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Archive for September, 2012

RTW SELLS 100 TOUCHMONITOR TM3 UNITS TO COLOGNE BROADCASTING CENTER

RTL Deutschland Group’s CBC Relies on RTW Loudness-Metering Systems

From left to right: Martin Leuenberg - Sales Manager RTW Mahmoud Chatah - Head of Marketing and Sales RTW Oliver Schmitz - CEO Schmitronic Jürgen Mölders - Head of Postproduction CBC

AMSTERDAM, SEPTEMBER 7, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce the recent sale of 100 TouchMonitor TM3 units to Cologne Broadcasting Center (CBC), a television production and broadcasting company with offices in Cologne, Munich and Berlin. CBC purchased the TM3s to help meet the German government’s upcoming loudness requirements for TV shows. Schmitronic, a Cologne-based expert provider of professional audio components, supplied the units, which CBC has already begun to install.

CBC initially planned to purchase approximately 80 TouchMonitor TM3 units, but after further studying its requirements, increased that number to a total of 100 units. According to Jürgen Mölders, head of post production at CBC, who manages nearly 70 post-production suites, when it came to purchasing new loudness meters, CBC, already a longtime user of RTW equipment, felt RTW was the obvious choice. “When we tested a prototype version of the TM3, we were quite taken by its simple and intuitive operation,” he says. “We typically use the TM3 units in editing suites. As the monitoring device is a separate hardware unit, the main screen is reserved for the primary edit applications at any time.”

Since the TM3 installation at CBC spans several stages, Mölders insisted on having the first shipment delivered late in May. “Internally, we already transitioned our production to the new loudness-metering systems in June,” he explains. “This means that our editing suites already comply with EBU R128, but for the time being, we’ve adapted the levels in Final Cut Pro to our previous standards, which are still applicable. Thus, we were well prepared for when German regulators began to enforce loudness regulations for all major TV stations at the IFA in Berlin on August 31.”

Jochen Wellnitz, senior sound engineer at CBC, says he and his team are very happy with the experience they’ve had during their first few weeks with the TouchMonitor TM3. “Operating the device locally using the touch screen is simple and quick,” he says. “When browsing presets, the graphical preview feature is truly handy.”

According to Mölders, in order to avoid operating errors, his team decided to use a single preset that the editor cannot change or modify at the workplace. “This ensures that the metering is based on the same specifications at all our editing suites,” he notes. “On the other hand, there are other workplaces such as post-production suites or special-purpose systems where multiple presets are available to our creative team.”

Andreas Tweitmann, CEO of RTW, says his company is thrilled with the sale. “CBC’s acquisition of the 100 TouchMonitor TM3 units reaffirms the company’s faith in RTW’s loudness monitoring systems. We are very happy about that. We are convinced that the latest member of our extremely successful TouchMonitor series will meet and surpass all expectations in practical use.”

The RTW TouchMonitor TM3 enables quick and easy loudness metering. The system comprises a display unit featuring a 4.3-inch touch screen for horizontal or vertical use and a separate interface box. The easy-to-learn operating concept allows for fast selection of presets that are configured using RTW’s Devicer DC1 software, which is available for Macintosh and Windows. In addition to PPM and true-peak instruments, the TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-2/1771, ATSC A/85 and ARIB. Instruments include single-channel and summing bar graphs, loudness range and numerical displays. The TM3 stereo version handles analog and digital audio; in addition, the TM3-6CH version also supports six-channel digital input. An upgrade option for stereo units is available.

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Clear-Com Introduces Eclipse HX at IBC 2012

Company Revamps Powerful Matrix Intercom Range to Deliver Ultra-Fast Software Performance, Intuitive Management and Higher Capacity for System Expansion

AMSTERDAM, SEPTEMBER 7, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, today unveils the Eclipse HX Digital Matrix Systems and Eclipse HX (EHX) Configuration Software at IBC 2012 (Stand 10.D29a). The distinct set of powerful matrix intercoms offers faster performance, simplified operations and administration and higher system capacity.

The Eclipse HX systems, comprising the Eclipse HX-Omega, Eclipse HX-Median and Eclipse HX-PiCo, as well as the EHX software, are based on the original, powerful and comprehensive Eclipse digital matrix platform. All retain the legacy platform’s unique integration capabilities. Additionally, Clear-Com’s V-Series panels, frame cards and interfaces are compatible with the new Eclipse HX range, providing a seamless logical upgrade path for existing Eclipse customers. What sets Eclipse HX apart from the original Eclipse line are improvements in the software architecture, user interface and system capacity.

“We are very pleased to introduce the new Eclipse HX systems and EHX software at IBC,” says Peter Stallard, Senior Product Manager, Eclipse, Clear-Com. “In broadcast facilities where matrix intercom systems and resources are often shared across multiple studios, having fast and highly intuitive systems is critical when scarce engineering resources are needed to execute system-wide changes reliably, in real-time and with minimal impact on system users. Also, the Eclipse HX systems have the ability to make changes on the fly, which is especially important in OB vans and other live operations.”

The Clear-Com Eclipse is the only intercom on the market with a highly advanced range of user key panels, frame cards, interface modules, seamless wireless integration and intelligent IP intercom connectivity. The new Eclipse HX systems and EHX configuration software offer:

Improved system performance and resource utilization for executing EHX software configuration changes in real time.
• Clear-Com has designed the EHX software for faster processing of configuration and routing cards. This optimizes system performance and speed.

An intuitive user interface and easier setup operations for a better, simplified user experience.
• New “Matrix Ports and Cards” screen for a more efficient setup process.
• New “Resource Chart” to display utilization level of system resources.
• Improved user-panel setup for easy drag-and-drop operation.
• Easier-to-use single-frame operation for an individual user.
• Easier-to-read fonts and vertical-font displays on V-Series key panels.
• User rights features for identifying user types and providing system access control to protect against inadvertent changes.
• Color tallies as indicators for IFB and telephone-assigned keys.
• New “Online Help” feature provides context-sensitive help within software.

Space saving and expanded system capacity.
• Eclipse HX-Omega and Eclipse HX-Median matrix port density has increased to more than 448 ports per 6RU frame, the highest density intercom matrices on the market.
• PiCo-Link provides intelligent audio linking between co-located Eclipse HX-PiCos to resources in just 2RU.
• System features split-mode operation for E-Que cards, making them more efficient when users want to use both E1/T1 trunks and FreeSpeak.
• MADI channels can be used for intelligent trunking.
• Logic Maestro and client-server mode have been bundled with the EHX Software.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analogue and Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

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Anton/Bauer’s New AB-HDRF System Makes IBC 2012 Debut

AB-HDRF System Offers Portable RF Solution

AMSTERDAM, SEPTEMBER 7, 2012—Anton/Bauer®, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, will be showcasing its new AB-HDRF System at IBC 2012 (Hall 11, Stand E55). This compact 5.8 GHz COFDM RF system can transmit a robust HD signal over great distances; all while being powered by Anton/Bauer batteries.

A collaboration between Anton/Bauer and Vitec Group sister company Integrated Microwave Technologies, LLC (IMT), Anton/Bauer’s AB-HDRF System is a COFDM transmitter that utilizes the 5.8 GHz frequency band. The AB-HDTX sends its signal directly to the AB-HDRX dual-diversity receiver or the DirectVu handheld confidence monitor/receiver. The unit’s size makes it ideal for reality-based, ENG/EFP and live event coverage.

“We are thrilled to debut this new system to the IBC community,” says Shin Minowa, vice president of marketing and business development, Anton/Bauer. “The response has been overwhelmingly positive thus far and we believe professionals love this system because it is compact, fits on the end of their camera and can be powered with their existing Anton/Bauer batteries, without adding much extra weight. We are proud to continue to offer solutions to help power our clients’ creativity, while protecting their investment.” As the system only draws about 15 watts, Anton/Bauer batteries, including the DIONIC® 90, HC and HCX, can be used with it to offer reliable power for extended periods of time.

The AB-HDRF System has an RF output of 100 mW and is capable of accepting a wide range of HD/SD video formats along with embedded audio from the HD-SDI output on the camera. The use of MPEG-4 compression allows the signal to travel a half-mile in line-of-site applications. The system offers users the flexibility to choose between 12 different channels in which to transmit, ensuring the least amount of interference. “This also allows multiple cameras to transmit to one central receive site,” adds Minowa. “In this application, a director can conveniently monitor different shots and make adjustments in real time.”

For more information on Anton/Bauer, visit www.antonbauer.com or call (203) 929-1100.

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight® 2, ElipZ®, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

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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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