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Archive for August, 2012

iStreamPlanet Named to Inc. Magazine’s List of Fastest-Growing Private Companies

New VP of Finance Takes Financial Helm

LAS VEGAS — Aug. 23, 2012 — Thanks to significant year-over-year growth, iStreamPlanet, a leading provider of live and on-demand streaming video solutions, has been listed on the “2012 Inc. 5000,” Inc. Magazine’s prestigious ranking of America’s fastest growing, privately held companies. The company was also ranked among the top 50 media companies on the list.

“iStreamPlanet grew out of the vision to revolutionize live broadcast video on the Internet, and in a short time we’ve amassed expertise that has allowed us to enjoy great success,” said Robin Cole, vice president of iStreamPlanet. “Appearing on this list of entrepreneurial elites is high praise, and the ultimate recognition of that success.”

iStreamPlanet counts among its customers some of the world’s leading sports, entertainment, and technology brands, including NBC, Turner Broadcasting, the United States Olympic Committee, AT&T, and Microsoft. In the decade since its inception, iStreamPlanet has become the managed-broadcast provider behind the biggest live and on-demand events, including the Vancouver 2010 Olympics, Wimbledon, the U.S. Open, the French Open, Tour de France, Sunday Night Football, TNT Overtime, PGA, NASCAR, and UFC on Xbox.

The esteemed rankings come as iStreamPlanet welcomes Laurie Cansler as vice president of finance to lead the company through its next phase of growth. Prior to joining iStreamPlanet, Cansler held a number of high-profile, high-impact financial positions in the technology industry during her nearly 25-year career. Most recently, she served as CFO at Likewise Software (since acquired by EMC), where she was responsible for all finance and business operations of the venture-backed company. Before that she worked at Brueggerman and Johnson, Seattle’s premier business valuation consulting firm, and spent more than 11 years at AT&T Wireless as a director on the finance team. A CPA and experienced financial management executive, Cansler’s expertise includes M&A transactions, corporate financing, and operational and planning initiatives.

More information about iStreamPlanet is available at www.istreamplanet.com.

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About iStreamPlanet
iStreamPlanet is a multiplatform managed broadcast solutions provider committed to bringing high-quality video experiences to connected audiences around the world. With over a decade of managed broadcast experience, iStreamPlanet has built a comprehensive offering of video workflow and content management products and services. iStreamPlanet’s innovative approach has been chosen by the world’s leading sports, entertainment, and technology brands including NBC, Turner Broadcasting, AMC Networks, the United States Olympic Committee, AT&T, Microsoft, and others. Founded in 2000, the privately held company is headquartered in Las Vegas with offices in Redmond, Wash., and London. More information can be found at www.istreamplanet.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

Photo Link: www.wallstcom.com/iStreamPlanet/CanslerLaurie.zip

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Haivision to Participate in IBC2012 Panel Discussion on Live Streaming of London Games

Panel of Experts From Haivision, iStreamPlanet, and Interxion to Discuss How Integrated Video Workflow Solutions Can Help Broadcasters Stream Live Events to Multiple Devices

MONTREAL and CHICAGO — Aug. 23, 2012 — Haivision, a global leader in advanced video networking and IP video distribution solutions, announced today its participation in a panel entitled “Live Streaming of the 2012 Olympic Games to Connected Devices: Enabling Olympic Rights Holder Broadcasters to Expand their Digital Footprint” as part of Sports Day at IBC2012. The panel discussion will include several industry leaders, and is scheduled for Sept. 8 from 4:00 to 5:30 p.m. more

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X2O Media Xpresenter(TM) Digital Signage Platform Drives New WVU Video Wall to Deliver High-Tech First Impression for Prospective Students

MONTREAL — Aug. 23, 2012 — X2O Media, a full-service provider of software, network management, and content services for real-time visual communication applications, today announced that West Virginia University (WVU) is using the company’s Xpresenter(TM) digital signage platform to drive a new 2×4 video wall. Located in the lobby of One Waterfront Place — home to the WVU Visitors Center, admissions office, and more — the video wall provides a personal welcome to prospective students on campus tours. more

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Symetrix Expands SYMNET Audio DSP with Radius 12×8

PORTLAND, OR- SEATTLE, WA-August 21, 2012- Symetrix announces the Radius 12×8, a Dante™-networkable, fixed I/O, open-architecture digital signal processor expanding the innovative SymNet platform.

Radius may be installed as a standalone processor or used in conjunction with SymNet Edge or third party Dante™ network enabled devices to achieve the scalability and flexibility needed to meet the specifications of the simplest to the most complex installations.

“The Radius 12×8 is an extremely powerful installed sound DSP making use of one of the industry’s most popular input/output form factors – 12×8,” said Paul Roberts, CEO. “In response to integrator feedback, the SymNet Radius 12×8 includes ARC-WEB, our simple yet powerful browser-based user control technology, compatible with Apple and Android smartphones and tablets.”

Audinate’s award winning Dante technology is leading the way networks are connected by transporting high-quality media over standard IT networks. Dante delivers a no-hassle, self-configuring, true plug-and-play digital audio network that uses standard Internet Protocols
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Lee Ellison, Audinate’s CEO remarks “Symetrix have done their research and is seizing the opportunity with the launch of the Radius 12×8, their second Dante enabled product to hit the market this year. “ Ellison adds, “With the new Radius, customers will be able to easily connect to the many other Dante enabled products now available which in turn offers a broader networked solution for everyone.”

Key Product Benefits and Features:
• Plug-and-play networking enables multiple Radius and Edge units to function as building blocks in a scalable system design, from one DSP to many.
• Easy transition to Radius 12×8 with advanced training available online 24/7 and Symetrix technical support staff available for design assistance.
• Twelve mic/line inputs, eight line outputs.
• Configure with SymNet Composer software with over 600 DSP modules.
• Internal gigabit and 10/100 switches eliminate the need for third-party switches in most systems.
• Network audio expansion using Dante protocol over standard IT networks. 64 transmit and 64 receive channels. Ultra low latency.
• User control: Symetrix ARC wall panels, ARC-WEB web app, SymNet SymVue, third-party touch screens.

About Audinate
Audinate revolutionizes the way that AV systems are connected by transporting high-quality media over standard IT networks. Using Audinate’s patented Dante networking solution, digital media networking just got easy. Audinate’s solution has been licensed by customers across the AV industry and can be found in installations and live sound applications globally. Audinate is a Promoter Member of the AVnu Alliance™. Audinate offices are located in US, United Kingdom and Australia. Visit www.audinate.comfor the latest news and information on the company.

Audinate is a registered trademark of Audinate Pty Ltd. Dante is a trademark of Audinate Pty Ltd.

About Symetrix
Sound professionals rely upon the performance, value and reliability of audio mixing, routing and processing products from Symetrix. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

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AVocation Systems 8×8 HDMI, 16×16 Audio Matrix is AV Distribution Powerhouse

AVocation Systems HDMI Matrix Masters AV Switching Issues

Designed for demanding audio set-ups, the new HX-0808HA/16 HDMI matrix offers simultaneous or independent routing and key/EDID management for fast, reliable HDMI and audio switching.

HDMI Matrix

Indianapolis, IN – CEDIA Expo 2012 – September 5-8 – Booth 5734 – AVocation Systems, Inc., a leading developer and manufacturer of professional grade audio/video distribution products, announces the Mountain Series 8×8 HDMI with 16×16 Analog/Digital Audio Matrix (HX-0808HA/16). The HX-0808HA/16 is the first digital matrix from AVocation Systems to include sixteen independently routable analog and digital audio inputs and outputs with volume control.

Living rooms, kitchens, media rooms, offices and even outdoor spaces require enhanced HDMI connectivity options as homeowners request the same content in every room, without performance loss. Reliable HDMI switching and routing is critical to meeting this demand. The new HX-0808HA/16 delivers whether an end user is watching one source but listening to another or routing a single source to multiple displays.

“Limitations are frustrating when you just want to enjoy music or video without interruption,” said AVocation Systems marketing manager Trent Mulligan. “Like with all our HDMI matrix products and accessories, we set out to create a reliable solution for common installer problems, while giving end users the functionality they crave. HDMI and audio switching may not be the flashiest technology, but people sure notice when it’s not working properly.”

Each of the eight HDMI, 16 analog audio (RCA), and 16 digital audio (RCA) inputs and outputs can be simultaneously or independently routed, providing enough distribution flexibility for the most demanding AV set-ups. The product’s internal management of HDCP keys and EDID’s ensures reliable and low latency switch times. The AVocation Systems matrix also takes signals from single key cable boxes out to multiple displays, not just one, a common failure of many matrix routers.

AVocation System’s Mountain Series 8×8 HDMI with 16×16 Analog/Digital is compatible with HDMI 1.4 and has support for 3-D content, all while providing up to 36-bit deep color with resolutions up to 1080p 60Hz pixel rates (225 MHz). Control options are IP, RS-232, USB, and Infrared. HDCP 1.1 compliant, the matrix is rack mountable (ears included) and consumes two rack units. AVocation Systems is also an ISPCS Plugfest Participant with a demonstrated commitment to interoperability.

AVocation’s bold shipping policy for The Mountain Series line of HDMI products includes a five-year advanced replacement warranty as well as a 100% money back guarantee. All products are made in the USA.

For more information, please visit www.avocationsystems.com or call 877-805-6639. You can also find them on Facebook, Twitter and Youtube.

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Hot-Shot Preset Camera Controller Designed for Lecture Capture Systems

Vaddio, the world leader in robotic PTZ cameras and specialty camera control systems, has once again revolutionized camera control for the classroom with the newly redesigned Hot-Shot Camera Controller. By adding control for Vaddio’s ClearVIEW HD-Series PTZ cameras, the Hot-Shot now meets both the technical and affordable requirements today’s higher education professionals demand.

“As the leader in camera control systems for education, we were given the challenge to provide a simple-to-use, low-cost single camera control system that could be deployed in not just one, but all classrooms equipped with lecture capture systems,” explains CEO of Vaddio, Rob Sheeley. “The Hot-Shot Camera Controller provides completely automated preset camera control for less than $1,000. Now schools can afford to have camera control in every classroom across campus.”

The Hot-Shot can control any of the Vaddio ClearVIEW HD-Series of PTZ Cameras and will support up to 16 presets. It’s used in conjunction with Vaddio’s preset trigger devices including the MicVIEW Mic Mixer/Switcher, StepVIEW Mats, AutoVIEW IR sensors, PresenterPOD and TouchVIEW. Triggering one of these devices will automatically send commands through the Hot-Shot to move the camera to a specified preset (wide-shot, lectern, whiteboard, etc.) When used with Vaddio ClearVIEW HD-Series cameras, setting a trigger also stores a preset inside the camera, creating a true low-cost single-camera lecture capture solution.

About Vaddio:
Vaddio is the leading manufacturer of specialty PTZ cameras and camera control systems used in the audiovisual, videoconference and broadcast industries. Your customers demand cutting-edge technology that’s simple to use. You want equipment that’s easy to install and reliable to operate. Vaddio serves integrators and operators alike – with broadcast-quality PTZ cameras and control systems that deliver the performance you need with the convenience you demand. More information can be found on the Vaddio website, www.vaddio.com or at (800) 572.2011.

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Dual DiGiCo SD7s Drive Monitors On Springsteen World Tour

It’s been nearly forty years since Springsteen’s debut Greetings From Asbury Park, NJ, and judging from the 3-hour-plus shows, sold-out arenas, and glowing critical reviews, both rocker and band [minus the late, beloved saxophonist Clarence Clemons and keyboardist Danny Federici] are still regaling in their ‘Glory Days.’ With the Wrecking Ball Tour, in support of their 17th studio album, Springsteen & Co are heading into a two-month U.S. fall stadium tour following a massive world tour that started in March of 2012 taking them around the globe. Solotech US Corp. is the tour’s production provider.

Critical monitor mixes for the 18-piece band are split in two between engineers Monty Carlo and Troy Milner and for the first time ever they’re employing a pair of DiGiCo SD7s outfitted with the Waves SoundGrid bundle. At stage left is Carlo, who’s been with Springsteen since ’92, handling a mix of wedges and in-ears for Bruce, guitarists Steven Van Zandt and Patti Scialfa, keyboardist Roy Bittan, background vocalists, and a five-piece horn section. Milner, onboard since 2001, is at stage right taking care of drummer Max Weinberg, guitarist Nils Lofgren, bassist Garry Talent, keyboardist Charlie Giordano and multi-instrumentalist, Soozie Tyrell.

The engineers specifically chose the SD7 for its flexibility and ability to grow with the size of the production, including the massive amounts of I/O capabilities that it offered. Onboard features from snapshots to multiband compressors and the Waves pro plug-in bundle offered lots of extra functionality.

“From 2002-2009 we used Yamaha PM1D’s for monitors,” Carlo explains. “Since then, our band has grown from 9 musicians to 18 on this tour with the occasional guest on top of that. We needed something that could handle a large number of inputs, (over 100), and a massive amount of outputs, about 56 on each side of the stage. The DiGiCo SD7 was the only console I found that could accomplish what I was going to ask of it. Before this tour, I’d never actually mixed on a DiGiCo of any variety. I spent some time in the past year building the console with the Offline Editor and getting familiar with its layout and feature set. In November 2011, I got together with Troy in Nashville and we spent a couple of days with Matt Larson getting a hands-on training session with the desk. Following that, we spent the first 3 months of 2012 in rehearsals and doing some small promo events (Grammy’s, Jimmy Fallon and SXSW Festival). With the addition of a horn section and percussionist a lot of songs ended up with slightly different arrangements and we spent a fair amount if time working through the new album since not many of the band members had worked on it in its entirety.”

“We needed consoles that could handle a lot of inputs and outputs and be flexible,” adds Milner. “Before rehearsals began, we still didn’t have a concrete plan for what was going to be needed as far as band members and layouts. Things were constantly changing even into the first run of shows. I used the SD7 last year with Garth Brooks—and the D5 on numerous tours with Michael W. Smith, Mercy Me, and Amy Grant—and it performed perfectly.”

With approximately 96 inputs alone coming from the stage, plus effects and talkbacks, Carlo is managing about 112 inputs total from stage left. Being able to mix mono and stereo sources on the same fader bank as I want to see them on the desk is a huge deal for him. “I love not losing two faders to a stereo input or output as used to happen on the 1D. The level you can customize the surface is so flexible and easy to change that as your input list and band grows you aren’t stuck simply adding channels at the end of the console. Being able to rebuild the desk in a way that better suits your workflow in mid-tour is a great luxury. Plus, the multiband compressors on each channel are a great tool that I’ve been using more than I thought I would.”

Carlo’s got his favorite Waves plug-ins. “On my in-ear mixes I use the C-6 compressor and Kramer PIE compressor across the mixes. I’m using the H-EQ as an insert on Bruce’s vocal channel to allow me to get a few additional bands of EQ that I can use for tight notches on troublesome frequencies. For effects I’m using H-Delay, TrueVerb and Renaissance Verb. I’m also using GTR Stomp and Amp plug-ins on Bruce’s guitar lines in case of a problem with his amps/cabinets on stage.”

Over at stage right, Milner mixes a staggering 140 inputs, comprised of a fair amount of effects for drums and guitars, in addition to a combo of wedges and in-ear systems, including Shure PSM1000′s for ears and a mix of Audio Analysts wedges consisting of SLP115, SLP212, plus a couple of double Audio Analysts 18″ sub cabinets for drum subs.

“I double assign the drum inputs so I can tailor them for the drummer independently from everyone else. Again, another great super easy feature on the SD7. One of the biggest challenges on this tour is just the large amount of inputs and outputs we have to deal with up onstage. We have settled in now but we still have plenty of options to easily add, change or move things around without reinventing the wheel. We also have a great Talk Back system for all the techs and backline guys that are in our ears at all times, so we can be attending to issues before anyone is even aware what is happening.”

Milner’s found a plethora of onboard features and functionality helpful in his day-to-day workflow. “Being able to assign the rotary knobs on each bank to a specific function is very handy. I’m using one row for Compressor Thresholds and on my drum input bank I use one row at my Gate Threshold. Max Weinberg is a very dynamic player and I’m constantly adjusting those gates for each song and throughout each song to keep things under control for him. Also, having the ability to move any fader to any place on the desk is so great. After mixing a few shows, I learned that just moving a few inputs to other banks and reordering my outputs could vastly improve my current layout. Such a great feature! I’m also finding all kinds of new things to use the Macro Keys for now. One is that between songs when the stage is dark, it can be a little hard to see the band onstage, so I have macro key that dims all the lights and monitors down so its easier to see what they might need. Also, using a Macro Key to switch the extra video monitor inputs. I’m getting a full production feed as well as other feeds and I can just use a macro to select the one I need for any given song.”

“For most of my reverbs I’m using the Renaissance Reverb and it sounds great in every application—from drums to background vocals to horns. I’m also using the SuperTap for some delay/slap effects on the drums and horns. The Waves C6 is one of my go-to plug-ins for just about anything, and I’m using it on the snare and toms to shape the sound in the ears and also on some vocals. The CLA-76 Bluey is another favorite, and the list goes on and on. It’s great to be able to easily try out all these fantastic plug-ins on inputs and or outputs to see what works for each application.”

One of the biggest challenges with the Springsteen show is the set list, which they receive literally 5 minutes prior to the start of the show. Not only does it change from night to night, but also during the show, Bruce can veer off the list at a moment’s notice. The snapshot feature has become invaluable for both engineers.

“With the PM1D, I had a sheet with all my scenes that I would have to jump around during the show,” Carlo recalls. “With the SD7′s snapshot panel, I can order the list as Bruce intends to do the show, but then when he decides to jump to something off the list, it’s as easy to get to as typing the first letter of the song until I get to the desired snapshot. Right now, I’m at around 130 snapshots.”

“We never know what Bruce will do next or what song he will pull out, so being able to load those snapshots quickly is a challenge,” adds Milner. “I use the keyboard and just type the first letter of the song and it will jump through all those snapshots starting with that letter. Then you can fire the snapshot with the space bar very quickly. This is usually not a problem on other tours but with over 150 snapshots it can take time to go through them all. I have an external monitor hooked on the ‘B’ engine so with everything mirrored to the ‘A’ engine I can make sure I’m running in complete redundancy at all times.”

For both engineers, the SD7 has proved to be a reliable and accommodating asset for this complex and unpredictable production.

Carlo says he’s found the SD7 to be one of the most flexible consoles out there. “I can configure it to look and operate exactly the way I need it to depending on what type of show/band I’m going to be mixing on it. It sounds great, it’s warm and full without any brittle or sterile characteristics that other consoles sometimes have. Looking ahead, and depending on the show, I might be inclined to try something a bit smaller than the SD7, however, the redundancy inherent in the SD7 with its dual engines and power supplies is a solid feature.”

Milner agrees. “Absolutely, I’ll be using DiGiCo again. They sound great and are so flexible to use especially with a large number of inputs and outputs and with all the different SD console options out now, it makes finding the right desk for each application simple. On this tour, the band seems to be really happy—and with 18 people on stage and all those open mics things can get messy really fast. We seem to have found a good balance for each band member and what works for them on any given song. The SD7 sounds great and is very neutral-sounding. It doesn’t seem to color the sound at all which is nice. You can start with the source and if that sounds good, then you know things will sound great with the console. I don’t know of any other desk out there right now that can do what we are asking of these consoles. With 140 inputs, 52 outputs and around 150 snapshots (and that number is always growing) we are making these desks earn their keep!”

DAMMY(tm) Awards Nominees Revealed

Createasphere’s Digital Asset Management Gala Brings Record Number of Entries to Coveted Awards

(BURBANK, CA) Createasphere will honor the very best in digital asset management during the Third Annual DAMMY Awards Ceremony on September 28, 2012, in Manhattan. The DAMMYs are the first-ever awards created specifically to recognize pioneering individuals and organizations involved in innovative content management technology and processes.

The DAMMYs have grown in stature to become the leading accolades in the increasingly crucial asset management arena, and this year’s Call For Entries attracted a record number, up nearly 30% from last year. Awards are presented in five categories, including the coveted DAMMY of The Year Award, bestowed on an industry visionary.

The Nominees for the 2012 DAMMY Awards are:

Best Storage, Archive and/or Preservation Solution
* Crossroads Systems
* TOLIS Group, Inc.
* Avid Technology
* Amplidata
* Sportsman Channel
* Yale University – Digital Infrastructure
* Tunespring
* McDonald’s Corporation

Best Strategy Ease of Use for End-User Interface
* DMS
* Industrial Color
* BrandWizard
* Conde Nast
* Sesame Workshop
* Catalina Marketing
* Tone Visuals, Inc.
* Sportsman Channel
* TuneSpring

Best Example of Asset & Media Repurposing
* BrandWizard
* Travel Alberta
* GA Communications
* Tone Visuals, Inc.
* In Transit Images
* MediaMIne, LLC.
* Sportsman Channel

Best Strategy or Solution for Digital & Media Asset Management During the Acquisition of Content
* Database Publishing Consultants, Inc. (DPCI)
* The Wall Street Journal
* Net-a-Porter
* Tag Worldwide
* MediaMine, LLC.
* Sportsman Channel
* McDonald’s Corporation
* Tunespring

DAMMY of the Year
* Robert W. Noll, NOLLTEC D5 Group i. F.
* North Plains Office of the CTO (Steve Sauder, Scott Seebass, Mohan Taylor), North Plains Systems
* Jason Wehling, NetXposure
* Robin Rusch, BrandWizard
* Steve Cronan, 5th Kind
* Eric Rennagel, Conecture Technologies, LLC
* Joseph Bachana, Database Publishing Consultants, Inc. | DPCI
* Barry Snyder, MediaMine, LLC
* Lanita Haag, Widen Enterprises
* Henrik de Gyor, Another DAM Blog & Another DAM podcast

Nominees and winners are chosen by a blue-ribbon panel of judges, recognized professionals in digital asset management. Judges for the DAMMYS are Fran Alexander, BBC Information and Archives; Lisa McIntyre, GSD&M; and David Riecks, ControlledVocabulary.com.

Createasphere’s Digital Asset Management Conference and Exhibition and the DAMMY Awards return to The New Yorker on September 27-28. The Conference presents unparalleled opportunity to explore specific products and engage industry experts at roundtable lunches, networking mixers and VIP events. More Information about the Digital Asset Management (DAM) Conference and Expo can be found at http://www.createasphere.com/En/DAM.

Tickets for the DAMMYs are $35 and include the awards show and lunch. For more information, call Createasphere at 818.842.6611 or visit http://createasphere.com/En/dammys.html. For registration and information for the Digital Asset Management Conference please visit http://createasphere.com/En/dam-ny-conference-home.html or call 818.842.6611.

About Createasphere
Createasphere is the premier business development partner for technology enabled entertainment, marketing, and communications organizations. We advance careers and technologies by connecting world-class professionals globally online and in person.
Createasphere was founded in 2001, and over the past decade has grown into a global company that in 2011 produced seventeen events over three continents as well as five websites. Createasphere became part of Diversified Business Communications in 2008, and now drives their entertainment, media, technology strategies and properties division. Currently, Createasphere produces the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the Executive Marketplaces for Houses of Worship in Los Angeles and Chicago; Post Production Master Classes in New York and Los Angeles, and the online news and content portals ProVideoCoalition.com and DamCoalition.com.

Connect with Createasphere on:
Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
Twitter (https://twitter.com/createasphere)
LinkedIn (http://www.linkedin.com/company/createasphere)
Vimeo (http://vimeo.com/createasphere)

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Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

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New PreSonus Headquarters and Research Facility To Arise in Baton Rouge

Baton Rouge, Louisiana, August 2012… On August 22, 2012, PreSonus Audio Electronics, Inc., hosted a groundbreaking ceremony for its new high-tech headquarters and research facility. Louisiana Governor Bobby Jindal led the list of guests of honor, attending in recognition of PreSonus’ contributions to the state and local economy.

A leading manufacturer of digital and analog hardware and integrated software systems for the professional audio market, PreSonus has expanded from 49 employees in 2009 to more than 130 employees worldwide, including the 80 full-time employees who are overflowing its current offices on Florida Boulevard.  According to PreSonus CEO Jim Mack, PreSonus has grown its revenues by more than 50% last year and is slated to enter new product categories to continue its growth.

Designed by local architects Ritter Maher, LLC, and developed by Moniotte Investments, the new 44,000-square-foot building—located at 19151 Highland Road—will cost approximately $8.3 million including land and development.  Completion is expected in the late summer of 2013. It will easily accommodate at least 125 employees—crucial because PreSonus is continuing to grow and hire—and offers many amenities that are not available in the company’s current space.

Among the unique features of this building will be a specialized high-tech recording studio/R&D space that is being custom-designed for PreSonus’ engineering and testing teams by the award-winning Walters-Storyk Design Group of Highland, New York. The 2,500-square-foot, state-of-the-art studio will feature a control room, a 500-square-foot live-sound room, two isolation rooms, a video-production suite, five test labs as well as a separate 1,500-square-foot live-sound room.

PreSonus’ rapid growth, local hiring, and emphasis on digital engineering qualified it for LED Digital Interactive Media and Software Development tax-credits. This program supports the creation of quality digital-engineering jobs that stay in the Baton Rouge community. Historically, companies like PreSonus have usually located on the East or West Coast. However, the tax-credit program has helped make it possible for PreSonus to grow and prosper in its home city, investing these funds in new engineering staff and in research and development. Many of the new hires are highly skilled digital-hardware and software engineers residing in the Baton Rouge area.

Much of the engineering team graduated from the LSU Engineering Department, and the company was recently named to the LSU 100 Fastest Growing Tiger Businesses. PreSonus also is working with LSU in an effort to develop local design talent through the university’s outstanding engineering programs and internships.

August 22 marks the beginning of the next stage of PreSonus’ growth and its continuing contributions to high-tech employment in Baton Rouge. Look for much more to come from this vibrant company.

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Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording software, hardware, and related accessories. PreSonus software, microphone preamps, signal processors, digital audio interfaces, mixers, control surfaces and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

 

Cobalt Digital to Offer Economical Single Card Dual-Channel Timecode Burn-In Solution

Visit Cobalt at IBC Stand 10.B27

FLEXIBLE SOLUTION TO DEBUT AT IBC

Urbana, IL – Cobalt Digital (http://www.cobaltdigital.com), manufacturer of award-winning 3G/HD/SD-SDI conversion gear for broadcast environments, has revealed plans to debut its 3G/HD/SD-SDI Dual-Channel Timecode Burn-In Inserter at IBC 2012. Chris Shaw, Cobalt’s executive vice president of sales and marketing, announced today from company headquarters in Urbana, IL that the 9392 single-card solution will be at IBC in Stand 10.B27 alongside new and groundbreaking technologies.

The 3G/HD/SD-SDI compatible 9392 allows individual RS-485 LTC inputs to be burned onto two independent SDI video streams, and up to 16 characters of static text onto program video. Setup and operation are easily achieved via software control GUI and Cobalt’s award-winning OGCP-9000 remote control panel. Program video can be selected and replaced either manually per-channel, or via an independent failover flat-field function upon loss of input. The generated flat field can be timed to match input format, or be set to provide any of several outputs. Timecode burn-in and text can be sized and positioned anywhere in the active video area using easy-to-use positioning controls.

In addition, the 9392 includes a 3×4 SDI output crosspoint, with SDI out A (channel A), SDI out B (channel B), or reclocked SDI In A routable to up to 4 SDI outputs. A 9391 single channel unit is also available.

Chris Shaw, evp of sales & marketing stated, “Cobalt’s product line is comprised of practical and economical solutions developed in response to market demand, and more specifically, our customers’ requirements. They tell us what they need – and want – to get the job done, and we deliver reliable products that address their challenges efficiently at a reasonable price point.

“The 9392 is yet another example. We’ve had numerous requests for a card-based dual channel timecode inserter from OB companies, studios, and post-production facilities and are happy to launch a module to suit their exact requirements,” concluded Shaw.

At IBC, Cobalt will also present a complement of ground-breaking products including the multi-award-winning LMNTS(tm), an exciting breakthrough in comprehensive transport-based loudness processing; SpotCheck(tm), an innovative transport stream compliance monitor; the new Blue Box Group(tm) series of throw down conversion modules, a new range of MADI cards including Embedder/De-embedder (with 192 x 192 crosspoint switch) and MADI DA, and both physical (OGCP-9000 and OGCP-9000/CC optimised for colour correction) and virtual remote control panels.

Cobalt Digital’s entire range of conversion products will be demonstrated at IBC Stand 10.B27.

Click on Harriet@desertmooncomm.com to schedule an appointment.

# # #

ABOUT COBALT DIGITAL INC.
Cobalt Digital Inc. designs and manufactures award-winning 3G/HD/SD conversion gear for the broadcast television environment. Distributed through a worldwide network of dealers, system integrators, and other partnerships, Cobalt products are backed with a 5-year warranty. For more information, visit http://www.cobaltdigital.com.

Company Contact: Chris Shaw, EVP of Sales and Marketing
+1-217-344-1243 / chris.shaw@cobaltdigital.com

Press Contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

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