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Archive for September 6th, 2012

Wowza Vice President Chris Knowlton to Co-Present Streaming Media Session at WFX 2012

Expert Panel to Discuss How Houses of Worship Can Get Started With Streaming Media Technology

EVERGREEN, Colo. — Sept. 6, 2012 — Wowza Media Systems LLC, the “Any Screen Done Right(R)” media server software company, today announced that Wowza(R) Vice President of Product Management Chris Knowlton will co-present a session titled “Expanding Your Reach Through Streaming Media: Why and How” at WFX 2012. The session will take place on Sept. 19 from 3-4 p.m. in room A313 of the Georgia World Congress Center in Atlanta. more

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Canon U.S.A. Introduces Its First Full HD IP Security Cameras

LAKE SUCCESS, N.Y., September 5, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, has introduced its first-ever line of Full HD IP Security cameras. Integrating sophisticated technologies derived from Canon’s world-famous digital cameras and HD lenses, the four new products include:
• VB-H41 pan/tilt/zoom IP camera with a 20x wide-angle zoom lens
• VB-H610VE fixed vandal-resistant IP 66-rated IP dome camera
• VB-H610D fixed indoor IP dome camera
• VB-H710F “box” style fixed IP camera

All feature class-leading low-light performance, a Genuine Canon aspherical wide-angle zoom lens with optimal lens coating technology, a 2.1 Megapixel 16:9 aspect ratio widescreen CMOS image sensor, and a pair of proprietary Canon DIGIC processors: the powerful Canon DIGIC DV III image processor for exceptional picture quality with lifelike colors and tonal accuracy, reduced noise, and low power consumption; and the second-generation Canon DIGIC NET II network video processor, a powerful, highly efficient compression, encryption, and transmission engine for full 1920 x 1080 HD up to 30 fps simultaneously in both H.264 and M-JPEG.

Advanced Canon technology built into these four IP security cameras includes sophisticated analytic capabilities as well as ONVIF (Open Network Video Interface Forum) Profile S conformance for improved compatibility with other ONVIF-compliant third-party security products.

“Canon leadership in HD imaging technologies enables the Company to leverage its vast expertise in developing IP security cameras with exceptional picture detail and advanced digital features,” noted Yuichi Ishizuka, executive vice president and general manager of the Imaging Technologies and Communications Group, Canon U.S.A. “These new cameras provide outstanding imaging performance and sophisticated user benefits to address the needs of security professionals in a diverse range of applications and environments.”

High Definition, High Functionality
All four of Canon’s Full HD IP Security cameras are designed to capture high-resolution detail and color vital for obtaining crucial visual information for security purposes. Markets for these cameras include financial institutions, industrial plants and utilities, military and government agencies, airports and transportation centers, schools, retail establishments, and casinos. The advanced Canon DIGIC DV III image processor built into these IP security cameras optimizes image quality, providing Auto Gain Control, which limits the amount of gain added to the image to reduce “noise.” The new DIGIC NET II network video processor includes a multi-codec function for the simultaneous transmission of video in both H.264 and M-JPEG up to 30 frames per second. The Canon DIGIC NET II’s H.264 codec features an adjustable i-frame interval to optimize bandwidth and video-storage space. M-JPEG and H.264 can be output in multiple resolutions: 1920 x 1080, 960 x 540, and 480 x 270. M-JPEG can also be output at 320 x 240 QVGA resolution. The DIGIC NET II network video processor is also utilized for the cameras’ Smart Shade Control feature, which selectively brightens dark areas while maintaining accurate exposure of bright areas in high contrast scenes.

Each of the Full HD IP Security cameras also features built-in Video Analytics to assist in identifying potentially crucial details including moving, removed, and abandoned object detection as well as passing (or “tripwire”) detection. User-adjustable in terms of detection characteristics such as sensitivity, area and duration, Video Analytics can engage configured alarms and notification functions. Passing detection can, for example, issue an alert if a person or object moves past a user-preset line or polygon in the camera image, such as a doorway, window, driveway, or other boundary. All four cameras also feature Camera Analytics, which include detection of camera tampering and sound-level detection in the vicinity of the camera that may indicate vandalism or sabotage.

Additional features shared by the Canon VB-H41, VB-H610VE, VB-H610D, and VB-H710F Full HD IP Security cameras include a Privacy Mask function to block sensitive locations (such as ATM keypads or computer monitors) from the cameras’ view while still allowing for a full range of motion. The cameras also feature two-way audio connectors for bi-directional sound communication, built-in Management Tools, and a Web Viewer function for remote video monitoring by authorized users on supported web browsers such as 32-bit versions of Microsoft’s Internet Explorer 7, 8 and 9. The cameras ship with RM-Lite 2.0, Canon’s free network video and recording software for up to four cameras. A built-in SD Memory Card slot (supporting SD, SDHC, and SDXC cards) allows users to record still images or H.264 video during network outages, scheduled event triggers, or manually through Admin viewer (VB Admin Tools are resident on each camera’s web server). An Auto IP feature can automatically assign each camera a private IP address, allowing for connectivity without configuring each cameras network setting.

A valuable new feature shared by all four new models is Viewer PTZ, which allows a computer operator to magnify video from the camera for an even closer look at specific image details. Due to the high quality of Full HD video, video quality remains usable even when magnified. In addition to Viewer PTZ, the VB-H610VE, VB-H610D, and VB-H710F models are equipped with Digital PTZ, which uses the camera to trim or crop sections of the Full HD video image. The cameras can then digitally encode and transmit just those cropped areas, saving bandwidth. Compared with streamed video that is magnified on a computer using the Viewer PTZ function, the Digital PTZ function can reduce the overhead for computers because the video cropped by the camera is streamed, resulting in smaller file sizes. Digital PTZ supports a 16:9 aspect ratio at multiple resolutions, including 640 x 360, 512 x 288, 256 x 144, and 128 x 72 pixels.

VB-H41
Featuring a completely new structural design for increased durability with improved bearings and a flexible-cable assembly, the Canon VB-H41 Full HD IP Security camera includes a best-in-class Genuine Canon 20x optical zoom lens with 12x digital zoom, a wide 60.4º angle of view, and an improved Auto Focus algorithm to improve focusing accuracy in various difficult shooting conditions. Working together with a built-in thermal sensor, the VB-H41 Auto Focus algorithm also corrects for temperature changes in the installation environment. An electronic Image Stabilization feature minimizes blur that can be caused by vibration in the installation base, and the VB-H41 supports select third-party USB joysticks for controlling PTZ and presets. The VB-H41 can capture potentially crucial image detail in low-illumination environments down to 0.4 lux at F1.6 and 1/30 sec. in color* and 0.02 lux at f/1.6 and 1/30 sec. in black & white.*

VB-H610VE
The VB-H610VE fixed vandal-resistant Full HD IP Security camera is housed in a clear polycarbonate dome mounted to an aluminum body; this unified enclosure has a dust and water-resistance rating of IP66. The enclosure can also absorb violent impacts. Inside the enclosure, the VB-H610VE lens is mounted in a damping mechanism to protect it against heavy blows. The camera is designed for use in areas that may be subject to abuse, such as correctional facilities, public transportation centers, shopping malls, and schools. An optional heater allows the camera to be used in temperatures down to -22º F. The VB-H610VE also features a built-in Genuine Canon 112.0º wide-angle 3x optical zoom lens for clear, high-quality images. The VB-H610VE (and VB-H610D and VB-H710F) can capture potentially crucial image detail in low-illumination environments down to 0.3 lux at F1.2 and 1/30 sec. in color* and 0.015 lux at f/1.2 and 1/30 sec. in black & white.*

VB-H610D
As with the VB-H610VE, this camera has a built-in Genuine Canon wide-angle 3x optical zoom lens with an ultra-wide 112.0º angle of view, making it ideal for use in areas with severe space restrictions such as stairways, narrow halls, and elevators, as well as vast, wide-open spaces such as shopping malls or factory floors. The lens’s sophisticated aspherical optical composition and optimal lens coating technology enables it to produce high-quality sharp images with minimal distortion and flare. The VB-H610D is a versatile fixed security indoor dome camera suited for many IP security applications. Both the VB-H610VE and VB-H610D cameras also include a Remote Adjustment Function to change the angle of view (including pan, tilt, rotation, zoom, and focus) of the cameras from any remote PC, thereby eliminating the time and expense of on-site adjustments involving labor, transportation, and equipment.

VB-H710F
Designed with a traditional rectangular “box” look, the Canon VB-H710F Full HD IP Security camera also features a built-in Genuine Canon wide-angle 3x optical zoom lens with an ultra-wide 112.0º angle of view. A unique feature of this camera is its built-in motorized focus and zoom function, which enables users to adjust those settings. Convenient and labor-saving, motorized focus and zoom is a major benefit for challenging and/or large installation environments.

Installation Advantages
The Canon VB-H41, VB-H610VE, VB-H610D, and VB-H710F Full HD IP Security camera are designed to facilitate convenient installation. All provide ONVIF Profile S conformance for improved compatibility with other ONVIF-compliant third-party security products. All four cameras can be powered either with 24VAC, 12VDC, or PoE (IEEE 802.3af conformant).

Pricing and Availability
The VB-H41 PTZ camera, VB-H610VE fixed vandal-resistant dome camera, VB-H610D fixed indoor dome camera, and VB-H710F fixed indoor “box” camera have suggested list prices of $2,899, $1,569, $1,289 and $1,159 respectively1. Initial shipments for all new models are scheduled to begin in December, 2012.

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 more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010† 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.

* At 50 IRE with SSC (Smart Shade Control) off.

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

1 Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.

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Sennheiser Announces Broadcast Microphone Promotion for Customers Purchasing MKH 416 or ME66/K6 Combo

Audio specialist Sennheiser announced a new ‘election’ rebate promotion featuring its MKH 416 and ME66 shotgun microphones. Between September 1st and October 31st of 2012, customers who purchase a Sennheiser MKH 416 or ME 66/K6 microphone combo will be eligible to receive a Sennheiser HD 428 S portable, over the ear headphone free of charge.

This mail-in rebate promotion gives broadcast consumers a significant incentive to take advantage of the powerful sound, robust construction and ultra-reliable performance that Sennheiser shotgun microphones offer.

The Sennheiser MKH 416 shotgun interference tube microphone is one of Sennheiser’s most successful shotgun microphones. Its excellent directivity and compact design, high consonant articulation and feedback rejection make it an excellent choice for film, radio and television, and especially outdoor broadcast applications.

The ME 66, meanwhile, is a shotgun microphone designed for use with the K6 and K6P powering modules. It is especially suitable for reporting, film and broadcast location applications and for picking up quiet signals in noisy or acoustically live environments.

The HD 428 S are closed back, over the ear headphones that feature dynamic bass and high passive noise attenuation. They feature a crosshair design and rubber finishing on the earcups and high-output neodynium magnets for powerful stereo sound.

To learn more about the promotion, please visit http://www.sennheiserusa.com/electionrebate

Photo caption:
Sennheiser MKH 416 shotgun microphone.

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133rd AES Convention Workshops: Raising The Bar For Attendee Edification

iPhone Apps, Digital Cinema, Loudness Standards, “Up-Sampling…” & More

SAN FRANCISCO: Paramount on the ‘not to miss,’ lists of AES Convention regulars, the Workshops Program epitomize pro audio’s extraordinary diversity. Thanks to Workshops Co-Chairs David Bowles and Jeffrey McKnight, 133rd Convention attendees will benefit from a particularly robust program. “Dozens of worthwhile proposals are submitted each year,” says Committee Co-Chair Valerie Tyler. “Our Workshops Co-Chairs final picks will challenge visitors to budget their time in order to maximize their opportunities to expand their knowledge.” The 133rd AES Convention will be held in SF’s Moscone Center, Oct. 26-29.

Highlights of the 133rd AES Convention Workshop Program include ‘mini-tracks’ on Digital and 3D Cinema Sound, Loudness and on Height Channel (an AES 1st):

Cinema Sound in 3D: Chair, Christof Faller, author/co-principal IIusonic, Switzerland – Enlisting many key players currently involved with 3D cinema sound, this panel will outline their 3D Sound strategies, including impact on production and compatibility with legacy equipment, content, and signal format/coding. The workshop will include a discussion on MPEG’s efforts on 3D Sound compatible formats.

Reconsidering Standards for Cinema Sound – Alternatives to ISO 2969: Chair, Brian McCarty, Coral Seas Studios, Australia – ISO 2969 (aka, SMPTE S202), has been a cornerstone of the audio reproduction ‘B-Chain’ for many years. Like the RIAA curve, it was originally implemented to compensate for delivery defects. What are the implications for these standards and the B-Chain, as film shifts to Digital Cinema delivery, with full bandwidth soundtracks?

Post Production Audio Techniques for Digital Cinema and Ancillary Markets: Chair, Brian McCarty, head of the AES Technical Committee on Sound for Digital Cinema & TV – With the film industry’s rapid move to audio distribution in full-bandwidth, multi-channel, discrete format, post-production techniques to provide high-quality audio continue to evolve. This workshop will feature four leading sound post mixers (music, dubbing, and DVD-Audio) discussing changes being implemented.

Loudness Wars – The Wrong Drug? Presenter, Thomas Lund, HD Development Mgr. TC Electronics – Newly produced music rarely sounds good on fine speakers. Could the wrong mastering ‘drug’ have been used for decades, affecting Dynamic Range (DR) instead of Loudness Range (LRA)? Addressing the grim side effects of this question, the panel, will provide a unique perspective on the difference between DN and LRA from a technical, perceptual & practical POV.

Broadcasters Experiences In The Use of Loudness Standards: Lars Jonsson Swedish Radio – With the recent U.S. adoption of the CALM Act, Loudness Standards have reached the tipping point in audience awareness. This Workshop will bring together a group of leading international broadcasters to address the use of new EBU and ATSC standards on loudness.

Acoustics & Audio iPhone Aps: Peter Mapp, Acoustic Consultant, PMA – has designed this Workshop to survey the range of audio and acoustic measurement, calculation and related apps currently available for the iPhone, iPad and other smart phones. A member of the AES Technical Committee on Acoustics & Sound Reinforcement (TCASR), Mapp will review current apps, their uses and limitations

Mastering for Specific Music Genres: Andres Mayo Vice Chairman TC Arms – Mastering projects occasionally require an expert in a music style which has very specific parameters (dynamics, color, warmth, S/N ratio, etc.). Examples include, classical and regional music e.g. Tango, and powerful ‘bassy’ tunes created for clubs. This workshop will review those unique features, and also address mastering for vinyl and iTunes.

The Controversy over ‘Up-sampling,’ Boon or Scam? Vicki Melchior Audio DSP Tech Consultant, Boston – Many ‘high resolution’ Blu-ray, DVD releases, and HD download files are created by ‘up-sampling’ Redbook or 48kHz data. A practice that frequently draws vehement outcries of ‘fraud.’ And yet, ‘up-samplers,’ both hardware and software, are commonly marketed to consumers and professionals with the promise of boosting Redbook Sonics to near-equality with high resolution. What’s going on? A panel of top mastering engineers, DAC and DSP designers will discuss in depth.

Other 133rd Convention Workshop Program Highlights Include:

*Sound Design Tools for Multichannel Audio With Height: Wieslaw Woszczyk McGill U. Center For Interdisciplinary Research In Music Media.

*Recording Music In 9.1 Height Surround: Presenter, Morten Lindberg, Engineer/Producer Lindberg, Lyd.

*3D Audio Formats (Multichannel Sound With Height) Channel or Object Based? Presenter, Bert Van Daele

*Height Channel – Adding The Vertical Dimension To Surround Sound: Chair, Paul Geluso, Teacher, Chief Recording Engineer NYU Steinhardt

Multi-Microphone Applications & Testing In Telecommunications Systems: Bob Zurek Motorola

Spatial Audio Evaluation: Sean Olive, Director, Acoustic Research Harman Intl.

What Does an Object Sound Like? Towards a Common Definition Of A Spatial Audio Object: Frank Melchior, BBC R&D

MUSHA Reloaded: Presenter, Judith Liebetrau, Fraunhofer IDMT

What Every Sound Engineer Should Know About The Voice: Eddy Brixen EBB Consultant

New Delivery Mediums & How To Get There Safely… Or, Jumping On The New Media Express: Jim Kaiser Educator, Belmont U/Engineer, MasterMix, Nashville

Forensic Authentication of Digital Audio: Jeffrey M. Smith

*The Height Channel ‘Mini-Track’ will be held at Pyramind Media & Music Production School/Studio in the Bay Area’s trendy SoMa neighborhood.
In-depth descriptions of all the 133rd AES Conventions are posted on the Preliminary Calendar of Events http://www.aes.org/events/133/calendar/calendar.cfm

Photo: 133rd AES Convention Workshop Co-Chairs Jeffrey McKnight & David Bowles

###

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

133rd AES Convention Workshops: Raising The Bar For Attendee Edification

iPhone Apps, Digital Cinema, Loudness Standards, “Up-Sampling…” & More

SAN FRANCISCO: Paramount on the ‘not to miss,’ lists of AES Convention regulars, the Workshops Program epitomize pro audio’s extraordinary diversity. Thanks to Workshops Co-Chairs David Bowles and Jeffrey McKnight, 133rd Convention attendees will benefit from a particularly robust program. “Dozens of worthwhile proposals are submitted each year,” says Committee Co-Chair Valerie Tyler. “Our Workshops Co-Chairs final picks will challenge visitors to budget their time in order to maximize their opportunities to expand their knowledge.” The 133rd AES Convention will be held in SF’s Moscone Center, Oct. 26-29.

Highlights of the 133rd AES Convention Workshop Program include ‘mini-tracks’ on Digital and 3D Cinema Sound, Loudness and on Height Channel (an AES 1st):

Cinema Sound in 3D: Chair, Christof Faller, author/co-principal IIusonic, Switzerland – Enlisting many key players currently involved with 3D cinema sound, this panel will outline their 3D Sound strategies, including impact on production and compatibility with legacy equipment, content, and signal format/coding. The workshop will include a discussion on MPEG’s efforts on 3D Sound compatible formats.

Reconsidering Standards for Cinema Sound – Alternatives to ISO 2969: Chair, Brian McCarty, Coral Seas Studios, Australia – ISO 2969 (aka, SMPTE S202), has been a cornerstone of the audio reproduction ‘B-Chain’ for many years. Like the RIAA curve, it was originally implemented to compensate for delivery defects. What are the implications for these standards and the B-Chain, as film shifts to Digital Cinema delivery, with full bandwidth soundtracks?

Post Production Audio Techniques for Digital Cinema and Ancillary Markets: Chair, Brian McCarty, head of the AES Technical Committee on Sound for Digital Cinema & TV – With the film industry’s rapid move to audio distribution in full-bandwidth, multi-channel, discrete format, post-production techniques to provide high-quality audio continue to evolve. This workshop will feature four leading sound post mixers (music, dubbing, and DVD-Audio) discussing changes being implemented.

Loudness Wars – The Wrong Drug? Presenter, Thomas Lund, HD Development Mgr. TC Electronics – Newly produced music rarely sounds good on fine speakers. Could the wrong mastering ‘drug’ have been used for decades, affecting Dynamic Range (DR) instead of Loudness Range (LRA)? Addressing the grim side effects of this question, the panel, will provide a unique perspective on the difference between DN and LRA from a technical, perceptual & practical POV.

Broadcasters Experiences In The Use of Loudness Standards: Lars Jonsson Swedish Radio – With the recent U.S. adoption of the CALM Act, Loudness Standards have reached the tipping point in audience awareness. This Workshop will bring together a group of leading international broadcasters to address the use of new EBU and ATSC standards on loudness.

Acoustics & Audio iPhone Aps: Peter Mapp, Acoustic Consultant, PMA – has designed this Workshop to survey the range of audio and acoustic measurement, calculation and related apps currently available for the iPhone, iPad and other smart phones. A member of the AES Technical Committee on Acoustics & Sound Reinforcement (TCASR), Mapp will review current apps, their uses and limitations

Mastering for Specific Music Genres: Andres Mayo Vice Chairman TC Arms – Mastering projects occasionally require an expert in a music style which has very specific parameters (dynamics, color, warmth, S/N ratio, etc.). Examples include, classical and regional music e.g. Tango, and powerful ‘bassy’ tunes created for clubs. This workshop will review those unique features, and also address mastering for vinyl and iTunes.

The Controversy over ‘Up-sampling,’ Boon or Scam? Vicki Melchior Audio DSP Tech Consultant, Boston – Many ‘high resolution’ Blu-ray, DVD releases, and HD download files are created by ‘up-sampling’ Redbook or 48kHz data. A practice that frequently draws vehement outcries of ‘fraud.’ And yet, ‘up-samplers,’ both hardware and software, are commonly marketed to consumers and professionals with the promise of boosting Redbook Sonics to near-equality with high resolution. What’s going on? A panel of top mastering engineers, DAC and DSP designers will discuss in depth.

Other 133rd Convention Workshop Program Highlights Include:

*Sound Design Tools for Multichannel Audio With Height: Wieslaw Woszczyk McGill U. Center For Interdisciplinary Research In Music Media.

*Recording Music In 9.1 Height Surround: Presenter, Morten Lindberg, Engineer/Producer Lindberg, Lyd.

*3D Audio Formats (Multichannel Sound With Height) Channel or Object Based? Presenter, Bert Van Daele

*Height Channel – Adding The Vertical Dimension To Surround Sound: Chair, Paul Geluso, Teacher, Chief Recording Engineer NYU Steinhardt

Multi-Microphone Applications & Testing In Telecommunications Systems: Bob Zurek Motorola

Spatial Audio Evaluation: Sean Olive, Director, Acoustic Research Harman Intl.

What Does an Object Sound Like? Towards a Common Definition Of A Spatial Audio Object: Frank Melchior, BBC R&D

MUSHA Reloaded: Presenter, Judith Liebetrau, Fraunhofer IDMT

What Every Sound Engineer Should Know About The Voice: Eddy Brixen EBB Consultant

New Delivery Mediums & How To Get There Safely… Or, Jumping On The New Media Express: Jim Kaiser Educator, Belmont U/Engineer, MasterMix, Nashville

Forensic Authentication of Digital Audio: Jeffrey M. Smith

*The Height Channel ‘Mini-Track’ will be held at Pyramind Media & Music Production School/Studio in the Bay Area’s trendy SoMa neighborhood.

In-depth descriptions of all the 133rd AES Conventions are posted on the Preliminary Calendar of Events http://www.aes.org/events/133/calendar/calendar.cfm

Photo: 133rd AES Convention Workshop Co-Chairs Jeffrey McKnight & David Bowles

###

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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Moog Music Sponsors This Weekend’s Hopscotch Music Festival

Moog Music has announced it will be sponsoring this weekend’s Hopscotch Music Festival, which showcases some of North Carolina’s finest musicians while pairing them with notable national and international artists. Slated to bring over 10,000 attendees to downtown Raleigh, Hopscotch is the second biggest new music festival in North Carolina after Moog’s own festival, Moogfest.

“Hopscotch is doing great things for music lovers in our state by bringing boundary pushing artists to North Carolina and putting local bands on a larger platform. Moog has always supported musicians that aren’t afraid to take risks and we’re honored to support festivals like Hopscotch that showcase these artists. It’s a great time to be a music fan in North Carolina with Hopscotch and Moogfest happening almost back to back on the calendar,” said Emmy Parker, Moog Sr. Marketing and Brand Manager.
 
Moog’s Hopscotch stage at the Hive @ Busy Bee Café, will feature some of North Carolina’s most experimental genre bending musicians, including: Found sound sculptor, Feltbattery; avant-garde jazz trio, The Hot at Nights; DJ’s for change, Beat Report; heart breaking fuzz-folk outfit, The Toddlers; and experimental-electro-metal duo Tomas Phillips and Craig Hilton.
 
Festival goers will also get a treat when DJ, Producer, and founder of Fool’s Gold records, Nick Catchdubs, hits the Moog stage. Fool’s Gold has signed and supported some of the most influential and experimental hip-hop and electronic artists of the last three years, including Moogfest alumni, Chromeo. 
 
To show its support for music fans in its home state of North Carolina, Moog will be welcoming each Hopscotch ticket holder at Wrist Band City in Downtown Raleigh’s Sheraton Hotel with giveaways, a daily raffle of their handcrafted effects pedals and the chance to play Moog’s iconic analog synthesizers.

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HARMAN’s AKG Award-Winning HSC And HSD Headsets With Automatic Mute Function Continue To Reshape Broadcast Communication

AMSTERDAM, The Netherlands – With a continued focus on improving the quality of performance in professional audio/video markets, HARMAN’s AKG has unveiled the latest additions to its professional broadcast headsets – the condenser microphone models HSC 171 and HSC 271 and dynamic microphone models HSD 171 and HSD 271. Ideal for broadcast engineers, sports and news commentators, voice-over and recording artists, the latest line meets the high demand for efficient and reliable equipment in the industry with seasoned AKG ingenuity.

“HARMAN’s AKG HSC and HSD headsets incorporate features that have been directly requested by professional users, and offer excellent comfort, optimum ambient noise reduction and outstanding audio quality,” said Thomas Stubics, product marketing manager – recording and broadcast, AKG. “We’ve designed the HSC and HSD with comfort and usability in mind and each set will offer reliable service across the board.”

All four models have a closed-back earpiece design for high ambient noise attenuation and signal isolation. The HSC 271 and HSD 271 are circum-aural (around ear) and the HSC 171 and HSD 171 are supra-aural (on ear) designs. All have a detachable cable – if a cable becomes defective under the stress of day-to-day use, it can be quickly replaced without any tools.

Recognized as “Best of Show” by Pro Sound News at NAB 2012 in the US, each headset has a flexible microphone arm that moves through a 270-degree arc and automatically mutes the mic as it’s moved up, eliminating the need for a mute button. The HSC 271 and HSD 271 also feature automatic headphone muting once they are lifted from the user’s head. The microphone can be worn to the left or the right of the wearer’s mouth, and the microphone is shock mounted to attenuate mechanical noise and protect the capsule from damage.

All the headsets are compatible with a choice of optional available cables and connector types, for use in the studio, broadcast booth or on the field, with consoles, computers, camcorders, intercoms or other devices.

For more information, please visit http://www.akg.com

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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HARMAN’s JBL VTX Line Arrays Support BMW China’s Olympic Festival For Nation’s Athletes

NORTHRIDGE, California – Filling the Bird’s Nest National Stadium in Beijing with fans, athletes, country representatives and musicians, BMW China held a festival to cheer on the Chinese Olympic Delegation before the 2012 games in London. The event featured more than 100 BMW vehicles throughout the venue, with multiple performing artists and Chinese Olympic figures including Lang Ping, Yang Wei, Wang Liqin and Li Xiaoshuang.

Bejing TianYin CaiYun International Culture & Media Co., Ltd deployed HARMAN’s new JBL VTX line array system and VERTEC® line arrays to provide uniform sound coverage throughout the nationally-acclaimed stadium. Mixing the event were Jin Shaogang and Ma Xin, who were responsible for mixing the opening and closing ceremonies of the 2008 Beijing Olympic games and therefore already familiar with the venue and its demanding coverage requirements. Additional technical support for the event was provided by Advanced Communications Equipment (ACE), the largest HARMAN distributor in China.

The sound reinforcement system design featured four ground-stacked JBL VTX line arrays each consisting of four V25 line array elements and two S28 subwoofers for main VIP area coverage. Twelve additional ground-stacked
VERTEC line arrays, each containing three VT4889-1 line array elements and two VT4880A arrayable subwoofers, provided supplemental coverage for the lower seating areas and to cover the upper tribune of the stadium, eight line array clusters were hung, each consisting of eight VERTEC VT4888 midsize line array elements and two VT4882 arrayable subwoofers.

Crown I-Tech HD series amplifiers with built-in DSP processing powered the PA system. With Crown and its industry-leading flexibility, delay and equalization was easily adjusted during the event. At the front of house position was a Soundcraft Vi6 digital console, while Vi6 and Vi1 digital consoles were utilized for monitoring.

System design engineer Joe Rao of Bejing TianYin CaiYun International Culture & Media Co., Ltd commented, “This was the biggest production in the Bird’s Nest since the 2008 Beijing Olympic Games. Preparations for the one-night show took two weeks and it was a great event with superb sound quality and excellent coverage.”

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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RTW ADDS PRODUCT VIDEOS TO ITS WEBSITE

Demos Enhance User Experience, Further Educating Visitors on the Company’s Offerings

AMSTERDAM, SEPTEMBER 6, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, has incorporated video demonstrations of its entire product line to its website. The videos, available in both English and Chinese, were filmed during various trade shows during the year and offer visitors an up close look at the products in action.

“In addition to our commitment to producing innovative solutions for today’s broadcast technology needs, we are also firm believers in education,” says Mahmoud Chatah, director of sales and marketing, RTW. “Our website is a reflection of this commitment and it is why we decided to incorporate video demonstrations of each of products. Each video lives alongside each product’s specs, images and technical information, that way when a customer or potential customer visits our site, they receive a 360 degree view of our products.”

RTW’s current roster of products includes its groundbreaking TouchMonitor line of next generation loudness-compliant professional audio signal meters that consists of the TM3, TM7 and TM9 units. The TM3, the latest model, includes features of the larger TM7 and TM9 TouchMonitor versions, and is controlled using a touch-sensitive display. With its budget-friendly base price, a 4.3-inch touch screen and stylish exterior allowing for horizontal and vertical placement, the TM3 is a highly appealing, compact solution for editorial offices, edit suites and small control rooms.

In addition, RTW’s SurroundControl and SurroundMonitor series both continue to be popular solutions for today’s broadcast needs, implementing all major loudness standards, including EBU R128, ITU-R BS.1770-2/1771, ATSC A/85 and ARIB. RTW’s Loudness Range (LRA) instrument features the MagicLRA mode, a simple and intuitive view displaying integrated loudness and loudness variances within short time periods.

All of these product lines will be available for demos at the RTW booth, during the upcoming IBC 2012 show that kicks off on Friday, September 7, 2012 in Amsterdam.

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SSL Features “Live-Recorder” At IBC 2012

New SSL “Live-Recorder” Systems Deliver Up to 128 Channels of Ultra-reliable Live, Location or Broadcast Recording

AMSTERDAM – Solid State Logic is pleased to feature its Live-Recorder system at IBC 2012 (Stand 8.D83). Live-Recorder is designed for situations where a robust and reliable high-channel-count Recorder/Player is required in a live performance environment. It is ideal for live music recording from front of house consoles at live shows, in broadcast production studios and location recording vehicles.

Live-Recorder is also an excellent solution for live performance playback of studio recorded multi-tracks. Unlike any other solution, Live-Recorder exports/imports directly to/from Pro Tools™ .ptf, Apple™ XML and Steinberg™ XML project formats. System connectivity is via standard optical MADI so can connect over long distances directly to any MADI equipped Digital Mixing Consoles, Venue Audio Distribution infrastructure (Riedel, Optocore etc) or Routers. Live-Recorder systems can capture up to 128 Channels @ 24bit/48kHz or 64 Channels @ 24bit/96kHz.

“Live-Recorder presents significant cost-saving opportunities when compared to hard disk recorders or other DAW recorder systems,” says Niall Feldman, Director of New Products for SSL. “Live-Recorder excels when it comes to high channel count recording. It’s 4 SSD bay RAID configuration and Pro Tools format export and import capability offer exactly the workflow we know our customers need. The system offers exceptional power and flexibility in this budget-conscious era.”

The Live-Recorder system consists of a fully configured & soak tested 1U PC fitted with a 128 channel SSL MADI Audio Interface and with Soundscape V6.2 Recorder/Player software installed. Each system is supplied with a disk image making returning to a fresh system after each project simple and streamlined. The Live-Recorder PC is an extremely high quality 1U unit with 4 x front loading RAID bays pre fitted with SSD drives. The Live-Recorder system is connected to a FOH or Broadcast Production Console (directly or via a Router) using 2 x 64 channel Optical MADI connections. Live-Recorder supports MTC and MMC via MIDI over Ethernet for external system transport control and can sync via MADI or Word Clock (via BNC). Video Sync can be supported via low cost 3rd party hardware. The software also features advanced crash recovery routines which will retrieve incomplete audio recordings on reboot after a host system catastrophic failure such as sudden power loss.

Key Features
• Live and Broadcast Production DAW Recorder / Player
• Exports directly to ProTools® (8 & 9), Cubase/Nuendo, Final Cut and Samplitude/Sequoia
• Combination of DAW Recorder/Player software, MADI audio interface and host PC
• Connects directly to any optical MADI equipped device; Console, Router, etc
• 128 channel (2 x 64 ch I/O) optical MADI connectivity
• 128Ch@24bit/48kHz or 64Ch@24bit/96kHz recording
• Supports MTC and MMC Sync/Remote via MIDI interfaces or MIDI over Ethernet
• Unique crash recovery features
• Ultra stable software with exemplary SSL recording quality
• Live-Recorder MX4 includes versatile DSP powered software mixer & processing
• Add SSL Alpha-Link converters to Live-Recorder MX4 for local I/O & confidence monitoring
• Live-Recorder 128 option for environments where routing & monitoring is controlled upstream by a console or router.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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DPA Microphones Displays Range of Broadcast Microphone Solutions at IBC 2012

Company Also Raffles off brand new d:facto Vocal Microphone to Attendees

AMSTERDAM, SEPTEMBER 6, 2012 – DPA Microphones is highlighting its international reputation for distortion-free sound and ergonomic design at IBC 2012 (Stand 8.D70) by showing a range of high-quality microphones that are ideally suited to broadcast applications. Among the products on show will be DPA’s expanded d:fine™ headset microphones series, which recently won Live Design’s Sound Product of the Year Award, and the new d:facto™ handheld vocal mic, which debuted earlier this year.

IBC visitors will have the opportunity to win a ground-breaking d:facto vocal microphone. They must simply stop by the DPA stand and have their badge scanned. One lucky visitor will be chosen at random, and the winner will be announced and contacted after the show.

“With so many television programs now being delivered in High Definition and 5.1 surround sound, demand for high quality microphones for broadcast use has never been greater,” says Christian Poulsen, CEO of DPA Microphones. “DPA is internationally acclaimed for delivering the pristine sound quality that program makers and viewers desire. Our range includes microphones for a wide variety of broadcast applications, and we are confident that they are the best broadcast microphones on the market today in terms of both sound quality and design.”

Offering impressive gain before feedback and very stable construction, DPA’s unobtrusive d:fine headset microphones are easy to fit on any person, providing presenters and guests with a discreet microphone solution that can’t be seen on the face. The d:fine range is renowned for its audio accuracy and its ability to deliver natural voice intelligibility and consistent audio performance at all SPLs. The d:fine capsules are so small that they are virtually invisible, leaving presenters free to focus on their performance, safe in the knowledge that these hand-built microphones will deliver high-quality, distortion-free sound.

d:fine is available in both directional and omnidirectional options, in single or dual-ear designs and with long or short booms. Designed to fit comfortably, they adjust to accommodate any ear size and head shape, and can be mounted on either the left or right side of the head. Available in black, beige, brown and lime green, each solution performs spectacularly in either cabled or wireless settings and can accommodate a range of accessories including windscreens, power supplies and adapters or cables with fixed connectors (MicroDot, three-pin Lemo, TA4F mini XLR, Mini-jack).

DPA Microphones d:facto handheld vocal mic bridges the gap between live stage performances and studio recordings. Already put through its paces on several TV shows, including Voice of Denmark, a standard format TV show broadcast in several countries, the d:facto offers an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling. This microphone is ideal for live music broadcasting as it combines a supercardioid pattern with superb definition to give high separation and true sound color on stage. Similar to all DPA mics, d:facto features superior gain before feedback, while the inbuilt three-step pop protection grid effectively removes unwanted noise.

DPA is also showing its lightweight range of miniature microphones that are popular with broadcasters because they deliver excellent speech reproduction and can achieve quality pick up even when they are not directly aimed at the sound source. The company rounds out its line-up with its best-selling and versatile Reference Standard range of microphones that exhibit total transparency in any recording situation and are capable of picking up incredible detail and depth of sound.

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

For more information about DPA Microphones, please visit IBC Stand 8.D70. If you are unable to attend the show, please refer to the company’s website – www.dpamicrophones.com.

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Related Topics: Microphones, News, Tradeshows / Events |

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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