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Archive for June 22nd, 2012

SYMETRIX OFFERS FREE SYMNET COMPOSER ONLINE TRAINING WORTH FOUR INFOCOMM CERTIFICATION RU CREDITS

edge_periphs_still.JPGSEATTLE, WASHINGTON – JUNE 2012: Packed with incredible new features, Symetrix SymNet Edge DSP was designed to meet the requirements of the bulk of commercial sound installations. SymNet Composer software manages all aspects of the Edge hardware including audio, control and security with an intuitive drag and drop CAD-style interface. To speed integrators’ mastery of the various facets of SymNet Composer, Symetrix now provides a free online training program worth four INFOCOMM CTS RU credits. Each lesson is presented as a short, easy-to-understand video with an assessment afterward, and users are free to go at their own pace. Participants who complete the online training and answer at least 80% of the questions correctly at the end of every chapter are awarded a SymNet Composer Training Certificate and will be added to a list of certified SymNet Composer users. Test-out options are available. The videos, more

ASHLY TM-360 PUBLIC ADDRESS MIXER/AMP IDEAL FOR OFFICE MASKING SYSTEM

ashly_tm360.JPGNASHVILLE, TENNESSEE – JUNE 2012: When Southeastern Sound, Inc. of Nashville, Tennessee was asked to design and install a masking system for a new tenant build-out in a nearby office building, it was the sort of solid bread and butter job that called for a straightforward, affordable solution. The client requested that the system design be flexible enough to add an emergency announcement capability in the future utilizing the system.

Southeastern Sound senior audio designer Brian Cook used a cost effective Ashly TM-360 Public Address Mixer/Amp with integrated ducking to power the system.

“The client was renovating 5,000 square-feet of office space with 2,000 square-feet left open for cubicles,” explained Cook. “The employees in that open space would be taking calls of a potentially sensitive nature. Therefore, speech privacy was paramount.” After determining the dimensions of the room and the area that more

8MX2 JOINS JDK FAMILY

jdk_8mx2.JPGJESSUP, MARYLAND – JUNE 2012: JDK continues to expand its product line with the addition of the powerful and versatile 8MX2 preamp/mixer.

Equipped with eight stellar microphone preamps, each channel contains a variable threshold peak limiter, 48v Phantom power switch, phase reverse, direct output and a path to the stereo mix bus. The included eight-into-two mixer receives signal from the mic pre or eight external line level inputs. With two 10-segment meters to monitor Input/Mix and Gain Reduction, headphone and speaker output monitor controls, and multi-unit cue and master capabilities, the slim 8MX2 packs a big punch in only 1u of rack space.

The 8MX2 was developed from technology used in the Paragon live mixing console. It evolved over the years into a stand-alone preamp/mixer and is especially popular in remote recording racks and sidecar-like applications. With hundreds in the field, the more

“NEW YORK SOUND” MIX ENGINEER TONY MASERATI GETS METRIC HALO’S PRODUCTION BUNDLE

tony_maserati.JPGNEW YORK, NEW YORK – JUNE 2012: As the leading architect of the “New York Sound,” which features prominent, heavy-hitting lows set against clean, luscious highs, veteran mixer Tony Maserati has been influential in the music industry and in pop culture in general. His clients include Lady Gaga, Beyoncé, Christina Aguilera, Black Eyed Peas, Mariah Carey, R. Kelly, Puff Daddy, and The Notorious B.I.G. Indeed, the list could go on and on and on, with no reduction in the represented star power. Maserati has his pick of tools, and his sessions typically engage A-list outboard gear that would make any gear-junkie fall into a Pavlovian fit of drooling and sputtering. In the box, Maserati relies on the Metric Halo ChannelStrip plug-in and, more recently, the Metric Halo Character and HaloVerb plug-ins.

Maserati learned about ChannelStrip when he received some sessions from the band more

Vaddio Announces Wireless Universal Quick-Connect CCU for ClearVIEW HD-20 Camera

Vaddio, the global leader in robotic PTZ cameras and camera control systems, will be showcasing the new High Definition Wireless Universal Quick-Connect CCU for the ClearVIEW HD-20 PTZ camera at InfoComm 2012. Now you can deliver high quality wireless HD video and camera control without cabling.

“Wireless PTZ camera systems have been requested from our customers for a long time,” explained Rob Sheeley, President of Vaddio. “The rental and staging markets need an easy, effective way to add high definition pan/tilt/zoom video to their live events. Traditional AV integrators need a solution for those installations where running cable isn’t an option – historic government buildings, schools and houses of worship. The Wireless Universal Quick-Connect CCU for the HD-20 camera solves these issues.”

The Wireless Universal Quick-Connect CCU system is based on Vaddio’s new Universal Quick-Connect CCU platform that provides complete image control, and simultaneous outputs HD-SDI/SDI, HDMI and analog component YPbPr video from the Wireless CCU Receiver. The Wireless Universal Quick-Connect CCU will deliver this video up to 100 feet – line-of-sight.
Built for the ClearVIEW HD-20 PTZ Camera, the WallVIEW CCU Wireless system includes the Universal Quick-Connect CCU Wireless, the HD-20 with Wireless Slot Card/HDMI Transmitter and the Quick-Connect Air Antenna. The CCU controls camera functions through a secondary control channel and enables the adjustment of white balance, color, pedestal, gamma, knee, chroma, detail, iris and gain. The wireless technology is based on WHDI technology, which allows for the delivery of uncompressed HD video with video rates up to 1080p and at a very low latency.

Stop by Booth C8729 at InfoComm to see the new cameras, as well as Vaddio’s complete line of cameras and camera control systems. For free VIP InfoComm passes or to set up an appointment at InfoComm please contact kperkins@vaddio.com or by calling (763) 971-4409.

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About Vaddio:
Vaddio is the leading manufacturer of specialty PTZ cameras and camera control systems used in the audiovisual, videoconference and broadcast industries. Your customers demand cutting-edge technology that’s simple to use. You want equipment that’s easy to install and reliable to operate. Vaddio serves integrators and operators alike – with broadcast-quality PTZ cameras and control systems that deliver the performance you need with the convenience you demand. More information can be found on the Vaddio website, www.vaddio.com or at (800) 572.2011.

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FOH Mix Engineer Rob “Cubby” Colby Looks to Genelec 8250A Monitors for the Ongoing Pat Benatar & Neil Giraldo Tour

— Colby relies on the Genelec 8250A Bi-Amplified DSP Monitoring System to maintain a consistent perspective for balance and sound quality, no matter where the show takes him or what’s between him and the PA —

— Colby’s use of the 8250A’s demonstrates an ongoing trend that sees more
studio-quality pro audio components integrated into live mixing environments —

NATICK, MA, June 21, 2012 — At a time when live music has become the financial backbone of the music industry, more emphasis is being put on the quality of the sound of concerts, including at that most critical point in the monitoring chain: the front-of-house position, where the FOH mixer can hold the key to the quality of the entire concert experience for the artist and the audience. So when award-winning live-sound mixer Rob “Cubby” Colby needs to ensure he’s hearing everything and hearing it absolutely accurately at a show, he’s developed a technique in which he integrates studio-quality speakers into his monitoring protocol at the FOH position. And there’s only one brand of speaker that Colby will use for this unique but highly effective technique: monitors from Genelec. For instance, on the current Pat Benatar & Neil Giraldo tour, which will continue into the fall of 2012, Colby has been using a pair of Genelec 8250A Bi-Amplified DSP speakers at the FOH mix position, supplied by tour SR systems provider Sound Image. “This approach, using Genelecs as part of the monitoring solution for a live show, has made a huge difference in the quality of the live-sound mix for everyone,” he says.

This is a technique that Colby, who has mixed live sound for artists including Prince, Juanes, Shakira, Phil Collins/Genesis and Janet Jackson, and who has won an EMMY® Award and numerous other plaudits for his work, has been using for several years. He recalls the first time he employed it, at the Viña del Mar International Song Festival in Chile, where the FOH position is located in a concrete blockhouse 170 feet away from the stage and with only a narrow aperture through which the FOH mixer can see and hear. To deal with this challenging monitoring environment, Colby brought in studio-quality monitor speakers – a pair of small Genelec 6000 Series speakers that he often carries on the road for mixing recordings of shows. “I time-aligned them and ran them through a solo bus on the console; as the show got louder and the ability to hear it got harder, I would bring them up slowly, to compensate what I was losing as a result of the position of the mixer,” he explains.

The result was so successful that Colby continues to listen through speakers as he mixes live shows, adding the speakers into his field of hearing as the physical situation in front of the FOH console changes, such as when crowds stand up. “As the artists get into the back half of their shows, as the hits start being played one after another, more of the audience stands up and stays standing, and how I can hear the direct sound changes with it,” he says. “So I add more of the Genelecs into what I’m hearing. It assures me that I’m always hearing accurately what’s coming off the stage, and it really reduces the amount of listening fatigue, because I’m not straining to hear anymore.”

Colby makes use of Genelec’s renowned GLM™ and AutoCal™ technologies of Genelec DSP Monitoring Systems, accurately and automatically time-aligning the speakers for the environment they’re in. “The Genelec speakers and the Genelec DSP are my secret weapon for live sound mixing,” he says. “They bring the mix closer to me and keep it realistic. They take all of the guesswork out of the monitoring situation. And Genelec is what I use in the studio, and we’ve been seeing more and more studio-level products find their way into live sound lately, such as the ribbon microphones that I use. So having Genelec at the front of house with me just feels very natural.”

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

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AES Announces Student Design Competition

Blue Ribbon Panel To Select Winning Innovations At 133rd Convention Oct. 26 – 29

SAN FRANCISCO: Aspiring student engineers from around the globe will vie for the opportunity to jumpstart their careers at the Audio Engineering Society’s 133rd Convention at SF’s Moscone Center, Oct. 26-29. A blue-ribbon panel of pro audio manufacturers, product designers and end users will review innovative Student Design Competition hardware and software designs in search of the most audacious, innovative and useful new product ideas.

“Student new product entries have always been integral components of AES Conventions, reports Committee Education Co-Chair John Krivit. “We are making a special effort this year to raise the bar. The deadline for submissions is October 1, 2012. Students will have the entire summer to conceive, develop and refine their dream products. Prizes will be awarded at the AES Convention on October 28 Students must attend the Convention to be considered for the finals.”

All students will have the opportunity to display their projects at the Convention’s tabletop exhibition. Entrants must register as students for the full Convention technical program, but AES membership is not required for entry submission. For a complete list of AES Student Design Competition rules and deadlines visit: http://bit.ly/PzG7tz. For additional questions regarding the competition please contact: Colin Pfund at colin@aes-sda.org.

With over 14,000 members worldwide, the AES is the largest international group of audio professionals. The advancement of professional audio education is a continuing AES focus. Many leading colleges, universities and leading technology schools maintain active AES Student Sections. Annual U.S. Conventions alternate between East and West Coasts. These events attract Gold, Platinum and Grammy Award-winning engineers, producers and artists, along with leading manufacturers from around the world. For details on the upcoming Convention please visit: www.aes.org

Photo: 133rd AES Convention Education Committee Co-Chair John Krivit

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts 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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Once Again, Carl Tatz Design (CTD) Goes to the Head of the Class as Mix Magazine Honors CTD with the “Class of 2012” Studio Design Award

— Nashville’s MontAnna Mix Room personal studio, featuring the Carl Tatz Design Signature Series by Auralex and CTD PhantomFocus™ System monitor tuning protocol, is chosen as one of the hottest new studios for Mix’s annual “Class Of” Studio Design Issue —

Nashville, TN: “It’s clearly the leading technology in monitoring,” comments uber-successful songwriter/producer Monty Powell about the new-generation PhantomFocus™ System (PFS) in his new MontAnna Mix Room designed by Carl Tatz Design LLC (CTD). “If I build ten more studios, which I hope I don’t,” jokes Powell, “everyone of them will have a PhantomFocus System in it – I can’t imagine mixing without it.”

Multi-award-winning, Billboard chart-topping songwriter/producer Monty Powell and wife, jazz artist Anna Wilson, called on personal studio guru Carl Tatz for a second time when they decided to downsize and move from their beloved Nashville home that housed a beautiful Carl Tatz Design studio with 20’ tall ceilings in the tracking room into a posh new townhouse mix room nearby. The mix room design features a custom application of the Carl Tatz Signature Series by Auralex acoustic treatment system, with its now-familiar trademark Acoustic Lens™ modules.

“We started with a small upstairs bedroom and broke through the rear wall to create a very effective wide-band low frequency absorber partition that separates the mix room from the equipment room,” explains Tatz. “And then we broke through the left wall into the former laundry room to add a very comfortable vocal/overdub booth with floor-to-ceiling glass that is mimicked on the right wall with the Acoustic Lens.”

The fit and finish of the room is very polished, but as Carl points out, “Even without the high customization that Monty and Anna requested, the combination of the PhantomFocus System along with my basic Signature Series by Auralex, audio professionals can have a truly world-class mix room, way beyond anything they could imagine, at an affordable price point.”

Since this successful couple is spending most of their time now in their Utah home when they are not gigging around the country at various jazz venues with Anna or songwriting on the road with the likes of country superstars Keith Urban, Rascal Flatts, Lady Antebellum and others, it makes perfect sense to make this transition. The move reflects a trend where many personal studio owners prefer to track in a commercial studio that has all the amenities you would expect in a professional tracking room and spend the remaining 90 percent of the time overdubbing and mixing in their own facility.

“It’s always a great compliment to be asked back by your client to design a second room, and Monty and Anna are so much fun to work with, both being very creative people with lots of enthusiastic ideas,” says Tatz. “And upgrading their PhantomFocus System was the maraschino cherry on top of the cake. They were very happy with their existing PFS, but when I convinced them that they should experience the new system at another studio, their mouths dropped – it sold itself.”

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Zeehi’s CueCast Technology Allows User File Conversion Between Mixing Console Platforms

— Revolutionary new file conversion service streamlines workflow for front-of-house and monitor engineers, sound reinforcement companies, broadcasters, performing arts facilities, and production managers —

BOULDER, COLORADO, June 13, 2012 — Danny Abelson, Co-Founder of Zeehi, an entertainment technology company dedicated to developing solutions to improve the workflow of global entertainment production professionals, announces the Beta Release of the CueCast Digital Mixing Console User File Conversion Service. CueCast provides front-of-house and monitor engineers, sound reinforcement companies, broadcasters, performing arts facilities and production managers the ability to quickly and easily convert show files between different digital audio mixing console formats.

The current Beta Release of CueCast converts the most commonly used features and functions including bussing, sub-group assigns, control group assigns, routing, labeling, mutes and mute groups, EQ and dynamic in/out settings, aux. send on/off/and assigns, and effects and matrix on/off and assigns. Future releases will support additional console platforms, and will provide conversion of variable settings, snapshots, and many other features.

The web-based service solves a fundamental challenge: how to take user settings from one mixing console to another without the time-consuming headache of entering those settings manually, according to Abelson, a thirty year veteran of the pro audio community. “Thanks to the console expertise and software savvy of our development team, converting the user data is reliable and takes just three easy steps,” notes Abelson. “Simply upload your file to our secure site – www.cuecast.com – specify the format you need, and download the converted file for installation in the new console. If you like, we’ll store your files on our secure cloud for safekeeping. CueCast technology supports files from 24 to 196 inputs, and the Beta release supports file conversion between the Avid Venue, DiGiCo SD8 and SD10 and Yamaha PM5D platforms. Soon you can expect us to add many other formats and features to the service.”

“We are very fortunate in our industry,” continued Abelson. “The manufacturers have designed mixing consoles with remarkable features and sound quality. Unfortunately the formats in which user data is stored in these different platforms are not compatible with one another. Our research with some of the world’s most prestigious sound companies, veteran sound engineers, broadcasters, and leading production managers indicates that this incompatibility results in a significant burden to users. For a variety of reasons engineers often need to transfer those settings to a different brand or model of mixer depending on touring conditions, a venue’s installed equipment, or the availability of a particular console. These users identified a number of different scenarios, including festivals, touring without a console, change of production truck, unexpected equipment loss or failure, or availability where switching consoles is simply a necessity.”

“The opportunities digital has given us have been remarkable, but with these improvements come greater expectations by performers and management for crews to do more in less time. On a surprising number of occasions, digital solutions unintentionally create obstacles for the production team. Our goal is to improve workflow for entertainment industry professionals by streamlining this process, and make changing to another desk fast and easy.”

Information on CueCast can be found at info@zeehi.com

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Lowell Manufacturing InfoComm 2012 Press Kit

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

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