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Archive for July, 2012

DPA Microphones Took Center Stage for Boston Pops Fourth of July Spectacular

Boston Pops Calls on DPA Annually for the Nationally Broadcast Live Event

BOSTON, JULY 4, 2012
– The Boston Symphony Orchestra has once again tapped DPA Microphones for its nationally broadcast, live Boston Pops Fourth of July Fireworks Spectacular. Held annually in the Hatch Shell at the Esplanade along the Charles River, the concert and fireworks show hosts nearly 400,000 attendees. As the most watched Independence Day performance in the U.S. each year, the Pops have continued to rely on DPA Microphones to ensure that audio at the Spectacular is as magnificent as the rockets’ red glare.

With limited rehearsal time and over one hundred production inputs, the Pops needed gear that sounded good from the start and worked dependably. DPA Microphones fit the bill for miking the orchestra, and the audio crew made good use of several of the company’s equipment options during the event. DPA could be found across the stage throughout the evening’s performance, with the d:vote™ 4099 instrument microphones in the strings section, 4023 compact cardioid microphones on the piano and in the woodwinds section, and 4066 omni headset microphones worn by the vocalists and narrators.

While there were many DPA microphones on stage, revelers and home viewers would have had to look closely to find the gear during the show. “One thing we like about the DPA line is that they have lots of low-profile miniature capsules and microphones that are ideal for television projects,” says Steve Colby, Boston Pops sound designer and music mixer for the TV broadcast of the Spectacular. “DPA makes it easy to use a lot of microphones but not have the gear in the way of the camera shots, which makes the directors happy.”

The discreet nature of the DPA microphones used during the performance wasn’t the only thing that drew Colby to the brand. Since the Fourth of July concert is held at an outdoor venue, Colby and the Pops needed microphones that could withstand the extreme weather changes of a summer day in Boston.

“We were looking for exceptionally high-quality, great-sounding microphones that were robust and dependable in semi-hostile outdoor conditions, such as heavy rain and high temperatures,” continues Colby. “We’ve had great luck with the DPA line. There are a lot of other high-end microphones that we’ve used throughout the years, but sometimes those were tough to use in the high-humidity conditions that often roll in over the city. DPA has been very dependable in these situations.”

In addition to using DPA Microphones for the Fourth of July Concert each year, the Boston Pops Orchestra also relies on DPA’s 4023 and d:vote 4099 microphones for most of its theatrical performances, whether it’s a simple presentation or a full Broadway-style show.

“Another thing we like about the DPA microphones, and the 4099s in particular, is that, unlike a lot of other clip-on microphones, they sound really good,” declares Colby. “Usually, there’s a tradeoff between having a microphone attached to an instrument and having a great sound. But, whatever DPA has done, they’ve created a microphone with audio quality that is very good and true to the sound of each instrument, even when placed very close”

The first Boston Pops Fourth of July Fireworks Spectacular took place in 1974, at the suggestion of Boston-area philanthropist David Mugar to Pops Conductor Arthur Fiedler. The idea was in place to revive the then-diminishing Esplanade Concert Series by playing Tchaikovsky’s “1812 Overture,” with a few added extras. The next Fourth of July, howitzer cannons, fireworks and church bells were all added to the concert and, for the first time ever, a July Fourth fireworks display took place over the Charles River.

Now, 39 years later, the Boston Pops Fireworks Spectacular is known as the premier Independence Day celebration in the nation. Each year, since its inception, hundreds of thousands of people come from all over the country to the banks of the Charles River to celebrate America’s birthday, while another seven million tune in nationally on the CBS television network to view the event during a live one-hour primetime special.

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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Prism Sound Appoints WAVNet To Represent Its Test Products In The USA

Prism Sound is pleased to announce that it has appointed WAVNet as its newest representative in the USA. WAVNet will help promote sales and provide application support and training for Prism Sound’s range of class-leading audio test and measurement instruments, including the revolutionary dScope Series III audio analyzer.

WAVNet’s Owner and Chief Consultant Greg Groeper will be responsible for managing the Midwest/Great Lakes states of Minnesota, Nebraska, Iowa, Kansas, Missouri, Wisconsin, Illinois, Indiana, Kentucky, Michigan and Ohio. This is a territory he knows well from 25 years of Audio Test and Measurement sales and support in the region.

The appointment of WAVNet reunites Greg Groeper with Doug Ordon, Prism Sound’s US National Sales Representative for Test and Measurement. The two worked together for many years in Chicago during the 1980s as AVC Systems and then as Douglas Ordon and Co. During that time, in addition to establishing an 80% regional market share in Test and Measurement and Broadcast Automation, they helped pioneer the audio industry’s transition from tape based to random access digital editing. In 1992, when Ordon moved on to a new assignment, Groeper took over the business and re-organized it as WAVNet.

Speaking of the opportunity to work together again, Greg said, “Doug and I have been meaning to find the right venue to put our established track record of success to use for sometime. That track record based on extraordinary customer support and the fact that Prism Sound is in alignment with our philosophy is wonderful. This opportunity to work together again in Test and Measurement for Prism Sound is just what we’d hoped for.”

Commenting on WAVNet’s appointment, Simon Woollard, Test & Measurement specialist at Prism Sound, says: “This is an exciting development for Prism Sound, and I very much look forward to working with Greg as the latest member to join our team. I have known Greg for several years, having been introduced by Doug, and I have witnessed the rapport that he has with his clients and their respect for his expertise in the field of audio test and measurement. Greg brings many years of experience with him, and I am confident that he will be a real asset to our US test and measurement sales and support network.”

Greg Groeper has a long history of top level technical support within his large customer base of R&D, Broadcast and Manufacturing Engineering customers. He has always insisted on handling applications engineering and system development at the local/regional level, allowing him to develop expert knowledge in the analysis of acoustics, transducers, electronics and production engineering.

Recently, Groeper founded and manages the 1800+ member Linked-In Professional Group “atme” Audio Test & Measurement Engineering, an exclusive forum for audio professionals dedicated to the finer aspects of Audio Test & Measurement. People interested in joining are invited to register at www.linkedin.com/groups/Audio-Test-Measurement-Engineering-2408733

Additionally, there are several focused subgroups including: Audio Standards, Auditory/Medical, Automotive Audio, D’SPeech, Studio Schmudio and Loudspeaker Measurements.

Greg can be contacted via LinkedIn at www.linkedin.com/in/groeper or at his WAVNet email address wavggg@attglobal.net.

-ends-

About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

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HARMAN’s Soundcraft and Studer Consoles Support RAI’s Landmark Recording of Rossini’s La Cenerentola

TORINO, Italy – HARMAN’s Soundcraft and Studer’s Italian distributor, Leading Technologies Srl, along with sister company Sound Light & Technologies (SL&T) recently participated in an exciting recording project with RAI Radio, using a combination of Soundcraft and Studer digital mixing platforms in order to optimize the sound.

The vast production of Rossini’s famous La Cenerentola (Cinderella), which involved around 250 members of cast and technical crew, was mixed on a combination of three Studer Vista 9 and Vista 5 consoles, with three further Soundcraft V1 desks providing backup. These were used in four different scene locations: while the actors, singers and choir were variously located in Parco della Mandria in Venaria, Palazzina di Caccia and Palazzo Reale in Torino, the orchestra was recorded remotely at the Auditorium RAI in Torino.

All locations were linked by fibre or radio bridge to give the actors the sense of performing in real time with the orchestra-and a Studer stagebox was positioned in each venue.

On duty were two Vista 9 consoles (configured with 52 faders), a further Vista 9 with 42 faders and a 42-fader Vista 5 located in the OB truck, which were used for mixing the Orchestra and actors’ microphones, as well as for 5.1 post-production, while the three Soundcraft Vi1 consoles were used for pre-mix of secondary inputs and backup.

A multitrack recorder received the audio via a MADI port on the Vista 9. The orchestra required 68 microphone channels on the desks with a further 12 channels for the choir (who were based in the same location as the actors).

RAI Radio provided technical staff while SL&T provided personnel support and other ancillary equipment from the HARMAN Professional portfolio, such as JBL EON loudspeakers and AKG microphones and headphones. AKG C414 XLII and various K141 and K702 microphones were used for mixing and monitoring by the musicians and engineers.

The La Cenerentola recording marked the latest success in a long relationship between Italy’s national broadcaster and SL&T/Leading Technologies.

The event itself was transmitted live around the world over a 2-day period in early June and the DVD, produced by Rada Film, will be available soon for marketing and promotion.

RAI Radio has the technical production rights for La Cenerentola, with Antonio Ciano taking overall audio responsibility, Fiervisaggio Giorgetti, technical project and installation supervisor, Marco Diodato and Domenico Narducci as Vista 9 engineers and Dario Chiapino as Vista 5 engineer.

Rada Film has the production rights for Cinderella under the authorisation of Andrea Andermann with the direction of Carlo Verdone. Providing the technical interface between Rada Film and RAI was Alessandro Bernardi.

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.

A.C.T Lighting Helps Mexico’s 150th Anniversary of Cinco de Mayo Shine with Clay Paky Sharpys and grandMA2 Consoles

Mexico undoubtedly knows how to celebrate. When the country recently marked the 150th anniversary of Cinco de Mayo – the commemoration of the Battle of Puebla, which halted an invasion by the French – it pulled out all the stops with an array of festivities and special events. Clay Paky Sharpy fixures and grandMA2 lighting consoles were on hand for the Cinco de Mayo Spectacular, the nighttime gala orchestrated by Five Currents, the production company for the 2011 Pan American Games Ceremonies in Guadalajara Mexico and countless other spectacles. A.C.T Lighting is the North American distributor of both Clay Paky Sharpy and grandMA.

The Cinco de Mayo Spectacular, hosted by former Miss Universe Ximena Navarrette, featured star-studded tributes, an appearance by the Mexican president and a massive display of fireworks. It was staged at the Guadalupe Fort in Puebla; the city is a UNESCO World Heritage Centre. Televisa broadcast the event nationwide.

Lighting designer David Grill, of David Grill Associates, Inc. in Mahwah, New Jersey, specified a grandMA2 for control of some 375 moving lights during the Spectacular and utilized a second full size MA2 as a backup console. A grandMA2 light served as the focus console remote. Solotech furnished the complete system.

“There was a massive main stage for the headline talent,” he reports. “Then there was the fort in the background. And the hill between the two that was a performance area as well. So everything in the environment was really part of the shot.”

Grill opted for the grandMA2s “because of the strength of their networking,” he says. “Stuff was everywhere, so we needed the efficiency of using the MA network. It made things really simple thanks to its processing speed. The way the system deals with effects enabled us to quickly do things that would have been much more time consuming on other consoles. We could also create all sorts of little visual mapping tools that made Pauls’ life much easier. All of this from a system dramatically more user-friendly than anything else.”

He adds that, “We had great support from MA in transitioning from grandMA, which we had been using, to grandMA2. And A.C.T took good care of us.”

Lighting director and programmer Paul Sonnleitner was accustomed to doing shows of the scale of the Spectacular, but this was his first with grandMA2. “I really liked the layout feature, which helped me manage the three distinct areas,” he says. “I could actually draw out where the fixtures fell. It’s a great tool for large rigs: You can see what color they’re in, what gobo. You can see the whole rig as a unit and grab large areas and change things without knowing the fixtures’ channel number.”

He also praises the grandMA2′s effects engine, which “has come a long way. It’s fun to build effects from scratch and add them to the MA toolkit.”

Grill deployed a complement of 44 Clay Paky Sharpy moving heads, which were mounted on the H truss at stage right for the headline talent and behind the main stage as backlights. “I’ve used them before on shows I’ve directed, but this was my first as a designer,” he says. “I love them to death. They’re incredibly bright, come in a small package and don’t chew up a lot of power. You cannot possibly get anything else at 189W that has a beam that bright.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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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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