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Archive for August 21st, 2012

Revolabs FLX(TM) On Call for VIP Guests at YOTEL New York

SUDBURY, Mass. — Aug. 21, 2012 — Revolabs Inc. today announced that its Revolabs FLX(TM) wireless conference phone is being used by YOTEL New York to provide exceptional audio quality for conference calls in the hotel’s three exclusive VIP cabin suites. more

State-of-the-Art Qatar National Convention Center Supports Real-Time Video Streaming With Visionary Solutions’ AVN Encoders

High-Density AVN220 and AVN443HD Encoding Solutions Offer Energy Efficiencies While Delivering High-Quality Video Streams

SANTA BARBARA, Calif. — Aug. 21, 2012 — Visionary Solutions Inc. today announced that the Qatar National Convention Center (QNCC) in Doha, Qatar, has selected Visionary Solutions’ AVN220 and AVN443HD encoders to support real-time streaming of SD and HD video and audio signals cost-effectively during live events and conferences. Leveraging the exceptional performance, high-quality H.264 encoding, low up-front cost, and energy-saving capabilities of the AVN encoders, QNCC is able to offer innovative A/V services within one of world’s first public venues built to the U.S. Green Building Council’s Leadership in Energy and Environment Design (LEED) Gold Certification standard. more

Antelope Audio Eclipse 384 AD/DA Converter Brings Master-Quality Audio to Korn Frontman Jonathan Davis’ Road Rig

Korn shook up the rock world at the end of 2011 when the L.A.-based band released its tenth studio album, “Path of Totality,” featuring collaborations with a host of dubstep producers including multiple Grammy Award-winner Skrillex. Now, Korn frontman Jonathan Davis is doubling down on his recent statement that “North American dubstep is the new electronic heavy metal” through a side project, Killbot, and a solo project under his DJ name, J Devil, recording into a laptop on the road and in the studio, using Antelope Audio’s new Eclipse 384 converter, master clock and monitor controller.

Davis recently added the Eclipse 384 AD/DA converter in order to streamline his mobile production rig after spotting it on the Antelope Audio web site. The 384 kHz A-to-D/D-to-A converter is clocked using the same Oven Controlled Clock and 64-bit Acoustically Focused Clocking technology that is implemented in Antelope Audio’s renowned Trinity Master Clock. The Eclipse 384 offers additional features conducive to mobile production applications, including two dedicated headphone amplifiers and a custom USB interface, as well as two large peak meters on the front panel. In order to simplify operation, users can create up to five custom presets of favorite setups via the system’s OS X- and Windows-compatible software control panel that may then be recalled from the Eclipse 384’s front panel.

“This is all I’ve got now; I used to have racks of stuff,” says Davis, who records vocals, guitar and bass into an Apple MacBook Pro through a signal chain comprising little more than the Antelope Eclipse 384, an API Channel Strip and a Shure microphone. “It’s basically my studio all in one box. It’s the best interface I’ve used. I love that everything is right there,” he says of the Eclipse.

Davis, who has been performing DJ sets using the moniker J Devil, is a longtime aficionado of electronic dance music (EDM), and has been producing dubstep-influenced remixes for rock and electronic artists for several years. Having started creating EDM on his laptop “for fun,” Davis has now teamed up with dubstep producers and fellow metal-heads Sluggo and Tyler Blue to form Killbot, a “metalstep” collaboration that has signed to Steve Aoki’s Dim Mak dance record label and has announced plans to release a four-track EP. There is also a J Devil solo EP in the works.

Davis has jumped into EDM production with both feet, making use of every waking minute to create new music for all of his projects. “Making electronic music and learning to produce and learning my new instrument—laptop, I call it—has been an amazing thing,” he told Billboard.com recently. “After every Korn show I come offstage, take a shower and I start writing.”

By utilizing high-grade audio production equipment such as the Antelope Eclipse 384, Davis is able to produce release-ready masters right there on the tour bus or the hotel room. “The Eclipse is essential, because it gives me everything I need to work on the road and not just make a demo. The stuff I actually do on the road I keep and it sounds great—it’s not just a demo that I have to rework or re-record later,” he says.

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Studio Berar Relies on HARMAN’s JBL Professional VERTEC® Line Arrays and Soundcraft Digital Mixing Consoles For 13th EXIT Festival in Serbia

NOVI SAD, Serbia – Serbian pro audio distributor, Studio Berar, has maintained its long-standing relationship with the EXIT Festival in the city of Novi Sad, Serbia, equipping the three leading stages again this year with premium equipment from HARMAN’s JBL and Soundcraft brands. The 13th edition of the EXIT Festival saw around 100,000 people attending over four days from July 12-15. In total there were 20 stages with over 500 bands appearing, and 1,600 volunteers from 60 countries making the whole event tick.

Studio Berar had an all-star lineup to support, including Guns n’ Roses, Duran Duran, New Order, Eryka Badu and Plan B on the Main Stage, with Avicii, Luciano, Richie Hawtin, Laurent Garnier gracing the Dance Arena and The Toy Dolls, Eyesburn, Zemlja Gruva, Elektricni Orgazam on the third, Fusion Stage. All were under Studio Berar’s charge.

The principal stage was fitted out with 32 elements of JBL VERTEC® VT4889ADP-DA powered fullsize line array elements, with 40 VERTEC VT4880 fullsize arrayable subwoofers, and 12 VT48888ADP-DA midsize powered line array elements providing delay reinforcement. In addition, Soundcraft Vi6 digital mixing consoles were deployed to perform both FOH and monitor duties for the visiting engineers who were assisted by Studio Berar’s technical personnel. The desks were again equipped with optical MADI link for recording purposes.

In the Dance Arena, Studio Berar fielded 24 VT4889ADP-DA elements, with 10 VT4888ADP providing outfills on each flank, and 20 VT4880 subwoofers providing the LF extension. A further four JBL VRX932LA Constant Curvature loudspeakers added infill where necessary, with Crown I-Tech and Macro-Tech amps assigned to the passive elements of the system. Mixing duties were performed on a Soundcraft Vi1—an addition to Studio Berar’s inventory since last year—and Soundcraft’s classic analog MH2 console.

Finally, Studio Berar dipped further into its VERTEC inventory to equip the Fusion Stage with 24 VERTEC VT4888ADP, and eight VT4880 subwoofers per side. Another vintage Soundcraft console, the 48-channel Series FIVE, gave sound engineers a first-class analog experience at front-of-house while a Soundcraft Si3 was provided for monitors.

Held again at the picturesque Petrovaradin Fortress location on the River Danube, Studio Berar’s marketing manager Lazar Josanov explained that although the fundamental coverage requirement was similar to previous years, this year the delivery took a great leap forward. “As we are constantly looking to improve each segment of our business, we recently reinforced and upgraded our JBL VERTEC line array system with Crown DPDA processing modules for VERTEC V5 settings, so now it’s a fully active sound reinforcement system,” he said.

The company tested the V5 settings on several events prior to EXIT, so that by the time it arrived at Petrovaradin Fortress, Lazar reported, “Everybody was thrilled with the quality and strength of the sound.”

Momcilo and Emil Berar again project-managed the event for Studio Berar, leading a team that included Aleksandar Pejin, the main sound engineer at the Dance Arena stage, with Ivan Paplacko and Zoran Matic taking care of Main Stage and Fusion Stage respectively.

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, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Backcountry Pictures’ Award-Winning Film California Forever Set For PBS

The Story of California’s State Parks Premieres Nationally in Fall 2012

(SAN FRANCISCO, CA) Award-winning production company Backcountry Pictures’ latest project, California Forever, will air nationally on PBS stations throughout fall 2012, beginning in California in September (click here for air dates). California Forever is a two-part television special that eloquently tells the moving story of California’s magnificent state parks from 1864 until present day. The program has won a number of regional and environmental film festival honors in the run up to its broadcast premiere.

Known for telling compelling stories with stunning imagery, California Forever further solidifies Backcountry Pictures’ reputation for producing programs with high-end production values. Oscar(r)-nominated director-writer David Vassar, Backcountry Pictures co-founder and producer Sally Kaplan, and cinematographer Christopher Tufty capture the arresting visuals of California’s state park in two, one-hour documentaries.

Episode one of California Forever highlights the discovery and creation of California’s state parks system, taking viewers on a scenic, cultural and historical tour of California’s state parks. The second episode presents the very real challenges that the state parks are currently facing, including habitat destruction by overuse; protection of native species at the expense of recreation; reclaiming industrial brown fields to create new parks in dense urban areas; and park closures.

California Forever was produced over two years, and comprised 70-plus days of shooting at over 45 state parks, including complex indoor settings such as Hearst Castle and the California Railroad Museum, as well as vast outdoor spaces like Yosemite and the California Coast. From the majesty of Lake Tahoe to the arid inspiration of the Anza Borrego Desert, the filmmakers bring the vibrant California State Parks to life.

“I am inspired by the natural world and our creative challenge is to infuse passive scenery with character as well as a story that builds through each episode,” says Vassar, whose credits include Discover Hetch Hetchy, the award-winning film hosted/narrated by Harrison Ford, which served as the centerpiece for the Environmental Defense Fund campaign to restore the lost valley in Yosemite National Park. “To have the ability to take this historical and in-depth look at the incomparable California parks system was an amazing opportunity. With California Forever, we hope to encourage viewers to explore the state parks, not just in California but across the country. There are so many right in your own neighborhood.”

The Backcountry Pictures’ filmmaking team has a history of using the latest, most innovative production tools and pathways. Their film Spirit of Yosemite (2001) broke ground in its use of digital technology together with 35mm film, garnering “best special venue program” at the Jackson Hole Wildlife Film Festival, as well as screening for two consecutive years at the Cannes International Film Festival for its “outstanding achievement in digital cinema.” In Grand Teton National Park, Backcountry created three “Video Rivers.” The short HD programs are projected up from the basement onto glass panels set in the floor of the visitor center – the audience walks on the screens.

Continuing with this high-end imagery tradition, Backcountry captured California Forever with RED cameras in 4K giving the filmmakers stunning images and a future-proof master. “I believe that we are in an era of a quickly evolving toolset that will continue to support stories – be they narrative or documentary,” notes Vassar. “With each new project, we push the technology a bit closer to the edge. No matter what the resolution or the technology, the star of our programs remains story, story, story.”

Backcountry Pictures shares a light moment while shooting California Forever at Point Lobos State Natural Preserve. From left to right, Camera Assistant-Josh Heller, Sound Recordist-Fred Runner, Director-David Vassar, Director of Photography-Christopher Tufty. CREDIT: Photo by Joeann Edmonds-Matthew – (c)2011

# # #

To view the trailer for California Forever, click here.

About Backcountry Pictures
Founded in 2001, Backcountry Pictures produces films, television programs and visual content for special venues that celebrate the beauty of nature and captures the history and culture of surrounding communities. The company excels in producing programs that impart a sense of wonder about the natural world inspiring viewers to establish their own personal bond with nature. To learn more about Backcountry Pictures, please visit www.backcountrypictures.com or www.facebook.com/BackcountryPictures.

Funding
Major funding for the PBS broadcast of California Forever is provided by Destination Cinema. Additional support is provided by the Hoeffer Family Foundation and Active Network. Fiscal sponsorship is provided by the International Documentary Association.

Media contact:
ignite strategic communications
Sally Christgau (sally@ignite.bz / 415.238.2254)
Chris Purse (chris@ignite.bz / 818.303.8088)

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HARMAN’s JBL Professional Goes Universal in Sri Lanka

NORTHRIDGE, California – The island of Sri Lanka is probably one of the last places one would expect to find global stars as diverse as Billy Ocean and Olivia Newton John performing—and local production company, Universal Sound fielding a top-spec HARMAN’s JBL VERTEC® line array system.

But that’s precisely what Malinda Lowe’s company has been doing since setting up in 2009. The company recently rigged a JBL VERTEC line array system at the 5,000-capacity Sri Lanka Exhibition and Convention Center for R&B singer Ocean’s sold-out show, and later supported two sell-out concerts by the UK/Australian songstress (and Grease star) Olivia Newton-John at the 1,800-capacity Musaeus Auditorium in Colombo.

With a large inventory of JBL VERTEC, VRX and SRX components (powered by a combination of Crown Macro-Tech MA12000i, MA90001 and MA5000i), Lowe’s company is perfectly positioned to handle the sound production for all ABC Radio Network’s international concert promotions (including Billy Ocean) as well as Wizard Entertainment, who promoted Olivia Newton-John.

A HARMAN Professional customer since setting up the company in 2009, Malinda Lowe is used to meeting production companies’ demands based on venue dimensions. “With Billy Ocean they wanted a minimum of six VT4888 each side—but the ceiling height in both cases was extremely low. So I used the VERTEC Line Array Calculator to predict coverage and SPL results for the large audience area and for the selection of correct locations for main hangs and side PA placements and system configuration.”

Instead, he used eight VT4888 midsize line array elements, configured in two main arrays of four per side, with six VT4882 ground-stacked subwoofers processed as an aux-fed mono sub configuration. The system was powered with Crown Macro-Tech amplifiers, processed via a dbx DriveRack 4800.

For the side PA, Universal Sound used four SRX 725/728 loudspeakers with dbx 260 processing and Crown XTi amplification for each side to cover the wide audience area, and for front fills the company used four VT4888’s with dedicated DriveRack 4800 processing and Crown MAi amplification.

For the Olivia Newton-John show, aimed at Colombo’s upmarket set, Universal had to work around the installed system and did not have hanging points or sufficient truss space to fly the VERTEC line arrays. The challenge was that the auditorium comprised a balcony with seating capacity for 700 and ground seating area for a further 1,100.

Since the production team wanted to fly the system to achieve an even coverage, the Line Array Calculator again provided accurate measurements. “We achieved even coverage, obtaining better frequency response and SPL with the VERTEC rig in a ground-stack configuration,” Lowe said. “The Calculator provided the accurate splay angle option for the maximum performance, with six VT4888 for each side ground stacked on a VT Array Frame and two VT4882 ground-stacked subs with aux-fed sub configuration.”

The system was powered by Crown MAi Series 5000, 9000, 12000 and processed using the dbx DriveRack 4800. Front fills comprised four JBL SRX712M’s with dedicated speaker processing on the DriveRack 260, accurately aligned to the main PA.

All amplification used for both productions was configured and monitored via HARMAN HiQnet System Architect™, with remote control.

The result was that both acts’ management, mixing engineers and musicians complimented the production company on the overall system performance, stating how well the VERTEC line arrays covered the rooms with its superior output power.

Said Olivia Newton-John’s FOH engineer, Jonathan Loeser, “I couldn’t have done any of this without the system being top notch and accurate. That is very valuable to a touring engineer or production manager.”

All JBL product and local support, is provided by HARMAN Professional dealer Hi Fi Center Colombo.

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, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Canon EOS 5D Mark II DSLR Cameras Help Capture the Summer Animated Feature “ParaNorman” in 3D

LAKE SUCCESS, N.Y., August 16, 2012 – Five camera teams and crews of animators, puppeteers, and staff from LAIKA animation studios, along with an garrison of sixty EOS 5D Mark II SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions, have come together to help bring the new 3D feature film, “ParaNorman” to screens this Summer. The EOS 5D Mark II DSLR cameras captured frame-by-frame stop-motion animation of puppet “actors” in this new horror comedy about a small-town boy who speaks to ghosts and must battle an assortment of otherworldly creatures to save his town from doom.

“The Canon EOS 5D Mark II has features that helped us to expedite the stop-motion animation process,” noted John Ashlee Prat regarding the animation of “ParaNorman.” Prat, one of five lighting cameramen on the film, explained that in order to capture the more than 400,000 separate stop-frames needed to create “ParaNorman,” the film was divided among five camera teams and 50 separate units at LAIKA’s 151,000 square ft. studio. Each unit had its own shooting stage, sets, puppet “actors,” equipment (including Canon EOS 5D Mark II cameras), and a crew working on different portions of the film simultaneously. Director of Photography Tristan Oliver supervised the daunting task of five simultaneous film units throughout the entire production.

Compact, lightweight, and compatible with Canon’s wide selection of EF Series lenses, the
Canon EOS 5D Mark II digital SLR camera is equipped with a 21.1 megapixel full-frame Canon CMOS image sensor and DIGIC 4 image processor for exceptional still-image capture in a number of RAW or JPEG modes and sRAW options.

“Stop-motion animators need a live-view reference to see and record their progress,” Prat said. “We tested every off-the-shelf digital SLR camera that can provide live view and the high-resolution RAW image files we needed, and we found that the Canon EOS 5D Mark II live view is far superior to any of the others. The 5D Mark II also provides the RAW image output we needed, and a USB connector to feed files to our in-house network.”

Photography of a stereoscopic 3D film requires the capture of not one, but two frames – a left and a right image – 24 times for every second of screen time (in stop-motion animation that number is doubled to 48). The compact size of the Canon EOS 5D Mark II digital SLR camera (as opposed to traditional film cameras) greatly facilitated the capture of the corresponding left- and right images needed for 3D, especially given the miniature sets and puppets being photographed. Each 5D Mark II camera was mounted on a computer-controlled motorized horizontal slider, which moved the camera first right and then left for sequential capture of all the necessary 3D frame-pairs.

“The slider is necessary because we can’t put two cameras side-by-side to successfully photograph little 8- to 12-inch puppets in a miniature world,” Prat explained. “We have to use the inter-ocular distances appropriate to that world in order for it not to look miniature.”

“The self-cleaning sensor feature of the Canon EOS 5D Mark II saved us a lot of time because we didn’t need to take the lens off to clean the sensor,” Prat added. “We are rolling our current fleet of 5D Mark II cameras on to our next production, although not for principal photography. Instead they will be used to support all the other departments for their photographic needs. Principal photography will be done with EOS 5D Mark III cameras, which feature a live view that’s two stops better than the original Mark II’s, and that’s even better for us.”

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in patent holdings in the U.S. in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

†Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability and specifications of all products are subject to change without notice.

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HARMAN’s Studer Appoints Rob Hughes to Position of Market Sales Manager

POTTERS BAR, United Kingdom — In a move that strengthens the company’s sales presence in the live sound for broadcast and theatre communities, HARMAN’s Studer has appointed Rob Hughes to the position of Market Sales Manager. In this position, Hughes will be responsible for sales of Studer products throughout the EMEA sales region.

Hughes began his career in pro audio as a freelance touring engineer, spending 15 years touring the world as a sound engineer and system tech. He also spent many of those years in charge of the audio of major UK festivals including the Reading Festival, V Festival, T in the Park and Download.

After retiring from touring, Hughes joined SSE Audio Group as Project Manager, where his responsibilities also included managing the company’s stock of digital mixing consoles. In this position, Hughes kept the console inventory’s software and firmware up to date across all platforms and played a large role in training freelance engineers on the operation of the consoles. As part of this training responsibility, Hughes also worked with Andy Brown of Soundcraft, assisting with Vi6 training courses.

After his time with SSE, Hughes moved on to working for Midas, looking after the UK market, and was responsible for selling Midas consoles and Klark Teknik products into the UK.

“Now that I have joined Studer, I am very much looking forward to working with such a well respected brand, within a very strong group of companies that HARMAN comprises,” Hughes said. “In addition to serving the live sound for theatre, I am looking forward to the challenges of working within the broadcast world and learning the customer base and needs of that market.”

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, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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133rd AES Convention Introduces Networked Audio Track

Interoperability! The “Holy Grail” For Audio Transport Over IP-Based Networks

SAN FRANCISCO: Networked Audio presents a host of technological and operational advantages, and an equal number of Workflow issues and potential quagmires. 133rd AES Convention Co-Chair Jim McTigue reports that Networked Audio Track Chair, Tim Shuttleworth’s collaboration with the late Nathan Brock has produced a comprehensive program of Workshops designed to ameliorate many of these concerns.

“Before his untimely death this summer, Nathan Brock was an international leader in the field of networked audio,” McTigue said. “We mourn his loss, but his collaboration with Tim Shuttleworth will stand as an invaluable addition to the AES Convention. Tim Shuttleworth, is a master engineer with a special focus on high performance analog and networked audio. During the course of his 30+-year association with the AES he has served in many key roles including editing the Emerging Trends Report for the AES Technical Committee on Networked Audio Systems. ”

Networked Audio Track Workshops Include:

Audio Network Device Connection And Control: Chair, Richard Foss, Rhodes University; Panel: Jeff Koftinoff: MeyerSound; Robby Gurdan , UMAN; Andreas Hildebrand, ALC NetworX; Kieran Walsh, Audinate – Leading industry experts will demonstrate how they have enabled the discovery of audio devices on local area networks, their connection management, and control over their various parameters. Issues related to streaming audio, such as bandwidth management and synchronization, and connection management and control protocols will be discussed.

The Unified AV Network: Chair Rob Silfvast, AVID: This panel discussion will provide an overview of the AVnu Alliance, a consortium of audio and video product makers and core technology companies. Committed to delivering an interoperable open standard for audio/video, networked connectivity, AVnu offers a logo-testing program that allows products to become certified for interoperability. Representatives from several different member companies will provide insights about AVB technology and participation in the AVnu Alliance.

Interoperability Issues In Audio Transport Over IP Based Networks: Chair, Tim Shuttleworth; Panel: Lee Minich, Lab X Technologies/AVnu Alliance; Kevin Gross, AVA Networks/AES X-192; Sonja Langhans, IRT Munich; Greg Shay, Telos/Axia – This Workshop will focus on two key areas of audio/media transport over IP based networks: Multichannel Audio distribution over Ethernet LANs for low latency, high reliability interconnections in home, automobile and commercial environments; and, the interoperability of audio contribution, over Internet Protocol (ACIP and ACIP2). These issues will be addressed, from both the European and US perspectives. Issues include challenges and solutions in achieving reliable content distribution.

Audio Networks – Paradigm Shift For Broadcasters: Chair, Stefan Ledergerber, Lawo, Germany; Panel: Sonja Langhans, IRT Munich; Andreas Hildebrand, ALC Networx; Lee Minich, Lab X Technologies/AVnu alliance; Greg Shay, Telos/Axia; Kevin Gross, AVA Networks/AES X-192 – With the emergence of a variety of audio networking technologies, many broadcast organization workflow-related questions remain unanswered. This panel will address a number of these hot topics e.g. Will traditional cross-point, matrix switches (routers) be replaced by networks? Which component will deal with signal processing, currently accomplished within audio routers? Which department is best equipped for handling audio networks: audio or IT? And, how do we educate personnel to deal with audio networks?

Error-Tolerant Audio Coding: Chair, David Trainor, CSR; Panelists: Gary Spittle, Dolby; Deepen Sinha, ATC Labs (tbc) and Juergen Herre, Fraunhofer IIS (tbc) -
Two key, observable trends are: The increasing delivery of real-time audio services over the Internet or cellular networks; and, the variable capacity and reliability of these networks for real-time audio streaming. This workshop will discuss the capabilities of error-tolerant audio coding algorithms and, recent advances in the state of the art.

Open IP Protocols For Audio Networking: Chair: Kevin Gross, CobraNet, QSC – This Tutorial will address the conundrum resulting from the networking and telecommunication industry’s multiplicity of protocols for carriage of audio and video over IP networks. These protocols have been widely deployed for telephony and teleconferencing applications, Internet streaming and cable television. A variety of these protocols and their capabilities and limitations will be addressed. Including: IP, VoIP, IPTV, HTTP streaming, Real-time transport protocol (RTP), RTCP, and RTSP, and IEEE 1588 Precision time protocol (PTP). An overview of AES standards work, X192, adapting these protocols to high-performance audio applications will also be presented.

“We have attempted to make this initial Networked Audio Track as timely and inclusive as possible,” Tim Shuttleworth said. “Attendees will find invaluable information here. And in keeping with the AES goal for the Convention to serve as a forum to ‘Listen, Learn and Connect,’ the opportunities for traditional networking and information exchange will be manifest.”

Photo: Tim Shuttleworth, 133rd AES Convention Networked Audio Track Chair

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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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StrandVision Offers Multi-year Digital Signage Volume Discounts

Delivers significant savings on digital signage software…

MENOMONIE, Wis. – Aug. 21, 2012 – StrandVision Digital Signage today announced that it is offering an extended end user volume discount program on multi-year digital signage prepayment contracts for all of its electronic sign subscription packages and software add-ons. The new pricing schedule, effective immediately, is available to new and existing digital sign customers.
The discount subscription schedule is as follows:

2 years – 5% discount
3 years – 10% discount
4 years – 15% discount
5 years – 20% discount
6 to 7 years – 22% discount
8 to 9 years – 24% discount
10 to 14 years – 26% discount
15 to 24 years – 28% discount

And for those with really long horizons:

25 to 49 years – 30% discount

50 to 100 years – 32% discount
100 years and higher – 34% discount

“With the events of the past few years, our digital signage customers have been looking for ways to cut costs with multi-year discounts and at StrandVision Digital Signage, customer satisfaction is our number one priority,” commented Mike Strand, StrandVision founder and CEO. “Realistically, we don’t expect too many 100-year subscriptions, but even the shorter timeframes deliver significant savings on business marketing through electronic signage. For instance, a five-year Basic Package subscription with no add-ons will save our customers $500 – a ten-year contract on a Platinum Package will save $6,500.”
Discounts are based on the annual subscription rate and are automatically applied when customers sign up, extend, renew or add capabilities to their StrandVision digital signage network. Discounts also apply to signage subscription add-ons, such as background music, as well as multiple channel digital signage content feeds within an account and are in addition to multi-channel electronic signage volume discounts. StrandVision uses these discount schedules to prorate any extensions or additional digital signage subscriptions for existing customers based on their account expiration date.
About StrandVision
StrandVision LLC, based in Menomonie, Wis., delivers low-cost, Web-based digital signage software through a patented Software as a Service (SaaS) approach that delivers content to subscribers’ LCD flat panel screens, as well as computer screens and websites. StrandVision’s service distributes text and graphics pages, video content and national and local weather and news. It is ideal for many large and small business marketing applications, including medical and dental offices (patient education); banks, retailers and industrial distributors (video merchandising); education (student communication, staff and visitor information); employee break rooms (employee communication of events and benefits); nonprofit and religious organizations (member and supporter communication).
StrandVision also offers PC-2-TV.net, a fully digital, high-definition (HD) video extender to connect a computer to a television over long distances for use with digital signage and many other applications. StrandVision Digital Signage services and PC-2-TV.net are available directly from StrandVision and through registered affiliates and system integrators. Additional information about StrandVision Digital Signage is available at StrandVision.com, 715-235-7446 or by email.
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EDITORS – For further information:

Mike Strand
StrandVision
715-235-7446 X100
mjstrand@strandvision.com
Sandy McLaughlin
Soucy Communications Group
781-898-7305
smclaughlin@scg-pr.com

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