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Archive for July 3rd, 2012

DPA Microphones Defy the Elements During the Queen’s Diamond Jubilee Celebrations

LONDON, JULY 3, 2012 – DPA Microphones were on board as more than one million people lined London’s famed River Thames in early June to catch a glimpse of Her Majesty Queen Elizabeth II as she celebrated her Diamond Jubilee with a River Pageant involving 1,000 boats. In typical British style, the weather was dreadful, with heavy rain doing its best to spoil what was supposed to be the highlight of the UK’s Diamond Jubilee weekend.
The cold, wind and rain proved no match for the DPA microphones, supplied by Thames Audio, and the unsung heroes of the event. Even in atrocious conditions, the microphones worked perfectly and guaranteed that the orchestras and choirs delivered a seamless performance. The microphones also ensured that the master recordings of the event would be forever timeless.

Among the DPA gear used for the celebration were the DPA 4088 Directional Headset Microphones, which were used to mic the Royal College of Music Chamber Choir. The group performed alongside the London Philharmonic Orchestra on Symphony, the final of the ten Herald music barges to participate in the pageant. Photographs of the 12 choristers, soaked through and with their hair plastered to their faces, were transmitted around the world for days after the event – and there in the pictures were (among others) DPA’s sturdy microphones on the choir girls, doing their best to defy everything Mother Nature could throw at them.
“We chose these DPA microphones because they are small, unobtrusive and have a very directional quality,” says Thames Audio director Pete Cox. “This meant we were able to record the orchestras without picking up too much of the surrounding acoustics. Given that the Academy of Ancient Music musicians were in an acoustically dreadful see-through marquee, and accounting for the noise from the strong wind and rain, this was a very important point. The microphones were only a few feet from the PA but still gave us plenty of gain before feedback.”

DPA Microphones were also spotted on two of the other four music barges equipped by Thames Audio. Fourteen DPA d:vote™ 4099 Instrument Microphones could be found alongside musicians from the Academy of Ancient Music, which performed Händel’s Water Music aboard the Edwardian. Additionally, 30 musicians from The Band of Her Majesty’s Royal Marines Plymouth, one of the most famous and highly regarded military bands in the world, relied on DPA while they sounded their horns aboard the Valulla. For this portion of the performances, Thames Audio equipped the musicians with additional d:votes for the trombones, French horns and cornets. DPA 4060 Miniature Microphones were taped onto the clarinets and saxophones, with a few others mounted on the helmets of the musicians playing piccolo.

“All of our DPA microphones delivered exceptional results, and the damp conditions didn’t daunt them at all,” Pete Cox adds. “The sound quality remained fantastic throughout, and we were very pleased with the results we achieved.”

Thames Audio sourced part of its stock of DPA microphones from freelance sound engineer Ian Barfoot, who was also recruited to handle the sound mixing throughout the day.

“I have a large selection of approximately 70 DPA microphones, all of which were sourced from DPA’s UK distributor Sound Network,” say Barfoot. “I use them for all sorts of concerts, including a lot of Rock and Roll work, because they always perform exactly as they should. They are very forgiving, and you can put them through hell and back without having to worry about them. If I don’t have DPA microphones to work with, I tend to throw my toys out of my pram.”
The music performed during the Queen’s Diamond Jubilee pageant, believed to be the Thames’s most spectacular in 350 years, was recorded by the BBC for both broadcast and archive purposes. Live coverage of the event was transmitted to BBC Big Screens in 22 locations throughout the United Kingdom.

ABOUT DPA:

DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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Stampede Helps Lumina Motion Create One-Of-A-Kind 3D Mapping Events For Two Audi Car Launches

Proving that it continues to meet the increasingly diverse and precise needs of the of the ProAV market, Stampede Presentation Products, Inc. recently helped Lumina Motion create two spectacular 3D mapping events for the official launches of the Audi A6 and Audi Zentrum in Santiago, Chile. According to Lumina Motion President Gonzalo de la Barra, Stampede is an indispensible partner that has allowed the company to keep up with growing demand for complex 3D mapping events.

“Our development and design teams are the best at what they do, so we expect our business partners to live up to that standard,” de la Barra said today. “As a provider of virtually every ProAV product imaginable, Stampede consistently exceeds our expectations in terms of product selection, advice, shipping speed, reliability and support. Our business is growing, and Stampede has helped us maintain our stellar record of delivering exactly what each client requests, every time.”

The audiovisual team at Lumina Motion was hired by Audi to create show-stopping 3D mapping events for the two separate launches of the new A6 and Zentrum models. Both events required more than three weeks of development and design to create both the physical display surfaces and promotional videos to maximize the visual impact of the 3D mapping technology.

The A6 launch featured a real, full-sized Audi A6 car on a custom built ramp and backdrop, with the car completely enveloped in a flexible projection material. The entire set up was compact enough to travel to four different launch locations including shopping malls and restaurants. Lumina Motion utilized two Christie DHD800 projectors to display a dazzling video that covered every visible inch of the car and stage.

For the Zentrum launch, the company used an adhesive to apply a white vinyl material to cover the side of a building (54m wide by 9m tall). For this one-time presentation they deployed eight Christie DHD800 projectors, in stacks of two, to cover the entire building façade in striking high-definition video. The entire setup process, including detailed calibration and exact positioning of the projectors, required four nights of testing and resulted in a picture perfect execution.

According to de la Barra, “3D mapping is becoming a popular way for brands to create jaw-dropping product launches that can be attended by thousands of people and attract a lot of media attention. In situations like this, every detail must be perfect, which is why selecting the right equipment is as important as having our trained professionals perform the calibration and equipment placement on site. Stampede always gives us good advice on the best equipment to use for each audiovisual presentation we do, and we look forward to a long and profitable relationship with them.”

Stampede continues to grow its industry-leading product catalog, which now includes nearly 1,000 pages of ProAV solutions to satisfy every need.

“Stampede has always, and will always, provide the latest products to both large and small ProAV companies on schedule and wherever required,” said Stampede CEO Mark Wilkins. “Innovative content creators and production companies require a vast assortment of products, and we are proud to have more products in our 2012 Big Book of AV than ever before. Lumina Motion is a leading-edge live-video event producer, and it is exciting to play such a vital role in their unique and consistently phenomenal presentations.”

Lumina Motion is a development-oriented team that specializes in next generation audiovisuals and experiential marketing solutions, including Interactive, 3D Mapping, Beamvertising, 360° Indoor Projection and Monumental Projection solutions. They develop custom products for advertising, events and communication in general. They handle their own techniques that make it possible to give life to buildings and elements, producing a unique experience for viewers. As of June 2012 Lumina Motion will start operations in California to serve the U.S. market. For more info visit www.luminamotion.com.

About Stampede
Known for its value-added distribution, Amherst, New York-based Stampede is the leading distributor of presentation equipment including LCD/DLP projectors and flat panel displays. Stampede provides a complete range of brand name presentation equipment to a variety of audio/video, computer and home theater resellers and integrators in the United States, Canada and Latin America. These resellers rely on Stampede for value-added services in distribution, marketing and solution-based sales. Stampede annually produces the “Big Book of AV,” a nearly 1,000-page catalog and companion website (www.BigBookofAV.com) that provide hundreds of sales, installation and spec tips for Stampede’s dealers in addition to product details on more than 5,000 SKUs. For more information on Stampede, log onto www.stampedeglobal.com.

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Zeehi Declares Independence for Digital Mixing Console Users, Announcing July Fourth as the Go-Live Date of CueCast Console File Conversion Service

— Mixing console users enjoy a new independence with revolutionary online service that converts show files between mixing console formats —

BOULDER, COLORADO, July 2, 2012 — Zeehi, an entertainment technology company dedicated to developing solutions to improve the workflow of global entertainment production professionals everywhere, announces that July Fourth is the Go-Live date for their CueCast Digital Mixing Console User File Conversion Service. The announcement was made by Danny Abelson, Zeehi Co-Founder. 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” that contain user settings between different digital audio mixing console formats.

“We’re calling this Fourth of July ‘Show File Independence Day,’” noted Abelson. “For the first time ever, operators of digital audio mixing consoles can transfer their user settings between mixing consoles, offering a degree of independence never before available but always desired by the community. We just couldn’t resist using the holiday as the official launch date. We’re passionate about providing solutions to the user community, and our team has toiled for over a year to develop a service intended to help mixers everywhere enjoy more flexibility and independence.”

This initial release of CueCast converts the most commonly used features and functions stored in show files, 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. The current iteration of CueCast supports file conversion between the Avid Venue, DiGiCo SD8 and SD10 and Yamaha PM5D platforms. Future releases will support additional console formats, 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. “We first announced CueCast at the InfoComm show in Las Vegas last month. Everyone we demoed for lauded our innovation.” Abelson noted. “We promised a release date in early July, and we’re meeting that commitment. We have been extensive in our pre-release testing, with additional Beta testing performed by a number of experienced outside engineers. Fortunately that process has been going well, to the point where we feel we are ready to offer CueCast to the user community.”

New customers will be provided with a 30-day no-risk free trial opportunity to try out the new service. Users will be credited with two free conversions when they sign up, valid for 30 days from sign up. Abelson continued, “We want everyone to feel comfortable with file conversion. CueCast is breaking new ground, and engineers will not believe how cool it is until they try it. Seeing their settings instantly load on a different desk, and the time it saves them compared to manual entry, is going to makes us a lot of friends. We anticipate that there will be a few bugs along the way. This is a very complicated process. As in all new software applications, the users will need a bit of patience, and we will need them to tell us if we have something wrong. By providing our initial users with two free conversions, we feel we can give our customers the opportunity to try us out, with no risk, and feel confident in the conversions before committing to purchases. We’re confident the flexibility and independence CueCast provides engineers will become a welcome and relied-upon solution.”

“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 96 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.”

Information on CueCast can be found at cuecast.com.

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GC Pro Again Helps Outfit the “Hay Bale Studio” at Bonnaroo 2012

WESTLAKE VILLAGE, CA, July 2, 2012 — For the eleventh year in a row, tens of thousands of excited music fans descended upon Manchester, Tennessee, for the Bonnaroo Music and Arts festival, held June 7-10, 2012. Bonnaroo 2012 was filled with memorable moments from its dozens of performing acts, including Radiohead, Red Hot Chili Peppers, Phish, Skrillex, Dispatch, The Roots and many more. Backstage, several of the festival’s acts were asked to lay down tracks in a purpose-built recording studio, outfitted with the help of Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. The recorded tracks were mixed and mastered immediately and transferred to the radio tent next door for broadcast on radio stations nationwide.

The studio, appropriately dubbed “Hay Bale Studio” after the dozens of hay bales positioned on the exterior for sound rejection, was again operated by Nashville’s The Toy Box Studio, and Toy Box’s producer/recording engineer Lij was at the helm for the sessions. The whole backstage studio/radio area was overseen by Asheville, North Carolina-based Music Allies. In the weeks leading up to the festival, the studio’s gear equipment list was compiled by Lij, his assistant engineers, and GC Pro’s Nashville-based Senior Account Manager Chad Evans, who was also on site along with other GC Pro personnel.

Among the gear supplied by GC Pro were Burl converters, Slate Pro Audio Dragon compressors and Fox Mic Pre’s, an Avid HD Native system and microphones from Royer, Mojave and Shure, among other equipment. All in all, 40 of the festival’s artists recorded nearly 100 tracks in the studio, including The Alabama Shakes, Feist, Young the Giant, Umphrey’s McGee, Two Door Cinema Club and many more. The schedule for each session was fast-paced, leaving room for a quick setup and soundcheck leading up to first-take recordings of three songs, before each act was guided to the interview booth, also in the “Hay Bale Studio” trailer, to make room for the next act in the tracking room. Within an hour, the performances had been mixed down to two tracks and prepped for broadcast from the radio tent next door. Approximately 45 radio stations nationwide featured these “Bonnaroo sessions” over the weekend. The multi-tracked sessions were also preserved and archived, as in past years.

“We had a fantastic session this year!” notes Lij. “40 bands and 94 songs recorded, mixed, mastered, and already aired on the radio thanks to GC Pro. We had such great support from Chad, and are eternally grateful!”

Evans stated, “This is our fourth year helping sponsor the studio at Bonnaroo. The festivals just keep getting better. We have developed a great partnership with Lij and crew, and we’re proud to contribute. We are eager for next year and beyond, because Bonnaroo is so vital for the music industry and emerging acts.”

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

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Auralex® Displays UtiliTek™ Sound Absorbent Panels

— Based on Auralex®’s popular ProPanel series, UtiliTek™ panels offer contractors and system integrators a cost-effective solution in acoustical control —

INDIANAPOLIS, IN, July 2, 2012 – Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and soon to celebrate its 35th anniversary, unveils its UtiliTek™ sound absorbers. Designed based on input from leading contractors and system integrators, the UtiliTek panels are similar in function, performance and design to Auralex’s acclaimed ProPanel series, but at an even more attractive price point that still yields top-notch aesthetics and performance. UtiliTek panels are fabric covered, acoustically absorptive panels designed to reduce unwanted room reflections and reverberation, providing a more accurate and articulate listening experience. UtiliTek panels are highly effective and lightweight, are composed of Class A fire-rated materials and feature a recycled absorbent core.

UtiliTek is available in four thicknesses and two edge profiles. The beveled-edge style is available in 2′x2′x1″, 2′x4′x1″ and 2′x4′x2″ sizes. The square-edge style is available in a 2′x4′x3″ size that is perfect for corner mounting between two walls or across wall/ceiling junctures for moderate low-frequency control.

“As part of our ongoing commitment to the sound contracting/fixed installation market sectors, we wanted to offer solutions for contractors working with the tighter budgets that are common in today’s economy,” stated Eric Smith, Auralex Founder and President. “UtiliTek panels can be employed in a wide variety of installations, including clubs, live performance venues, restaurants/bars, houses of worship, corporate, municipal and residential installations.”

UtiliTek will be available July 2012. For more information, please visit www.auralex.com.

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Audio-Technica Offers “Get Your Own Mic” Rebates

— Rebates on select A-T’s professional handheld vocal microphones run from July 1 through December 31, 2012 —

STOW, OH, July 2, 2012 — Audio-Technica, a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” is offering rebates on select Artist Elite, Artist Series and 20 Series handheld vocal microphones from July 1 through December 31, 2012. Launched as part of its “Get Your Own Mic” campaign, the rebates will further empower singers to embrace Audio-Technica quality (and hygiene) with new microphones. All customers who purchase any of these handheld vocal microphones from an authorized U.S. A-T dealer during the rebate period will be eligible for either a $10, $20 or $30 rebate.

As A-T points out with their “Get Your Own Mic” videos, grunge is more than just a genre. Any singer knows, grunge (along with dirt, grime and sludge) is what happens to a vocal microphone, especially when it’s shared among different performers. With these new rebates and the clever, humorous “Get Your Own Mic” videos available at A-T’s YouTube channel, the company urges singers to “share music, not microbes.”

The promotions include a $10 rebate on A-T’s ATM510 and ATM410 Cardioid Dynamic Handheld Microphones and the AT2010 Cardioid Condenser Handheld Microphone; a $20 rebate on AE6100, ATM610 and ATM610a Hypercardioid Dynamic Handheld Microphones, the AE4100 Cardioid Dynamic Handheld Microphone and the ATM710 Cardioid Condenser Handheld Microphone; and a $30 rebate on AE5400 and AE3300 Cardioid Condenser Handheld Microphones.

Visit Audio-Technica.com or “Get Your Own Mic” page for more detailed rebate information.

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Audio-Technica Names Ark Productions & Marketing as Its Rep of the Year

STOW, OH, June 28, 2012 — Audio-Technica, a leading manufacturer of wired and wireless microphones, headphones and accessory products, has recognized Pine City, New York-based Ark Productions & Marketing as its Rep of the Year for the 2011/2012 fiscal year. The award was presented to Ark principal Tim Chamberlain by Philip Cajka, Audio-Technica U.S. President and CEO, and Michael Edwards, A-T V.P. Professional Products. Also in attendance were John Cheese, A-T Territory Manager, Professional Products; Doug Swan, A-T Director of Sales & Marketing, MI/PRO Audio; and David Marsh, A-T Director of Sales & Marketing, Installed Sound & Broadcast. Ark Productions & Marketing sells Audio-Technica’s complete line of professional audio products in upstate New York.

Audio-Technica held the awards ceremony to honor its dedicated force of manufacturer’s representatives during the InfoComm Expo on June 13, 2012, at the prestigious Wynn Las Vegas. The A-T Rep of the Year recipient was congratulated for outstanding sales performance and bestowed with Audio-Technica’s beloved Samurai doll award. Ark Productions & Marketing was acknowledged for its consistent success in the areas of sales, marketing and customer service.

Michael Edwards said, “Ark Productions & Marketing is keenly dedicated to their customers and the brands they represent, which are among the best in the marketplace. We are extremely proud to have them take the top award in the fiscal year of 2012, and we look forward to their continued service to the A-T brand.”

For more information, please visit www.audio-technica.com.

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Auralex® Introduces SheetBlok-AF™ Sound Isolation Barrier Material

— Designed with contractors and system integrators in mind, SheetBlok-AF™ is a finish-grade isolation product more effective than solid lead at stopping the transmission of sound —

INDIANAPOLIS, IN, JUNE 28, 2012 – Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and soon to celebrate its 35th anniversary, introduces its new SheetBlok-AF™ Sound Isolation Barrier material. Based on the company’s popular SheetBlok™ construction-grade sound barrier product, SheetBlok-AF is a thin, dense isolator with a Class A fire-rated PVC laminate on its surface for a finished look. It is intended as a solution for improved sound isolation between adjacent spaces in the retrofit market where aesthetic appearance is important, but invasive construction and demolition are impossible. With an STC rating of 27 or greater, SheetBlok-AF is at least 6dB more effective than solid lead at stopping the transmission of sound. It acts as a thin, dense sound barrier layer in wall, ceiling and floor systems and is most effective when used as one component of a multi-layered construction scheme, as described in Auralex’s widely respected Acoustics101™ publication.

SheetBlok-AF has been designed with consideration for the contractor/system integrator who is doing either retrofit or new construction. SheetBlok-AF can be implemented in offices, apartments, studios, home theaters and anywhere an increase in sound isolation is desired. No wall construction (or reconstruction) is necessary, and SheetBlok-AF is fully paintable to coordinate with any decor.

SheetBlok-AF will be supplied in 4’x10’ sheets that can be trimmed to fit with a utility knife or metal shears. It is affixed with trowel-applied adhesive, which allows proper positioning and alignment during installation. With careful installation techniques, a virtually seamless appearance will result.

SheetBlok-AF will be available July 2012. For more information, please visit www.auralex.com.

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DPA Microphones Defy The Elements During The Queen’s Diamond Jubilee Celebrations

More than one million people lined the River Thames in London on Sunday, June 3rd to catch a glimpse of Her Majesty Queen Elizabeth II as she celebrated her Diamond Jubilee with a River Pageant involving 1000 boats. And in typical British style the weather was dreadful, with heavy rain doing its best to spoil what was supposed to be the highlight of the UK’s Diamond Jubilee weekend.

But the cold, the wind and the rain proved no match for the DPA microphones that were the unsung heroes of the event. Even in atrocious conditions they worked perfectly and all of the microphones used to record the orchestras and choirs delivered a seamless performance.

DPA 4088 Directional Headset Microphones were used to mike the Royal College of Music Chamber Choir who performed with the London Philharmonic Orchestra on Symphony, the last of 10 Herald music barges taking part in the pageant. Photographs of the 12 choristers, soaked through and with their hair plastered to their faces, were transmitted around the world for days after the event – and there in the pictures were (among others) DPA’s sturdy microphones on the choir girls, doing their best to defy everything Mother Nature could throw at them.

(http://www.rcm.ac.uk/about/news/diamondjubileecelebrations.aspx)

DPA microphones also featured on two of the four music barges equipped by Thames Audio. Thames Audio director Pete Cox says: “We used DPA microphones on Edwardian, which carried the Academy of Ancient Music who played Händel’s Water Music, and Valulla, which carried 30 musicians from The Band of Her Majesty’s Royal Marines Plymouth, one of the most famous and highly regarded military bands in the world.

“We chose these DPA microphones because they are small, unobtrusive and have a very directional quality, which meant we were able to record the orchestras without picking up too much of the surrounding acoustics. Given that the Academy of Ancient Music musicians were in an acoustically dreadful see-through marquee and the noise from the strong wind and rain, this was a very important point. The microphones were only a few feet from the PA but still gave us plenty of gain before feedback.”

Thames Audio had a total of 14 DPA d:vote™ 4099 instrument microphones on Edwardian. These were clipped onto the violins and woodwind instruments using DPA’s dedicated instrument clips. On Valulla, Thames Audio used DPA d:vote™ 4099s with the appropriate clips for the trombones, French horns and cornets. They also used DPA 4060 miniature mics, which were taped onto the clarinets and saxophones and actually mounted on the helmets of the musicians who were playing piccolo. In total 18 DPA microphones were used.

“All of our DPA microphones delivered exceptional results and the damp conditions didn’t daunt them at all,” Pete Cox adds. “The sound quality remained fantastic throughout and we were very pleased with the results we achieved.”

Thames Audio sourced part of its stock of DPA microphones from freelance sound engineer Ian Barfoot, who was also recruited to handle the sound mixing on the day.

Barfoot says: “I have a large selection of approximately 70 DPA microphones, all of which were sourced from DPA’s UK distributor Sound Network. I use them for all sorts of concerts, including a lot of Rock and Roll work, because they always perform exactly as they should. They are very forgiving and you can put them through hell and back without having to worry about them. If I don’t have DPA microphones to work with, I tend to throw my toys out of my pram.”

The music performed during the Queen’s Diamond Jubilee pageant, believed to be the Thames’s most spectacular in 350 years, was recorded by the BBC for both broadcast and archive purposes. Live coverage of the event was transmitted to BBC Big Screens in 22 locations around the UK.

-ends-

Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit
www.dpamicrophones.com

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WorldStage Goes Expansive For Milken Institute 2012 Global Conference

WorldStage, the new brand for Scharff Weisberg and Video Applications, Inc., cemented its relationship with the Milken Institute by providing audio, video, lighting and extensive logistical support for its 2012 Global Conference at the Beverly Hilton Hotel in Los Angeles, the sixth consecutive partnership between the companies on this event.

The annual Milken Institute Global Conference assembles some of the world’s most extraordinary people from business, finance, policy, education, health, energy and philanthropy to explore solutions to today’s most pressing challenges. Participants number top CEOs, senior foreign and U.S. government officials, academics, leading journalists, noted figures in the world’s capital markets and more. This year speakers included former president Bill Clinton, Governor Jerry Brown, Michael Milken, Steve Forbes, George Lucas and T. Boone Pickens

“The primary challenge of this event is the sheer quantity of small, large and medium-sized events taking place at the same time, each of which has it’s own requirements and all of which must be comprehensively documented” says WorldStage VP of Production Services, Richard Bevan. “While many of our projects provide exotic technical challenges, this project is a great opportunity for us to flex our project management muscle.”

With the hotel filled to capacity and breakout rooms, multiple ballrooms and outdoor pavilions to support over four days of a packed schedule, WorldStage employed a workforce in excess of 120 technicians. To keep the workflow running smoothly and to stay in front of any last-minute changes, WorldStage provided a much larger complement of project management on site than normal with four PM’s, three EIC’s, an equipment manager and a labor coordinator on site at all times.

“As a client, the Milken Institute is very focused on providing the best presentation and documentation services for their attendees and this year that meant increasing use of HD video throughout.” Bevan continued, “Every session is recorded and this year we upgraded to a H.264 digital file system so that sessions could be uploaded to the Institute web-site immediately (http://www.milkeninstitute.org/events/gcprogram.taf?function=videos&eventid=GC12).”

In addition to the smaller spaces, WorldStage supported sessions in the large International Ballroom, which required five projection screens to display presentations, i-mag and sponsor messages. Sound and image from the International and the other ballrooms was available in the smaller rooms and pavilions to provide overflow coverage.

In all, twenty-six cameras were required, twelve of them HD. “To maximize space we mounted a pair of robo cameras in each of the breakout rooms and ran wires to an adjacent room where the video operator recorded the presentations,” Bevan explains.

The tented pavilion lounge was outfitted with a large video screen for sponsors and overflow feeds, 65-inch plasmas running cable news feeds with closed captioning and ambient room lighting. WorldStage also filled the conference’s broadcast lighting requirements.

The Milken Foundation Creative Services Department, which produced the event, furnished all the computers for the Global Conference. Josh Lesser of Vision Matrix was the Producer of the event and Larry Lesser the EVP of The Milken Family Foundation Creative Services Department was the Executive Producer.

Staffing by WorldStage included Project Management done by Richard Bevan, Sean Glen, Thom Mathis & Lonnie Hamilton. Nicole Walter was the labor coordinator; Shane Zinke and Neal Gass were the EICs for the two main rooms; and James Sarro was the equipment manager.

In the run up to the Global Conference, WorldStage also provided audio, video and lighting support for the Gourmet Games food and wine tasting fundraiser held at the Montage Hotel. “In the past we’ve done this event a the tail end of the Global Conference at the Beverly Hilton, but this year it preceded the event and was at the Montage down the street,” says Bevan. WorldStage provided two video screens, a full decorative lighting package, three HD camera system, and the audio system for the fundraiser.

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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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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