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Archive for June 29th, 2012

Livesound Adds HARMAN’s Soundcraft Vi1(tm) to its Soundcraft Console Inventory

BERNE, Switzerland – Swiss rental company Livesound B-AG has added a HARMAN Soundcraft Vi1 digital console to a cutting-edge hire fleet, which already includes a larger Vi4 and several Soundcraft analogue mixing desks.

Based outside Berne, it was the need for a monitor desk to mix the reference sound for leading Swiss rock band, Patent Ochsner that drove the latest acquisition. And the company knows the Vi1 can expect high usage on its return-right across the company’s core markets.

Livesound B-AG are a long-term customer of Soundcraft-and of its Swiss distributor, Dr. W.A. Guenther Distribution, who over the past two decades has kept Livesound B-AG supplied with several of Soundcraft’s flagship analogue dual-purpose MH4′s, as well as an MH3 and pair of GB8 desks.

But in 2008 they were ready to embrace Soundcraft’s digital platform for the first time, purchasing a Vi4 for a tour by big-selling Swiss rap artist, Bligg. It performed FOH duties for two tours before this year relocating to monitor duties for the artist’s Spring tour; it is now out with leading Swiss rapper, Stress.

“After the Vi4 we knew we needed a smaller, easy-to-handle desk for 400-capacity venues, where a reduced footprint was essential,” stated Thomas Gfeller, who co-founded the production company 36 years ago. He said the further investment in Soundcraft technology had been a dynamic response to this market demand for small venue touring.

“It also made sense to have it in our general inventory because of the desk’s intuitive control surface,” he continued. “Being fast to set up and easy to use, we can deploy it on different events-from rock concerts to corporate shows.” And to achieve further flexibility the company added a Vi6 stagebox, with optical multicore.

The sale was supervised by Dr. W.A. Guenther Distribution, who also organised a Vi1 demo prior to purchasing as part of a competitive evaluation. The rental company’s sound engineers assessed their options before coming down once again in favour of the Vi platform.

Livesound B-AG is part of a pool of Soundcraft users in Switzerland, who can cooperate on a cross-hire basis. Although the company rarely strays beyond the Swiss borders, it has collaborated with leading German company, Satis&Fy (on Rock im Park Festival in Nürnberg), as well as Linkin Park outdoor shows in Stuttgart, and at Ferropolis in Gräfenhainichen.

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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HARMAN’s Studer Consoles Specified for Olympics Transmission

Gary Clarke (left) and Pete Bridges, BBC sound supervisors, configuring the Studer consoles in Potters Bar, UK.

LONDON, United Kingdom – The BBC will broadcast the London 2012 Olympic Games from the specially built International Broadcast Centre (IBC) in the Olympic Park, using no fewer than seven HARMAN Studer Vista and OnAir consoles, along with a Route 6000 network core.

This will enable the BBC to take feeds from 34 participating Olympic Games venues for domestic transmission through its network. Following a promise to broadcast “every session of every sport every day,” this will amount to some 2,500 hours of TV sports coverage.

Andrew Hills, Director Product Strategy, Studer, confirmed that the integration of the desks would be carried out by Dega Broadcast Systems, at the same time extending Studer’s relationship with the UK’s state broadcaster that dates back more than a decade.

Whilst Olympic Broadcasting Services (OBS) will provide host facilities within the IBC’s 42,000-square-metre net space, the design of the BBC space has been a collaborative effort between the broadcaster and Dega, led by project coordinator John Cleaver.

The installation will see the deployment of three 62-fader Vista 9 consoles and a Vista 5 along with three OnAir desks (two OnAir 3000 and an OnAir 1500). Incoming feeds from the host broadcaster and the BBC’s own studios will be fed to the desks, with the Route 6000 linking all the consoles at the core.

According to Pete Bridges, who as Lead Sound Supervisor for the operation will oversee all sound and communications, a Vista 9 will form the hub of each of the broadcaster’s three HD and 5.1 production galleries. In addition, an interactive gallery (IPCR) will manage and route 24 separate streams whose destination will be the Internet, Red Button, and other platforms including Freesat, Sky and Virgin Media; these will be running in stereo using two OnAir 3000s.

Faced with taking the bundle of host broadcaster’s feeds and folding that into its own programming will involve combining the broadcaster’s own presenters with VT, and incoming HD-SDI video feeds and Outside Source (OS) lines. The OnAir 1500 will provide a microphone submix from the athletics stadium presentation.

As for the Vista desks, using the Vista 9 for the first time, Bridges notes that the metering will allow fast reconfiguration when dealing with a wide variety of incoming 5.1 OS lines along with commentary and 24 microphone circuits from the studio via Studer’s D21m stage boxes. Other sources to the Vista 9 will include VT and grams.

To give an idea of scale, the Vista 9 in the main gallery will provide 16 line inputs, 72 line outputs, 52 mic inputs (via RELINK sharing) with 112 AES inputs and outputs (the large number of ports being the result of having so many incoming 5.1 sources).

Situated in its own room, the Vista 5 will be used as a backup gallery to the main sound control rooms (SCRs), and will serve as a bypass source (should the main studio suddenly need to be put into bypass to allow a pre-record to take place). “We will use the Vista 5 to pick up the mix, freeing up the Vista 9s to mix the pre-record,” noted Bridges.

A further useful feature of the Vista 9, he said, will be the ability to upmix stereo sources to 5.1 and downmix 5.1 to stereo outputs.

The Route 6000 itself (which can accommodate up to 1728 x 1728 inputs and outputs) will provide 40 line inputs; 40 line outputs; four microphone inputs and two HD-SDI de-embedder/embedder cards.

Finally, use of the Studer RELINK I/O sharing resource will enable the technicians to share mic circuits between all the control desks. “This is a key benefit,” Bridges said. “We can have HD tie lines between the cores of each desk on CAT5, using Studer’s High Density data stream…with 96 bi-directional tie lines to each of the four Vista consoles, sharing the desks’ sources and outputs.”

The integration of these components has been a triumph for Dega. Stated Cleaver, “One of the realities of an event of this scale is that you are looking at building an entire broadcast centre, not just an OB. Our area of expertise is permanent installs and this is as big an installation as we would undertake anywhere. To do so in a temporary building, for use over a 3-week period, and make it work for the number of people who are going to be using it, was certainly challenging.”

He added, “Since this is our domestic Games it needs to be covered more comprehensively; the fact that we have built three full galleries, and provided interaction between them so that the three Vista 9 consoles link and route to each other to allow them to control any of the galleries, is a huge plus for what these mixers do. Without a doubt, this ability at the front end is something the broadcaster had wanted.”

BBC Sport will field 20 IBC sound technicians, managed by Jon Sweeney, Technical Operations Manager and Richard Morgan, Chief Engineer. With the aid of the Studer platforms, this will ensure that the 26 participating sports are well represented and that the broadcaster’s aim of “every session of every sport every day” is maintained.

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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Christie’s Mirage M and J Series 3-Chip DLP Projectors Expand Popular Product Lines For Visualization Solutions

Christie®, the first to market a fully stereoscopic 3D DLP® projector more than a decade ago, announced an expansion to its product offerings for the visualization markets with the addition of its next-generation Mirage M Series high performance digital projectors. The M Series joins the latest Mirage J Series, adding three new 3D capable products to the dual-lamp platform for a total of 21 projectors in the Mirage Series lineup. The Mirage Series offers the broadest range of 3-chip DLP® 3D active stereo digital projectors ­single projector or in a multi-projector array- with advanced features that are specifically created for the demanding needs of the visualization market.

“Both Mirage M and Mirage J Series projector platforms now come with an Intelligent Lens System (ILS™) that features auto lens calibration and an all new version Christie Twist™ hardware that is included as a standard feature of the projector for no additional cost,” noted Larry Paul, senior director, Technology and Visualization Solutions Management, Christie.

“These new Mirage products are brighter than ever, they fill a critical need in visualization applications for display solutions that allow for greater quality in all types of immersive environments, from CAVE™ systems to spherical, curved and flat screen visualization display solutions.”

The new Christie Twist hardware provides enhanced built-in geometric warping with sharper imagery, and advanced edge-blending capabilities that reduce or eliminate all electronic blending artifacts to cover the full gamut of the most demanding of immersive visualization markets, including aerospace, architecture, energy, education and training, government, science, theme parks and transportation.

Christie Mirage M Series
The three new models in the Mirage M series are: Mirage DS+14K-M, Mirage HD14K-M and Mirage WU14K-M. The Mirage M series projectors consist of either SXGA+, HD or WUXGA resolution and now feature from 6,000 up to 12,500 lumens – the highest brightness available at 110V. They are easy to set up and configure, and deliver power and flexibility in a proven, high definition 3D platform. The new Christie M Series models will start shipping in July 2012.

Christie Mirage J Series
Recently introduced, the Christie Mirage J Series, is well suited for the visualization market. It couples the benefits of xenon illumination – for the most natural color accuracy and stability – with the most advanced electronics, performance and flexibility in stereoscopic digital projection today. The Mirage J Series models come in SXGA+ (4:3), HD (16:9) and WUXGA (16:10) resolution to suit any application and are available now.

The Mirage M and J Series projectors come out of the box ready to produce active stereo projection from four different types of 3D source inputs: Up to 120Hz native input over a single Dual Link DVI-D cable or VGA cable, a true 120Hz image from two 60Hz frame locked sources for compatibility with most passive stereo input sources, frame doubled content from 48-60Hz for maximum system compatibility with single link DVI-D or analog and full HDCP support of multiple mode 3D sources from consumer devices including triple flash at 144Hz.

Both the Mirage M and J series offer a host of options including HDSDI and other input cards and can also project polarized passive stereo output with an optional filter. A three-year warranty is standard on all models.

“Our Mirage Series offers high-performance 3D capability and world-wide power compatibility,” added Paul. “Visualization customers will all benefit from these remarkably powerful, flexible and cost-effective visualization display solutions.”

Overall, the Mirage Series projectors offer a wide range of 3D display solutions for single and multi-projector arrays in three illumination platform options: Mirage M with dual lamps that provide an extended lamp life up to 3,000 hours, Mirage J with long life Xenon illumination for the most natural color accuracy and stability up to 1500 hours as well as the Mirage WU-L with LED illumination featuring 60,000 hours of illumination life and stunning color. Mirage Series projectors are compatible with Christie AutoCAL and AutoStack™, using a camera-based system for the automatic alignment and blending calibration of projector arrays. In addition, users have remote, real-time monitoring through the Christie Net™ web interface.

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France’s CMC Invests in Multiple Jünger Audio T*AP Units for Loudness Compliance

German dynamics processing manufacturer Jünger Audio has recently sold four of its market-leading T*AP Television Audio Processor units to France’s CMC laboratories. Part of the giant MonalSystem group, CMC is one of the leading facilities houses servicing the French broadcast industry, with clients including all the main French TV broadcasters (France Télévision, TF1, Canal+, M6), as well as international distributors such as Warner, Universal, Metropolitan, Wild Side, etc.

Three T*APs, which were supplied by Jünger Audio’s French distributor 44.1, were bought for the CMC video laboratories and one for the audio mixing operation.

“Our Jünger Audio T*AP units are being used to create broadcast tapes, which, in France, now need to be compliant with the EBU’s R128 loudness recommendation,” explains Daniel Almeida, Senior Maintenance Technician at MonalSystem. “We make a large number of broadcast tapes using VTRs and we needed a realtime and high quality solution for the audio loudness normalisation according to the R128 recommendation.”

Jünger Audio’s audio loudness systems support all known loudness standards including ITU, EBU and ATSC. What’s more, they use the company’s proprietary LEVEL MAGIC™ technology, which is based on a simultaneous combination of an AGC, a Transient Processor for fast changes, and a “look ahead” Peak Limiter for continuous unattended control of any programme material, regardless of its original source.

“We tested all of the products available on the market before choosing the T*AP, and this made us realise that realtime loudness normalisation is not an easy thing,” says Jean-François Brion, Assistant to the Operating Manager and Sound Engineer at CMC. “We already knew the Jünger product range well – especially the D02 limiter/compressor – and we were quick to take interest in the LEVEL MAGIC™ algorithm. We optimised the T*AP setup over a long period of work to make the loudness normalisation the way we wanted it to be: smooth and as respectful as possible of the original sound.”

While CMC chose the T*APs primarily for the quality of their sound treatment, other important considerations were also taken into account, including the way the units would fit into established workflows at the facility.

“We also like the ability to configure the unit via a web interface and the remote control,” says Almeida. “The remote control was necessary for the seamless integration of the hardware into our working environment, and we appreciate the realtime display of the R128 measurements. It is very important for us to have a physical interface for our technicians; they can set-up the hardware with hotkeys and check the result of the loudness normalisation at the end of a job.”

-ends-

About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

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