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Archive for August, 2012

Bay Community Church Finds Lowell Racks “Twice As Good” As It Opens Second Location

— AV systems integrator The ESB Group enhances church systems in Daphne, Alabama, while it designs and installs audio, video and lighting systems for a new facility in Mobile, all with rack, power and
cable management from Lowell —

PACIFIC, MO, August 1, 2012 — When Bay Community Church was in the process of building its second campus, in Mobile, Alabama, to complement its first location in Daphne, just across Mobile Bay, they turned to The ESB Group, a leading audio, video, lighting and security systems integrator in nearby Springville. They, in turn, specified racks, power and cable management from Lowell Manufacturing Company, a U.S. manufacturer of professional AV Products currently celebrating its 65th anniversary, to make sure all of the systems that went into both locations achieved maximum performance. The ESB Group installed Lowell products including the LGR-4436-LRD (44U 36-in. deep gangable rack); LER-2427-LRD (24U 27-in. deep stand-alone rack); ACS-1510-WW (15A/10-outlet power strip); ACS-2014-IG-HW (20A/7-duplex outlet power strip); LCC4-4436 (cable chase); and RSD-116 (reversible rackmount shelf/drawer).

“This was a big job, a design/build project where they asked us to design and install all of the audio, lighting and video systems for the new church, as well as add some new updates to the existing campus,” explains Larry Bounds, COO of The ESB Group. The sound system includes a main worship-area PA system using Electro-Voice X-Line components for a point-source system when the low ceiling height would not permit use of a line array system; a 30-foot center video screen flanked by two smaller screens and designed to allow the Pastor to speak from either campus seamlessly from a visual perspective; and what Bounds characterizes as “a ton” of high-end lighting systems, including Martin robotic lighting fixtures and extensive trussing.

“The Lowell racks and power and cable management systems made the job far more manageable,” Bounds says. “We were able to tie it all together with the Lowell racks, including the processing for the new Midas Pro 2 digital console we installed for front-of-house. The church told us that our design and the systems we installed met and exceeded their expectations, and Lowell had a lot to do with that.”

For more information, please visit www.lowellmfg.com or e-mail Lowell at sales@lowellmfg.com.

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Auralex® Now Shipping ProPAD™ Monitor Isolation Pad

— ProPAD™ is designed for decoupling monitors and reducing structural vibrations —

INDIANAPOLIS, IN, August 1, 2012 – Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and soon to celebrate its 35th anniversary, is now shipping its new ProPAD™ Monitor Isolation Pad, the latest product in its ISO (Instant Sound Optimizer) line. The ProPAD is a premium-performance variant on Auralex’s popular MoPAD™. Compared to the MoPAD, ProPAD has increased durability and structural integrity, and provides superior isolation from the vibrations and resonant energy created by studio monitors. The ProPAD prevents this energy from being transmitted into the supporting furniture, which would greatly color the monitors’ sound and degrade their imaging.

The ProPAD is sold in stereo pairs and is designed to work with nearfield monitors employing up to 8″ woofers. ProPAD’s updated design features a 0.75″ layer of laminated black MDF covered with a thick layer of Auralex’s proprietary IsoPuck™ isolation material, which is made of recycled rubber. Six stick-on feet, also made from IsoPuck material, are supplied for flat or angled applications.

The ProPAD is the perfect solution for decoupling monitors and reducing structural vibration in all manner of sound-critical spaces, including recording studios, post-production/edit suites, mobile recording facilities, hi-fi listening rooms, home theaters or anywhere a monitor/speaker isolation platform is needed to improve sonic purity.

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

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GUITAR CENTER ANNOUNCES NEW BOSTON STORE LOCATION, COMING FALL 2012

— Designed to cater to the Berklee College of Music and Boston’s diverse musical community, the new Massachusetts Avenue location will augment GC’s successful Boylston Street store while offering unique product options —

Westlake Village, CA (July 30, 2012) – Guitar Center, Inc. is pleased to announce that a new Guitar Center store is set to open this fall, right in the heart of Boston’s Back Bay music education community. Guitar Center has leased the former Daddy’s Junkie Music storefront at 165 Massachusetts Avenue (between Haviland St & S. Germain St), Boston, MA 02115, right across the street from the prestigious Berklee College of Music. This 6,300-square-foot retail environment will be designed to cater to the challenging academic needs of today’s music student, while providing new services to the Boston music community. It will carry a wide assortment of musical accessories and specialized instruments that will enable students and consumers to quickly purchase those “high demand” items at a friendly price point.

“We are excited to move into the heart of the Berklee College of Music campus and near other fine institutions such as New England Conservatory and Boston Conservatory. We look forward to serving such a world class music community,” says Gene Joly, Executive VP of Guitar Center stores. “As a Berklee College of Music alum and former member of the Board of Trustees, I have a feel for the specialized needs of modern music students and faculty. We are committed to tailoring our product and service offerings at our Mass. Ave. location to the needs of this community.”

Guitar Center Massachusetts Avenue will be the ultimate accessories store, with saxophone reeds to upright bass rosin, boutique guitar pedals to hand hammered cymbals, while offering instruments never before carried at neighborhood Guitar Center locations. This storefront will not only have a full time guitar technician as part of GC Garage – Guitar Center’s on-site guitar/stringed instrument repair facility – to better serve stringed clients, but it will also house a full-line rental department, catering to the various rental needs of local musicians, live music venues, houses of worship, hotels and the theater district. Since the new store will only be five blocks away from the already successful Guitar Center location on Boylston Street, the new store is meant to complement and augment the existing GC, providing a richer and more complete shopping experience.

To spearhead this large endeavor, Guitar Center is also proud to announce Berklee College of Music alum Hirsh Gardner as the project manager. Hirsh is charged with developing this new Guitar Center concept, and, ultimately, to be its store manager. This is a homecoming for Hirsh, as he was the Daddy’s Junky Music store General Manager of this same location for the last ten years of his successful thirty-year plus career in the music instrument industry. Perhaps no one is better suited for this task than Hirsh, who spent many years developing caring and proven relationships with the Berklee College of Music faculty and staff. “I have always felt that being an educator is the key to being successful in our hi-tech music retail environment,” says Gardner. “We served the community on Mass Ave. by educating musicians, students and pros alike, in our fields of expertise. This allowed them to make choices in their purchases that helped further their careers – simply put, we helped people make music. I am thrilled to be here with the great folks at Guitar Center and look forward to contributing again to the musical needs of the Boston music community.”

Berklee College of Music students will also be able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include Boston inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of stores and warehouses across the nation. Customers have the ability to combine a variety of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new store, Guitar Center offers nationwide programs designed to highlight the nation’s most promising undiscovered talent, support the global music community and provide musicians with opportunities to get their music heard. Guitar Center’s commitment to unsigned artists runs deep with a full calendar year of diverse programs aimed to enable musicians by providing the opportunity and exposure they need to be successful. Berklee College of Music residents will now be able to participate in these ongoing national events from their hometown:

• Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crue, KISS and Jane’s Addiction.

• Guitar Center Singer-Songwriter is an artist discovery program which aims to find the nation’s best unsigned singer-songwriter. The winner receives a career-altering prize package including recording 3 songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at Converse Rubber Tracks studio and $10,000 cash.

• Guitar Center’s Battle of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Jonathon “Boogie” Long, performed alongside GRAMMY-winning guitarist Warren Haynes at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.

• Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

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

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Christie Takes Visual Display Technology Into New Dimensions at SIGGRAPH 2012 With 3D HoloStation

Christie’s Presence Felt “Virtually Everywhere” Throughout Event With Wide Range of Display Solutions.

Christie® is “virtually everywhere” at SIGGRAPH 2012 and, as a Platinum Sponsor of the conference, is confirming its leadership in 3D projection technology with a wide range of products and visual display solutions that support dealers, content providers, and partners in visualization, post-production, exhibition, and immersive technologies throughout the show.

Christie innovations are in full-force at its booth #1123, where it is showcasing its latest solution, the Christie HoloStation, a personal visualization system that displays up to 15 Megapixels of data in a 3D stereoscopic and interactive tracked environment in a compact, 6 feet by 6 feet footprint. It is driven by an NVIDIA® Quadro® Plex scalable visualization solution, external graphics processing designed for large-scale 3D visualization. Easy to deploy, the Christie HoloStation is self-contained, affordable and easy to use. It is ideal for applications such as car and aircraft design development and architectural walk-throughs, as well as for use as a 3D virtual trainer.

The Christie HoloStation at SIGGRAPH.

“The Christie HoloStation is an exciting visual solution that provides the functionalities of a Christie CAVE, but in a scaled down, innovative personal immersive environment. It’s high-fidelity visualization where you need it,” noted Zoran Veselic, vice president, Visual Environments, Christie. “Most important of all, it is easily deployed, so that it can be set up in nearly any cubicle in any facility. It is the perfect solution for bringing visualization to collaborative office spaces, the production floor in factories and in engineering department laboratories.”

The Christie booth will also display the innovative Christie Personal Immersive Environment (PIE) concept, composed of a three-panel arrangement of Christie FHD551-X LCD flat panels in portrait mode with a roughly 90-degree Field of View (FOV). With 3D content from WorldViz, an industry leader in interactive virtual reality solutions, the Christie PIE will use an intuitive 3Dconnexion controller that offers six degrees of freedom to allow users to virtually “fly” through a piazza. Flat panels can be added to the system to increase the FOV to as much as 320 degrees, maintaining an 8 by 8 maximum footprint, taking the gaming experience to a whole new level.

Christie will also be moderating the highly anticipated Production Sessions Panel, “High Frame Rate Cinema, Impacts on Art and Technology,” on August 8. The panel, moderated by Christie’s Dr. Paul Salvini, will feature 10 Hollywood visionaries such as Jon Landau, Douglas Trumbull and Dennis Muren, addressing the challenges to the post-production and exhibition communities. The Christie CP2230 DLP Cinema® projector used for the panel will show a variety of cinema content from leading studios and post-production houses, comparing 24, 48 and 60 frames per second.

The Christie CP2230, upgradable to 4K technology, is capable of lighting up screens up to 100 feet wide. Whether it is visual effects for TV and live-action film music videos, TV and web commercials, visualization and simulation content, or 3D feature films from Hollywood, Christie digital cinema projectors deliver accurate, razor-sharp, high-resolution images.

Platinum Sponsor Christie “Virtually Everywhere” At SIGGRAPH
SIGGRAPH attendees will find Christie display solutions throughout the main conference. From Christie’s DLP Cinema® projectors taking “center stage” in the Electronics Theater, where feature films will be shown in RealD 3D technology, to Christie’s 55-inch HD LCD flat panels to help attendees find their way around the show floor, to support for the conference production sessions with models such as the award-winning Christie HD10K-M 3-chip DLP® digital projector, with built-in warping, blending, color matching and portrait capabilities.

Among Christie partners at SIGGRAPH, the NVIDIA® booth will show content on a flexible, efficient Christie Mirage WU12K-M 3-chip DLP®, WUXGA projector with dual image processing capabilities and three modes of 3D presentation.

“Christie was the first licensee to market DLP Cinema® technology, and we have never looked back,” noted Dr. Paul Salvini, CTO, Christie. “We continue to help set the standards in 3D digital technology, in visualization and simulation, and we remain a pioneer of new technologies, such as 3D HFR, which is poised to revolutionize post-production and the exhibition industries.”

Visit Christie at Booth #1123.

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Foghorn Creative Pilots Golden Gate Bridge 75th Anniversary Celebrations

Seventy-fifth birthdays are always occasions for celebration. But when hundreds of thousands of people turn out to help an international icon like the Golden Gate Bridge mark that milestone event planning can get complicated. That’s when San Francisco’s Foghorn Creative steps in. Specializing in creating one-of-a-kind immersive environments, installations and presentations, Foghorn Creative handled event production for the Golden Gate Bridge 75th Anniversary festivities on May 27.

“We know how to put together unique teams for unique projects,” says Foghorn creative director Don Richards. “Ten years ago we organized the opening of Crissy Field for the Golden Gate National Parks Conservancy, so we have a lot of experience with working with the broad range of entities necessary to pull off this kind of event in San Francisco. People are confident that when we say we can do something, we can do it.”

With a mandate from the Conservancy that the 75th Anniversary of the Golden Gate Bridge be “dramatic, authentic and memorable,” Foghorn began creative development last September. The company worked with the Conservancy to develop the extensive community-centered daytime celebrations, held along the waterfront on Crissy Field, Marina Green, East Beach, Fort Point and The Presidio, with performances by local bands, musicians, dancers and theater companies; a Future Fair; vintage automobile show; historic artifacts exhibit and other historical and tribute components.

The nighttime festivities culminated in a world-class sound, light and fireworks spectacular over the bridge, on the bridge and across the water that lit up San Francisco Bay like the candles on a giant birthday cake. The unprecedented event was funded by corporate and private partners, and Foghorn worked closely with all five host organizations, including the Golden Gate National Parks Conservancy, Golden Gate Bridge Highway and Transportation District, the National Park Service, the Presidio Trust, and the City and County of San Francisco. Throughout the planning process the environmental impact of the event was given careful consideration since the bay is one of the world’s best-protected natural environments.

The celebrations came off flawlessly. “From the beginning we felt that the event, like the bridge, was a work of art, not just a big production,” says Richards. “Particularly the sound, lights and fireworks. The lighting effects defined the whole bay as a big theater space, every song in the soundtrack had a relationship to the city or the bridge, and the fireworks were unique.” Rick Voigt served as Foghorn’s executive producer for the festivities.

The nighttime spectacular at the bridge required extensive coordination between Foghorn Creative, Pyro Spectaculars by Souza, Lightswitch and Syncrolite. Five barges floated on the bay: Three pyro barges were stationed in front of the bridge, one pyro barge and one lighting barge began under the bridge and ultimately moved some two miles up the bay. A large amount of pyro and lighting was also mounted on the bridge itself with rigging performed while the bridge was in use by vehicles and pedestrians. Traffic on the Golden Gate Bridge was only stopped during the fireworks display itself.

Dubbed “the fireworks ambassador to the world,” Pyro Spectaculars by Souza has a rich family history in the bay area and a reputation for working on iconic projects, including the 50th Anniversary of the Golden Gate Bridge, the 125th Anniversary of the Statue of Liberty last year and the upcoming Macy’s Fourth of July fireworks on the Hudson River.

The 75th Anniversary festivities featured over 20,000 fireworks effects and three tons of firepower; installation required a team of 75 working for more than two weeks on both the barges and the bridge. The event marked the first time that fireworks were ever fired from the bridge roadway and towers.

Pyro Spectaculars used over 5,000 pyrotechnic effects to create the Silver Curtain, Multicolored Waterfalls and Souza Sequencia’s Comets. The custom-crafted Silver Curtain started the show with a 60-second fuse effect running from bridge tower to bridge tower and triggering a spill of pyro from the bridge roadway to the bay below. The similar Multicolored Waterfalls appeared near the end of the spectacular, this time with a rainbow effect. The Comets were fired from the roadway, chasing across the bridge and up and down the towers.

Pyro Spectaculars also created new Wagon Wheels, Spirals and Colorful Ghost effects, and a custom color of fireworks, Golden Gate International Orange, was invented for the event. “We’re really proud of how closely it matched the orange of the bridge,” says Jim Souza who designed the show.

The grand finale featured Souza’s signature Golden Mile of 2,000 golden Kamuro shells. “They were fired from the three barges under the bridge and on the roadway and towers and cascaded to the water,” Souza reports. The sequence was choreographed to Tony Bennett’s “I Left My Heart in San Francisco” and included a volley of red hearts.

“It was a great collaborative experience working with Foghorn and Lightswitch,” says Souza. “Every single person had to do their job the best they possibly could, and I credit the men and women behind the scenes who got this thing up in the air. Everything we did was unique and original to this show.”

The soundtrack for the fireworks was carefully composed – all the songs had a connection to San Francisco or the bridge. The set began with Eric Burdon and The Animals’ “San Francisco Nights” and spanned all genres from “Sing, Sing, Sing,” which Benny Goodman recorded the year the bridge opened, to “At Last,” by Etta James who spent her formative musical years in San Francisco. Other Bay Area artists represented included Tower of Power, Santana and Metallica; the set concluded with “I Left My Heart in San Francisco,” the city’s official song. The audio was produced by Chuck Smith, creative director at KFOG, and Lance Tipton.

The audio was simulcast on KFOG radio and pulled off the air live for show. “The audio had to be synched within one frame of the fireworks,” explains Don Richards. “We had SMPTE timecode on the digital audio track, which was sent via ISDN to the show site where we had our own broadcast capabilities; we were even able to extract the delay in the ISDN for flawless synchronization.

“We were also able to translate the timecode to FSK code for the pyro,” says Richards. “We transmitted both codes across four miles of the bay to the barges and the bridge with receivers at each pyro and lighting location.” Seventeen audio towers at the locations required a total of 127,500 watts of power.

Norm Schwab of Sausalito-based Lightswitch, the principal lighting designer for the spectacular, had the 5,000-foot wide proscenium of the Golden Gate Bridge as his stage for the night. The total brightness of the lights used was 27 million lumens; great care was taken not to shine the lights onto any wildlife areas causing potential harm.

“Incredible coordination was required to close lanes on the bridge to crane the generators onto the bridge,” he notes. “We had to place the lights and generators so that the west sidewalk could still be open to bicycle traffic. Lights on the barge had to be craned on, as well as generators and a nine-foot mirror ball, which made the entire bay a sparkling ballroom.”

Putting lights on the barge helped connect the bridge to the rest of the bay and offered the option to move into the bay in case of fog, Schwab points out. Lighting on the barge recreated the fan-like Scintillator effect used for San Francisco’s 1915 Pan Pacific and 1939 Golden Gate International Expositions in a salute to area history.

Schwab deployed, symbolically, 75 7K Syncrolites for the show, stationing 25 on the bridge and 50 on the barge. “They’re tremendously bright with narrow beams that can be seen several miles away,” he says. Mark Gilmore was the barge lighting director, Paul Efron the bridge lighting director, and Dave Hatch the production electrician.

The lighting control system consisted of four grandMA consoles; wireless DMX sent signals from the consoles to the bridge fixtures placed over one mile apart. Erik Doctor was the programmer for the show and Tom Thompson the bridge programmer.

To entire environment was modeled in advance in a previsualization process at San Francisco’s Prelite using a WYSIWYG system. The five-mile wide staging area was rendered and the bridge, moving barge and key areas, including Marina Green and Crissy Field, were placed.

Communications services and equipment including all SMPTE and FSK were handled by Anaheim-based BCT Entertainment.

With its offices located in the shadow of the Golden Gate Bridge, Foghorn Creative was consciously named for the span’s signature foghorns, which the company managed to work into the show.

“We incorporated a segment where everything went dark and there were foghorns on the soundtrack and live on the bridge,” Don Richards recalls. “People went nuts – the bridge spoke!”

How fitting for the star of the anniversary celebration to have the last word.

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TONY-Awarded Broadway Shows Shine With DiGiCo

You can’t throw a proverbial rock without hitting a DiGiCo console in the audio trenches on Broadway. From the long-running The Lion King to the relatively new smash hit The Book of Mormon, as well as Evita, Godspell, Jesus Christ Superstar, Newsies, Sister Act and War Horse, DiGiCo’s potent SD7T, with its powerful hardware, Stealth engine and theatre software kit—utilizing Live Update along with Aliases to manage the demands of 100-cue shows—is handling the toughest demands of theatre audio today. DiGiCo’s SD10 can be found on productions ranging from One Man, Two Guvnors to Peter and the Starcatcher.

This June, two of the newest productions and their respective sound designers took home coveted 2012 Tony Awards for sound design: Clive Goodwin for Once and Darron L. West for Peter and the Starcatcher. They each found the DiGiCo desks critical to the creation and design process of their shows. Interestingly, both shows got their start at the New York Theatre Workshop before moving to Broadway, and this was the first nomination for both Goodwin and West.

The critically acclaimed musical Once is based on the 2006 Academy Award-winning film about an Irish musician and a Czech immigrant drawn together by their shared love of music. In transitioning the show to the larger theatre, Goodwin chose a DiGiCo SD7T after consulting with Scott Kalata at Masque Sound, a leading theatrical sound reinforcement, installation and design company, who’d been helping in the design process.

“We needed something with a lot of busses and a high input/output count, flexible theatre-friendly architecture, and the capability of using Waves plug-ins,” Goodwin reflected. “And, it goes without saying that we needed great sound quality. I had used a DiGiCo D5 in a previous life in live music touring, and I was impressed with the user-friendly nature and excellent sound quality. I found the SD7′s dynamic EQs—both onboard and from Waves—were extremely useful in vocal processing. The tube emulator is a nice feature for adding a little extra warmth to most things. The ‘alias’ feature and programming groups were also very useful, especially when planning a show in advance, as they simplify changes throughout the show or just to a single scene. Not to mention, the console has the best sound of any digital console I have used to date. I was hoping to use an SD8 on a forthcoming production, but unfortunately, they were all out doing other shows!”

Also transitioning from the small stage to the big theatre with much fanfare is Peter and the Starcatcher, based on the novel of the same name, which gives the back story for the beloved character Peter Pan. The show got its start in several venues before moving on to the New York Theatre Workshop, where the full production team came together—including sound designer Darron L. West, associate designer Charles Coes and production provider Masque Sound—before opening on Broadway in the spring of 2012. Enlisting the help of Scott at Masque, they spec’d a DiGiCo SD10-24 console to handle the expanding production. Key factors for their new console consideration were having an onboard automation package that could work well for theatre, a flexible bus structure, a system that offered lots of outboard control, programming and matrixing, and a transparent sound. The SD10-24′s small footprint ensured they’d have no complaints from producers requiring only a handful of seats for its placement, and the console’s feature-packed system and exceptional sound quality won them over and sealed the deal.

“The sound design of this show is very old-fashioned, as Darron is happy to say,” offers Coes. “It was important for us to create a feel and a subtle sound that seems to come from the actors and from the band. Having a console that sounds incredibly transparent and clear—and lets engineer Rob Bass follow the show really carefully—keeps us from showing our hand in how much we’re actually reinforcing the show.”

Coes says they were impressed the deeper they got into the console, discovering more ways they were well served by the desk—from the flexible bus setup available for creating feeds, to the scene recall and animation.

“It’s an incredibly powerful console in a small package and we weren’t fighting with the producers about seats,” Coes muses. “Once we learned the DiGiCo mentality in terms and approach, we found the console could do pretty much anything we were asking it to. The I/O flexibility helped us a lot, especially in this application. We made great use of all the internal effects and they sounded consistent and much better than the ones on a competitor’s console. We didn’t have to bring in outboard gear or worry about automating a bunch of external reverb units to track the show. Everything was in the desk and it solved the problem very well for a complicated production.”

Before the desk left in the shop, engineer Rob Bass was able to spend a day setting it up with Coes, laying out the basics and building snapshots. Also a newcomer to the DiGiCo format, he too was pleased with what it had to offer to manage the intricate show. With approximately 70 inputs for everything in the show including actor mics, band mics and sound effects, they’re utilizing 48 outputs.

“We’re basically using our aux sends strictly as outputs,” Bass explains. “We’re using all of our aux outputs as mains in the way we’re set up, and the fact that we’re able to set up that many outputs without losing what we needed for inputs was a big help. Charles set it up so we do all the delay matrixing after the console. It’s all done back at the racks before we send it to the speaker processing, so all the outputs are sent to specific points in our outboard matrix and that’s basically set up to do different vocal delays on the stage, separate band outputs, for the surround speakers, and we have 16 channels that are all sent down a discreet output for the effects speakers onstage that double as foldback [stage monitors] for the actors. The band has monitoring outputs and we’re only using six reverbs, and all those have discrete outputs.”

Because the show strives for a more natural sound, Bass says they’re using a minimum of effects and mostly stock reverbs. “We don’t want it to sound very reinforced, so none of the effects are super prominent; it’s more about adding space for some of these live sound effects. We’re using about six reverbs for the different spaces we’re building, like on the underwater grotto where the mermaids swim. We have a trippy reverb on the piano that’s playing at that point. Basically we’re taking the stock reverbs and tweaking them to get what we want, and then EQing them over returns. The show itself uses a lot of live sound effects; the musicians are doing a lot of that as well as the cast, whether its different noises or vocally, so a lot of the time we’re just putting reverb on that. I like that I can get around the desk pretty quickly and it was easy to dial it all in to have everything at our fingertips.”

“I was a huge fan of the flexibility of the console,” added sound designer Darron West. “Especially on a show as complicated and as dense as Peter and the Starcatcher. There was never a moment in tech rehearsals when a request was made by me that Charles or Rob said we couldn’t do… which is also a testament to the system, and the DiGiCo was indeed the heart and soul of that.”

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Sennheiser & Paste Create Intimate Performance Space at Newport Folk Festival®, Showcasing A New Generation of Inspired Artists

Newport, RI – August 2, 2012 – Since its founding in 1959, the annual Newport Folk Festival® has served as a beacon for devout music fans and artists around the world. Last weekend, audio specialist Sennheiser and Paste Magazine introduced festival attendees to the Sennheiser Sound Lounge at The Paste Ruins, where they were able to experience up-close and personal performances from their favorite artists through a pair of Sennheiser RS 120 wireless headphones. 29 of the festival’s 45 performing artists took part in the performances — including Of Monsters and Men, Tom Morello, Jonah Tolchin and many others.

The two-day recording session — which was open for music fans to view and experience first-hand — took place in a grotto-like alcove located in the quad of Fort Adams State Park. Despite the acoustic challenges of having a live sound stage located just 100 yards away, fans attending the Sennheiser Sound Lounge were able to enjoy intimate performances courtesy of the Sennheiser wireless headphones, which were fed a live stereo mix of the multi-track recording sessions in progress. Clips of the performances will be made available for viewing via Sennheiser’s social media outlets beginning in two weeks.

“The Sennheiser Sound Lounge at the Paste Ruins was a huge draw at the festival this year,” commented Tim Moore, artist relations manager of Sennheiser. “It gave music fans the opportunity to discover and experience a new generation of heartfelt music in an incredibility intimate environment. Having the Sennheiser wireless headphones on hand also helped deliver the true sound that today’s music fans crave.”

In addition to having over 300 pairs of Sennheiser wireless headphones on hand for fans to enjoy authentic sound quality, a special VIP section was set up where listeners could audition an assortment of the company’s audiophile headphones, including the HD 600, HD 650, HD 700, HD 800 and the new Amperior.

Sennheiser, which owns the leading microphone brand Neumann, also used its technology on the stage wherever possible to ensure that the best possible sound quality was captured at the source.

Nick Purdy, publisher of Paste, commented: “When you come to a festival, you don’t expect to be able to get 10 or 20 feet away from the artist and experience a close, intimate performance apart from what they may do on the big stage. By partnering with Sennheiser, who helped create the environment while providing microphones, wireless headphones and other equipment, we were able to create one of the more memorable highlights of the festival.”

Singer/songwriter/guitarist Jonah Tolchin, who performed on the second day of the festival, found the Sennheiser Sound Lounge / Paste Ruins performance space particularly inspiring. “This is just incredible,” he said. “In this environment, with all these great mics, you are so zoned in and focused with all your heart and soul.” Tolchin recently released his debut album entitled Criminal Man, which was recorded using Neumann microphones. “The sound was very crisp and clear — I got true sound out of these mics and my music is true. So it was a good pairing!”

Photo captions:
1. Music fans peer over the bales of hay to view performances in the Sennheiser Sound Lounge.
2. A ‘behind the scenes’ view of a recording session by Jonah Tolchin.
3. Music fans experiencing the true sound of Sennheiser.
4. Over 300 Sennheiser wireless headphones were put into use during the Sennheiser Sound Lounge / Paste Ruins event at the Newport Folk Festival®.
5. Jonah Tolchin and all the other performers were miked with Neumann and Sennheiser microphones. Tolchin is pictured singing through a Neumann U 87.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website.

Media Contacts:

Jeff Touzeau
Public Relations
Hummingbird Media, Inc.
(914) 602-2913
jeff@hummingbirdmedia.com

Rachel Smolin
Public Relations
Sennheiser Electronic Corporation
(860) 434-9190, Ext. 180
rsmolin@sennheiserusa.com

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BenQ’s SmartEco(TM) Projectors Bring 3D Video to Life at Scouts’ Space Jam 6 Technology Education Event

Breakthrough Projector Technology From BenQ Puts 3D Video and Simulations on the Big Screen for a STEM-Focused Weekend Merit-Badge Earning

IRVINE, Calif. — Aug. 2, 2012 — BenQ America Corp. today announced that it is providing four MW712 SmartEco(TM) projectors for Space Jam 6, a science, technology, engineering, and math (STEM) focused education event for Boy Scouts, Girl Scouts, and Webelo Scouts. more

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Pro64 Network Manager Version 3.0 Now Available for Download

Free Software Update to Support New C4dio Digital I/O Card for the AllFrame

WEST CHESTER, PA, AUGUST 1, 2012—-Aviom’s Pro64® Network Manager™ version 3.0 is now available for download on Aviom’s website. This version of the software has been released in conjunction with the company’s newest product, the C4dio Digital I/O Card for the AllFrame Multi-Modular I/O System in order to support new features made available to the Pro64 Series product line with the addition of this device.

The C4dio Digital I/O Card is a 4×4 AES3 I/O card with BNC Word Clock Out, In, and In with Termination options. Six C4dio Digital I/O Cards installed in an F6 Modular I/O Frame allows the AllFrame to be configured as a 24×24 AES3 digital audio interface. When at least one C4dio Digital I/O Card is installed, the AllFrame can support external clocks. To support this new hardware, the Pro64 Network Manager version 3.0 is necessary.

Version 3.0 also supports Standby Mode with AllFrame devices in a Pro64 network. Standby powers down the F6 backplane while maintaining power to the networking engine, allowing the device to be serviced, cards to be changed, or service panel doors to be closed without interrupting network operation. Standby can be activated directly from Network Manager, from the front panel of the F6, or via a contact closure switch connected via Euroblock on the F6.

Pro64 Network Manager is a free download from Aviom.com/NetworkManager.

Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net®, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.

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StarTech.com’s New HD Video Capture Cards enables users to capture and convert an HDMI® Audio-Video source with resolutions up to 1080p

Lockbourne, OH – StarTech.com, a leading manufacturer of hard-to-find connectivity parts has announced the release of two new HD Video Capture Cards – a PCI Express Video Capture Card (PEXHDCAP), as well as an ExpressCard Video Capture Card (ECHDCAP). While both cards support full, high-definition (1080p) video capture, the PCI Express Capture Card supports both digital and analog video input support with built-on HDMI and DVI input ports, and includes the necessary adapters for converting and capturing video from VGA or component video sources.

“Both of these capture cards are in demand, because they’re capable of supporting 1080p video capture” said John Mardinly, Senior Product Manager for StarTech.com’s audio-video product line. “The PCI Express capture card offers unique value, because of the DVI and VGA capture capabilities it offers, which make it ideal for a wide range of applications including things like creating training videos or capturing video from a PC to put into training presentations or videos.”

Features of the new HD Video Capture Cards/adapters include:

• Support for full high-definition video capture, from HDMI output devices
• Analog video conversion and capturing (PEXHDCAP only), from DVI, VGA or Component video sources
• Full 1080p video capture
• HDMI audio or 2-channel stereo audio capture support
• Still image capture supported
• MPEG-4 and H.264 encoding
• NTSC and PAL system supported
• 16:9 and 4:3 Aspect Ratio support
• Supports the Adobe Premiere CS5 Plug-in for video editing
• DVI to VGA adapter included (PEXHDCAP only)
• HDCP Compliant

The PCI Express Video Capture Card (PEXHDCAP) and ExpressCard Video Capture Card (ECHDCAP) are available for purchase from leading technology resellers including CDW, Newegg.com, Amazon.com, PC Connection, and Insight and will also be distributed by Ingram Micro, Tech Data, D&H, SYNNEX and ASI. MSRP for the PEXHDCAP is $174.99 (USD) in the United States and $179.99 (CDN) in Canada and for the ECHDCAP it is $198.99 (USD) in the United States and $204.99 (CDN) in Canada.

For more information about this announcement, please contact Andrew Stephen at 1-800-265-1844 ext. 1248 or astephen@startech.com.

HDMI®, the HDMI Logo, and High‐Definition Multimedia Interface are trademarks or registered trademarks of HDMI Licensing LLC in the United States and other countries.

About StarTech.com
StarTech.com is an ISO 9001:2000 registered manufacturer of hard-to find connectivity parts including A/V products, computer parts, cables and server management solutions. Founded in 1985, StarTech.com has locations in the United States, Canada, The United Kingdom, Europe and Taiwan, servicing a worldwide market.

Lockbourne, OH – July 26, 2012 – StarTech.com, a leading manufacturer of hard-to-find connectivity parts has announced the release of two new HD Video Capture Cards – a PCI Express Video Capture Card (PEXHDCAP), as well as an ExpressCard Video Capture Card (ECHDCAP). While both cards support full, high-definition (1080p) video capture, the PCI Express Capture Card supports both digital and analog video input support with built-on HDMI and DVI input ports, and includes the necessary adapters for converting and capturing video from VGA or component video sources.

“Both of these capture cards are in demand, because they’re capable of supporting 1080p video capture” said John Mardinly, Senior Product Manager for StarTech.com’s audio-video product line. “The PCI Express capture card offers unique value, because of the DVI and VGA capture capabilities it offers, which make it ideal for a wide range of applications including things like creating training videos or capturing video from a PC to put into training presentations or videos.”

Features of the new HD Video Capture Cards/adapters include:

• Support for full high-definition video capture, from HDMI output devices
• Analog video conversion and capturing (PEXHDCAP only), from DVI, VGA or Component video sources
• Full 1080p video capture
• HDMI audio or 2-channel stereo audio capture support
• Still image capture supported
• MPEG-4 and H.264 encoding
• NTSC and PAL system supported
• 16:9 and 4:3 Aspect Ratio support
• Supports the Adobe Premiere CS5 Plug-in for video editing
• DVI to VGA adapter included (PEXHDCAP only)
• HDCP Compliant

The PCI Express Video Capture Card (PEXHDCAP) and ExpressCard Video Capture Card (ECHDCAP) are available for purchase from leading technology resellers including CDW, Newegg.com, Amazon.com, PC Connection, and Insight and will also be distributed by Ingram Micro, Tech Data, D&H, SYNNEX and ASI. MSRP for the PEXHDCAP is $174.99 (USD) in the United States and $179.99 (CDN) in Canada and for the ECHDCAP it is $198.99 (USD) in the United States and $204.99 (CDN) in Canada.

For more information about this announcement, please contact Andrew Stephen at 1-800-265-1844 ext. 1248 or astephen@startech.com.

HDMI®, the HDMI Logo, and High‐Definition Multimedia Interface are trademarks or registered trademarks of HDMI Licensing LLC in the United States and other countries.

About StarTech.com
StarTech.com is an ISO 9001:2000 registered manufacturer of hard-to find connectivity parts including A/V products, computer parts, cables and server management solutions. Founded in 1985, StarTech.com has locations in the United States, Canada, The United Kingdom, Europe and Taiwan, servicing a worldwide market.

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