, Sennheiser, and DPA.

Shivers and Patridge specified their first Meyer Sound MINA system for Hugh Jackman, Back on Broadway at the Broadhurst Theatre. “The theatres are both very challenging in their architecture in terms of hanging a PA that would efficiently give us the coverage we needed while keeping sightline reduction to a minimum,” Shivers says.

What catalyzed MINA’s use in Bonnie & Clyde was a production last summer at San Francisco’s American Conservatory Theater (A.C.T.). Shivers and Patridge employed a 10-box MINA system for A.C.T.’s production of Tales of the City, which enabled a thorough evaluation.

“I had heard MINA in a demo and thought that they were quite interesting,” Shivers recalls. “But to hear something in a demo and then use it in a real-world application doesn’t always translate, so we thought that was an ideal opportunity. We were very pleased, and it was instrumental in us specifying them for these two shows.”

Shivers is satisfied with the installation at Schoenfeld. “Everybody’s been complimentary about the system,” he says. “For me, MINA is an excellent product and something I will be considering whenever appropriate.”

www.meyersound.com/news

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Eight HARMAN Soundcraft Vi6(tm) Consoles on Duty at Eurovision Song Contest

(Back Row, Left to Right): Ralf Wolters, Antonius Kern, Achim Huber, Guido Preuß, Matthias Reusch, Michael Neumahr, Lambert Kreimer; (Front Row, Left to Right): Tim Dahlem-Jockenhöfer, Pit Lenz, Christian Kreinberg

Baku, AZERBAIJAN – This year’s Eurovision Song Contest in Azerbaijan saw no fewer than eight Soundcraft Vi6 digital audio consoles, provided by Cologne-based rental company Toneheads, mixing the sound for the 42 contestants who took part.

The 57th edition of the Contest, held in the capital city of Baku, ran entirely with sound equipment provided from Germany-and Soundcraft digital mixing desks were used exclusively. Cologne-based Brainpool was responsible for the production and sub-contractor Toneheads executed the audio element of the show.

Toneheads already had a large inventory of Soundcraft Vi digital desks, and having provided successful solutions for shows like Schlag den Raab, TV-Total, and more recently Unser Star für Baku (the event seeking the German song entry for this year’s ESC) the decision was made to invest in several more Vi6s. This was based on the sound quality, reliability, user interface and flexible MADI routing capabilities of the Vi6, and enabled Toneheads to present a uniform line-up of the consoles at the newly-developed, 23,000 capacity Crystal Hall.

Rehearsals began at the beginning of May, culminating in two semi-finals followed by the Grand Final at the venue on May 26, which was won by Sweden’s Loreen Talhaoui. The show was estimated to have been seen by around 100 million TV viewers across Europe.

A top team of sound engineers was kept busy working on five of the Vi6s (with the other three on standby). Piloting the FOH mix for the main contest were Toni Kern and Guido Preuss, while the opening and interval acts (along with the moderation) were mixed on a separate desk operated by Matthias Reusch, Pit Lenz and Michael Neumahr.

Down in Monitor World three Vi6 consoles were in constant use. The contestants’ reference sound (and opening and interval acts) were assigned to separate Vi6s, with a further desk used in the In Ear Rehearsal Room. These were respectively under the command of Achim Lanzendorf, Lars Studer and Harald Jäger.

With so many acts taking part the sound crew had needed a superb sounding, resilient and – equally important – quick and easy to operate console. Having had so much experience with Soundcraft platforms in German TV shows, all responsible sound engineers were pleased to report that, once again, the Vi6′s delivered in Baku.

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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 $4.3 billion for the twelve months ended March 31, 2012.

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Anton/Bauer Batteries Power Filming of The Push: A South Pole Expedition Documentary

DIONIC HCs Stand Up to Below-Freezing Temperatures during Historic Trek by Adaptive Athlete Grant Korgan

SHELTON, CT, MAY 30, 2012— Faced with traveling through the extreme cold and snowy terrain of the South Pole, the production team behind the documentary The Push: South Pole Expedition, turned to Anton/Bauer®, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, to power the crew’s video cameras during adaptive athlete Grant Korgan’s two-week-long trek. Cinematographer Tom Day, of Warren Miller Entertainment, chose Anton/Bauer’s DIONIC® HC battery to keep the team’s Sony HXR-NX5U professional camcorders and Canon EOS 7D Digital SLR camera running through the tough last leg of the trek.

The documentary, directed by Steve Sig, filmed by Day and Petter Nyquist and photographed by Keoki Flagg, follows adaptive athlete Grant Korgan, who suffered a paralyzing spinal cord injury in 2010, and his team, Doug Stoup, founder and expedition leader of Ice Axe Expeditions and Tal Fletcher, a guest guide for Points North Heli-Adventures. Throughout the documentary, the team works together to help Korgan reach his goal of trekking to the South Pole first by use of a sit-ski, which allows him to use his arm power to push him along, and finishing the expedition on skis, in a standing position. Thanks to help from Anton/Bauer’s DIONIC HCs, Day and his production team were able to capture Korgan reaching his goal by his target date of January 12, 2012, the 100th anniversary of Robert Falcon Scott’s Terra Nova expedition.
Faced with a 75-mile journey in up to -35 degree weather on dry snow, which is difficult to glide on, Day and the production team knew they would need a rugged, reliable power source to keep their equipment running. Day and his team, who trained for a year for the expedition, were unsure of how long the on-board batteries of their cameras would last, so they decided to travel with a stock of 25 DIONIC HCs as back-up power. The compact, lightweight-yet-powerful batteries were easy to fly with and, as it turned out, proved to be the best solution for the final mile, which was also the most difficult.
“My first challenge going into this shoot was picking a camera and batteries that I thought would work in this unusual situation,” says Day. “Anton/Bauer’s recommendations were spot on. The DIONIC HCs were lightweight, portable and tough enough to withstand the cold, which was key. It was just so cold; every time we took a shot, we didn’t want it to be a big process. We just wanted to be able to grab our camera, take a shot and move on. Moving is how you stay warm and I didn’t want to compromise too much. I wanted to have a certain look to the film and I wanted to have the camera gear not hinder that too much.”

DIONIC HC provides 91Wh and can operate a 40-watt HD camera for more than two hours. Transported as carry-on luggage without restrictions, the DIONIC HC is the perfect lightweight battery for shooting on location. Part of the company’s Logic Series® batteries, the DIONIC HC is suitable for powering high-current applications in a lightweight package. Working closely with cell manufacturers, the HC series incorporates high-capacity cells offering 10 amps. To continually ensure cell protection and performance integrity, a special honeycomb cell pack design protects the cells. An enhanced RealTime® display indicates up to nine hours of run time (under low power-load conditions) using a seven-segment display enclosed by four circular arcs that indicate 15-minute time intervals, ensuring high confidence in those filming with the battery.
Day’s biggest challenge was the last mile of the trip, which he knew was going to be an emotional time, as the entire team reached the end of their very long journey. Day and the film crew wanted to keep their cameras running, even if they weren’t necessarily shooting because they wanted to get the audio.
“This trip was planned for an entire year before we began,” explains Day. “We had been training and Grant was training real hard. We’d been documenting all of our training trips and everything that led up to the South Pole; we had been working together as a team. I knew that last mile was going to be emotional. We basically never turned our cameras off—they ran for a full half hour. I was happy that was able to happen. I’m not sure if any of the other batteries would have lasted for a full half-an-hour shot at -35 degrees.”
In order to protect the batteries and keep them warm during filming, Day tucked a DIONIC HC under the layers in his camera pouch. Then, each time he would shoot, he hooked up the battery adapter. He and the crew also kept back-up batteries in their jackets to protect them from the cold. Later, at night, he and the crew would each sleep with one battery to keep it warm and also used some of the batteries to film time lapses using the Canon EOS 7D.
“Since the sun never sets at the South Pole, I really wanted to do time lapses of the sun moving across the sky as we were in our tents,” says Day. “There was no way that the camera’s on-board battery was going to last that long. I was able to get a couple of all-night shoots with just one Anton/Bauer battery, which I was pretty pleased with.”
Currently, The Push: A South Pole Adventure is being edited for a documentary film and TV series on NBC Universal Sports, scheduled for release in the fall of 2012. The Push expedition is in support of the Truckee, California-based High Fives Foundation, a 501c3 helping injured athletes recover and, ideally, get back to their sport. For more information about the documentary, visit www.southpolepush.com
For more information about Anton/Bauer’s roster of products, visit www.antonbauer.com.

Notes to Editors:

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight® 2, ElipZ®, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

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Tightrope Media Systems Amplifies the Carousel Digital Signage Experience

New dynamic bulletin and reporting features, integration with Zeplay instant replay solution boost operational and entertainment options

ST. PAUL, MINNESOTA, May 30, 2012 – The digital signage universe continues to mature in the public eye, giving businesses, universities and other verticals an increasingly recognized visual platform to engage customers and enliven public spaces.

Tightrope Media Systems comes to InfoComm 2012 (June 13-15, Las Vegas Convention Center, Booth N2257) with new developments to its Carousel digital signage system that deliver a richer experience for viewers, and new creative and reporting capabilities for end users. The advances integrate smoothly into the existing Carousel system, retaining its installation- and user-friendly characteristics for systems integrators.

Dynamic Bulletins
The web-centric Carousel solution is renowned for location-based data, delivering weather and other relevant information to local viewers. At InfoComm 2012, Tightrope extends local weather options, supporting multi-day forecast creation (up to seven days) and text-based crawls from WeatherBug. Carousel operators can build forecasts with temperature information and graphics to visualize the sun, clouds, rain and other climate conditions.

Increased multi-lingual support is a significant new Carousel development, with right-to-left text for Arabic, Hebrew and Farsi languages; and Asian-language word-wrapping for Japanese, Korean and simplified/traditional Chinese. Carousel also now displays international date formats by location, supporting EDS and date/time display among others.

Tightrope also addresses social media and digital signage integration at InfoComm 2012 through live Twitter feed support, allowing operators to publish tweets alongside RSS and other data-based feeds in any screen zone.

Built-in location-based services ensure that the correct forecasts, languages and social media feeds are delivered to the right screens across larger networks.

Stadium Excitement
Tightrope will also demonstrate Carousel integration with its ZEPLAY Instant Replay Server for stadium environments. Operators using the integrated solution can trigger instant replays of touchdowns, home runs and other thrilling moment from an iPad interface for immediate translation to Carousel-driven displays.

Digital signage operators in the stadium following the game action can press an icon to launch the iPad application. The application triggers an XML data string, which translates replays from the main stadium display, such as a Jumbotron, to one or more digital signage displays. This is especially ideal for fans that missed the live action, allowing them to view replays of big moments on menu boards at the concession stands, for example.

Emergency Notification
Digital signage gives corporate offices, school campuses and other locations a dynamic informational and entertainment tool — and can bring additional value when used for security and public safety.

Carousel now supports the Common Alerting Protocol (CAP) that is being implemented across campuses and organizations nationwide. CAP allows a large university, corporate or other campus to implement simultaneous emergency messaging across a variety of platforms — using the same protocol that triggers alerts via SMS/text, AM radio, cable television EAS and outdoor warning devices for Carousel digital signage systems.

Reporting and Data Management
There is an undeniable creative element to working with digital signage that injects a sense of excitement into the content that ultimately reaches the consumer. However, someone still needs to manage the data and understand how the results affect business and operations.

At InfoComm, Tightrope adds a report publishing module to Carousel to export all bulletin-related metadata. This allows users to intelligently filter information related to status, schedules and impression data — a key benefit for sponsors on advertising-supported networks. Users export CSV reports of each bulletin, and flexibly adjust bulletin filters as needed to include only the information required at that time. Users can select from a list of all active and current bulletins across each screen zone.

About Tightrope Media Systems
Founded in 1997, Tightrope Media Systems is the pioneer of web-centric digital signage and broadcast automation systems. It provides station automation, video servers, internet video on demand, live streaming, the Carousel Digital Signage system, and ZEPLAY, a multi-channel instant replay machine for stadiums, arenas and Outside Broadcast vehicles. Tightrope’s award winning systems are used throughout the world. You can reach Tightrope Media Systems at (866) 866-4118 or visit them on the web at http://www.trms.com.

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KRAMER INTRODUCES THE VP-471 AND VP-473 PROSCALE™ DIGITAL SCALERS

Kramer is pleased to announce the addition of the VP-471 3G HD−SDI to DVI ProScale digital scaler and VP-473 3G HD−SDI to computer graphics ProScale digital scaler to the existing VP-472 3G HD−SDI to HDMI ProScale digital scaler. With this addition, Kramer now offers a family of scalers that meets any serial digital scaling need through 3G SDI.

The VP-471, VP-472 and VP-473 are indispensable assets in any video broadcasting environment since they provide a bridge between the broadcast and the Pro-AV worlds. These three digital scalers for SDI, HD-SDI and 3G HD-SDI signals up or down scale the incoming video signal and output to different formats, as described below.

The VP-471, VP-472 and VP-473 digital scalers scale the incoming serial digital signal to one of several selectable computer graphics video, standard definition or high definition video resolutions and output them via a DVI connector for the VP-471, via an HDMI connector for the VP-472 and via a 15-pin HD connector for the VP-473. In addition, the VP-471 de-embeds the audio as either a S/PDIF signal or as an unbalanced stereo audio signal on RCA connectors. The VP-471 and the VP-473 also de-embed the audio to unbalanced stereo audio on RCA connectors.

The VP-471, VP-472 and VP-473 have one SDI input and one SDI looping output on BNC connectors to accept an SD, HD or 3G SDI signal. They automatically detect the incoming signal format. Supported formats include SMPTE standards 259M, 292M, and 424M. The maximum data rate for these products is 3Gbps. The units are HDTV compatible and they include a reclocked and equalized looping Input. All three units feature a non-volatile memory that retains the last settings used.

The VP-471, VP-472 and VP-473 come in a compact MegaTOOLS™ size. Two units can be rack mounted side-by-side in a 1U rack space. Operation is done directly via the front panel push buttons with OSD (On-screen Display) which allows an easy setup and adjustment. A freeze button is also available. The built-in ProcAmp conveniently adjusts the signal in terms of color hue, sharpness, contrast and brightness. Each scaler also features an external 5V DC power source, making it suitable for field operation.

The VP-471, VP-472 and VP-473 are currently in stock at a list price of $1295.00 per unit in the United States. These scalers are available from Kramer Electronics sales companies around the world. Complete product information can be found at www.kramerus.com.

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HARMAN’s AKG Microphones Surround Guns N’ Roses’ Matt Sorum’s Legendary Drum Set, Leading The Rock N Roll Allstars’ Global Tour

VIENNA, Austria – Eleven of the most famed rock and roll musicians of recent history have teamed up for a world tour of epic proportions in 2012. Led by former Guns N’ Roses drummer Matt Sorum, The Rock N Roll Allstars recently concluded a successful run in South America. Behind his massive drum set, mic’d with a strategic array of HARMAN’s AKG technology, Sorum conducts the Allstars through a 2.5-hour show, performing a collection of hits from each member’s respective band.

The Rock N Roll Allstars include Gene Simmons of Kiss, Joe Elliott of Def Leppard, Duff McKagan of Guns N’ Roses, Sebastian Bach of Skid Row, Gilby Clarke of Guns-N-Roses, Billy Duffy of The Cult, Glenn Hughes of Deep Purple, Ed Roland of Collective Soul, Steve Stevens of the Billy Idol band and Mike Inez of Alice in Chains, in addition to Sorum.

Sorum’s drum kit boasts double kick drums, five toms and a very large collection of cymbals. With such an elaborate drum set, Sorum wanted to ensure it was enjoyed visually as much as it would be for its sound. The pure epicness of the tour itself, combined with the enthusiasm of the fans, made sound a number-one factor for Sorum and the Allstars. When looking for a set of mics to capture the drums, Sorum required three factors: ease of use, durability and visual appeal for the perfect set up. AKG’s collection of microphones proved to be the perfect match.

AKG’s C518 M micro mics were Sorum’s first choice on his toms – the instrument for which he is widely known. The C518′s easily clipped on to his toms and held tight during his passionate beats. AKG D12 capsules were placed in the kickdrums, suspended in the drums themselves for a rich sound with no adverse noise. C414XLS mics were mounted for overhead cymbal pickup, while one C214 was mounted in the front of the kit for the splash cymbals and ride. Two sets of C451 stereo condensers were clipped on the set to mic the main hats as well as an x-hat set up. Sorum utilized one additional AKG P4 for backup vocals during the shows.

“I’ve had real issues with tom mics in the past, falling off or needing adjustments, but the 518′s give me a great sound and are reliable during the shows,” stated Sorum. “AKG gives my drum set a huge sound and a clean look, without the worry of fixing an ill-fitting clip. Once the D12′s are in place and the 414′s are set, we get this amazing, thick, warm, fat resonance and it couldn’t sound more natural.”

The Rock N Roll Allstars will continue their world tour in Australia and Japan in fall, 2012. The South American shows were host to more than 20,000 fans each night in the outdoor venues.

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For more information about the tour, please visit http://www.rnrallstars.com.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 $4.3 billion for the twelve months ended March 31, 2012.

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WorldStage Supports Doug Aitken’s 360-degree Outdoor Projection Piece, Song1 at Hirshhorn Museum

It was a case of perfect harmony when WorldStage successfully delivered a complex projection and audio solution for “Song1,” artist Doug Aitken’s ambitious multimedia piece, which premiered on the cylindrical façade of the Smithsonian’s Hirshhorn Museum and Sculpture Garden.

WorldStage, the new brand for Scharff Weisberg and Video Applications, devised a system that enabled Aitken’s fluid video images to cascade across the entire surface of the Hirshhorn’s 725-foot wide circumference. “Song1″ has been called the first work of 360º convex-screen cinema on this scale.

Aitken has said he wanted “Song1″ to be an exercise in “liquid architecture,” and the Hirshhorn’s cylindrical façade seemed to disappear when it was transformed into an urban canvas for fluid images of rippling water, floating boats and cars streaming down liquid-metal highways. Accompanying the projections were other-worldly singers performing a loop of arrangements of the 1930′s song, “I Only Have Eyes For You.”

WorldStage became involved with “Song 1″ two-and-a-half-years ago when the company met with Aitken to discuss the feasibility of the project. Following a partial-scale test, WorldStage determined that, despite the size of the images and the obstacles to overcome, they could make the artist’s vision come to larger-than-life.

“We’ve been working with WorldStage on major installation projects for the last 6 years,” said Chris Totushek, Producer, Doug Aitken Workshop. “Not only have they approached each project with experienced consideration and creative problem solving, but they take on each one of our large-scale installations as if it were one of their own. We’ve done enough with them to consider them family.”

The WorldStage solution required splitting Aitken’s images into 11 overlapping sections, one for each of 11 Christie Roadster S+20K DLP projectors. A total of 41,500 feet of fiber-optic cable transmitted the images from four Coolux Pandora media servers in the Hirshhorn’s basement to the projectors mounted on the museum’s perimeter wall.

WorldStage also provided and programmed the Pandora media servers and provided and installed the extensive outdoor audio system for the public art event. The company designed and fabricated custom mounts for the weatherproof equipment enclosures to ensure smooth operation in case of inclement weather.

“The Hirshhorn’s has done a number of innovative exhibitions recently but Song1 is by far the most technically complex,” says WorldStage President Josh Weisberg. “The project faced many challenges but the result places the Hirshhorn among the top tier of media-adept cultural institutions.

According to Weisberg the museum’s cylindrical façade was not that problematic in itself. “The actual façade is rather uniform and we’ve mapped projections to far more complex shapes in the past” he explains. “But the Hirshhorn’s façade is obscured in places by foliage, trees and the two large sculptures Snelson’s Needle Tower and Lichtenstein’s Brushstroke. After many hours working with a virtual 3D model of the site I was able to locate 11 projectors and predict that they could cover the entire façade seamlessly, with minimal shadowing.”

For the demanding application WorldStage selected 11 Christie Roadster S+20K DLP projectors, which boast 20,000 ANSI lumen output, for their brightness and reliability. Christie Twist Pro was used to warp and map images in conjunction with the warping and blending provided by the Pandora media servers.

Weather was another consideration for this outdoor project. To battle the elements WorldStage custom engineered and fabricated structures to adapt the Tempest Lighting Cyclone enclosures to the museum’s perimeter wall. The weatherproof enclosures are equipped with heaters and high-velocity fans to keep the ambient temperature within the projectors working range.

Since sound was a major component of “Song1″ WorldStage was also tasked with designing an audio system that would cover a wide area surrounding the museum, while providing clean sound quality at high levels. “We used 12 large Technomad BERLIN and eight small Vernal loudspeakers that are entirely weatherproof,” says Weisberg. “They were mounted to the wall using custom designed and fabricated mounts and arranged and zoned to preserve left/right orientation. You could hear them well from a quarter of a mile away.” Weatherproof Technomad PowerChiton amps were also employed.

After the successful premiere of “Song1″ Albert Masino, Director of Exhibitions at the Hirshhorn stated, “We were always confident that we were in good hands with WorldStage. They had a firm grip on all the requirements from the beginning. The design was great and the implementation was handled well.”

Totushek concluded, “Due to the nature of projecting flat imagery onto a curved surface that measured 50′ x 700′, we were worried that the image would not blend together in a natural way. But the whole World Stage team worked with extreme diligence, putting in long and late hours, to bring the project together. We were very satisfied with the result.”

At WorldStage TJ Donoghue was the project manager; Dennis Alfonso and Jeff Gottesfeld projection techs; Paul Clements installation supervisor; Barry Grossman systems designer; Michael Kohler media server programmer; Hector Vega installation tech; Richard D’Amato mechanical fabricator; and Brian Davis mechanical designer and engineer.

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. The Owners and Employees of WorldStage believe that all clients deserve the WorldStage Experience

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Russound’s New SLK – Single Line In-wall Keypad Ships, Single-Gang Decora® Styling Makes It A Discrete Keypad Solution

Newmarket, NH (May 29, 2012) Russound, the leader in multiroom audio and video systems introduces its new SLK, Single Line Keypad designed for individual zone control of the C-Series MCA-C3 and MCA-C5 multiroom audio systems.

This stylish single-gang keypad designed for basic zone control contains many powerful features hidden beneath its sleek Decora exterior finish, and with 5 colors options available the SLK is at home in any setting (conversion kit required).

The SLK’s white backlit LCD panel is easy-to-navigate and control. The 5 character display lists current source, volume level and system status information.

For added convenience, users can power the room’s system on/off with a single soft-touch button and even turn off all-zones by simply holding down the power button for 4 seconds. Source selection promptly changes when scrolling through the systems source list with the simple touch of a button.

Additionally, the SLK works seamlessly with “My Russound” application on supported hand-held devices and features an IR receiver for direct control and IR repeating.

For additional information on Russound, visit: www.russound.com.
Russound Single Line Keypad # # #
ABOUT RUSSOUND
Since 1967, innovation, quality and reliability have been the pillars of the Russound® product tradition. Located in Newmarket, N.H., USA, Russound offers the products and expertise customers need to enjoy multiroom audio and video systems in the home. With more than 40 years experience, Russound continues to cater to installation professionals and their customers by pairing powerful systems using the latest technologies with intuitive controls to give customers high-performance, easy-to-use solutions. For more information, visit the company’s website at www.russound.com.

Sales Inquiries: Tel: 1 (866) 888-7466 toll-free • email: sales@russound.com
Press Contact: Roberta Lewis, The OAC Group • Tel: 713/665-8758 • email: roberta@theoacgroup.com

All rights reserved. All brands and trade names are the property of their respective owners.

ENTASYS Helps St Marks Bridge Traditional and Contemporary

Wilmington, DE, May 2012….. Beginning with a small handful of neighbors in 1942, St Mark’s Lutheran Church has grown over the years to become one of the area’s most beloved houses of worship. Its congregation of more than 500 members includes a diverse mix of young and old, and the church offers two different services every Sunday – one  traditional and one more contemporary – to accommodate this diversity.

The church’s original sanctuary was largely destroyed by fire several years ago, prompting a long-term renovation process that recently included the design and installation of a new, modern sound system. As Tony Albano of Avondale, PA-based Naamans Creek Audio/Video explains, the new system was designed to accommodate the disparate requirements of two different types of services.

“It’s not a particularly large room, but it’s got a very high peaked ceiling, so there’s a fair amount of reflectivity, which has created some intelligibility issues,” says Albano. “Since they also offer a contemporary service with live musicians, we had a bit of a challenge with loudspeaker placement. If we located the loudspeakers behind the altar, they would then be behind the musicians as well – a major feedback risk.”

To address this challenge, Albano’s design-build opted for a pair of ENTASYS high-performance full-range column line arrays from Community Professional Loudspeakers, powered by Crown CTS4200 amplification. The consistent, focused coverage ENTASYS provides enabled Albano to position the loudspeakers far closer to the congregation than would be possible for most other systems.

“We ended up mounting the ENTASYS columns pretty much right at the front of the pews,” he says. “In fact, when you see where they’re mounted, your first impression is that there’s no way it can work, that it’s going to blow away the person sitting right in front of it. The pastor came in and looked at it and said ‘no way, everyone’s going to be sitting in the back.’ But the fact is, the ENTASYS system is so precise in its ability to control the waveform that we were able to create a pattern that projected great coverage to the back of the room while delivering manageable volume to the front pews.”

Albano says the new ENTASYS columns have worked out quite well for St. Marks. “They are extremely happy with the system,” he says. “It’s helped immensely with spoken word intelligibility for the sermons, and has done wonders for the music as well.”

 

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Community Professional Loudspeakers is a manufacturer and supplier of professional audio equipment. Since 1968, Community has led the pro audio industry with technological innovations that have become industry standards. Today, Community offers more than150 professional loudspeaker products, including installed loudspeaker systems, weather-resistant outdoor loudspeaker systems, ceiling loudspeakers, high-level voice paging system, and portable entertainment systems. Visit www.communitypro.com for more information.

Sound Associates Deploys HARMAN Studer Vista 5(tm) for Donny and Marie Osmond Tour

(Left to Right) Joe Webster, Monitor Engineer; David Bullard, System Designer; and Lucas Rico Corrubia, FOH Engineer

LAS VEGAS, Nevada – Donny and Marie Osmond continue to bring their popular stage show to audiences of all ages while on tour with a HARMAN Studer Vista 5 serving as the front-of-house mixing console.

Donny and Marie’s performances include a 90-minute variety show, highlighted by many of their original hits with a mix of special effects and dancing. New York-based Sound Associates provided the Vista 5 console as it is “the most sophisticated board and perfect for theatrical performances,” according to Lucas Rico Corrubia, FOH Engineer, PlanetRoadie Sound Design. “After trying an assortment of digital consoles, we went with the Vista 5 because it still has the analog feel that I love so much.”

David Bullard, System Designer for Sound Associates, mentioned, “On the road there isn’t much time for setup and tuning. We have to be ready to go feeling confident that the show will go smoothly and most importantly, sound beautiful.”

The transition from analog to digital was daunting for Lucas, but after trying the Vista, everything felt right. “It’s amazing, for someone who has been mixing for over 30 years, I was able to make the easy switch and noticed right away the value of the digital console,” Lucas said. “The layout is user-friendly and provides me with anything I could ever want in a board.”

“I love the programming and the snapshots,” Lucas said. “Being able to save cues and settings makes my job even easier. With 12 people on stage with a variety of roles, it helps greatly to have a whole section of the board dedicated to making changes on the fly. I don’t need to scroll through pages or settings to change a fader or EQ, it’s all there when I need it.” Lucas explained how this allows him to make very few changes during sound check and he can be confident that everything is set up correctly.

Lucas says there has never been an issue with the console; in fact, the board is able to detect potential problems. “If for some reason something isn’t hooked up correctly, the Vista 5 lets you know and it’s easy to trace the problem,” he added. “Everything about the console is easy to work with and just makes my job easier.”

“When artists recognize the sound quality, you know you are doing something right,” Lucas continued. “They think it’s me, but it’s really the console! Studer is definitely moving in the right direction and I appreciate everything they have done to allow me to get everything I need out of the console.”

For more information on Sound Associates, please visit: http://www.soundassociates.com/

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 $4.3 billion for the twelve months ended March 31, 2012.

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