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Archive for September, 2012

Solid State Logic Appoints Dominic Jacobson as Area Sales Manager

OXFORD, UK – Solid State Logic is pleased to announce that Dominic Jacobson has been appointed Area Sales Manager serving different zones, such as South Europe, North Africa or India. Jacobson has an extensive background in sales of high-end gear to film post production companies, broadcasters and musicians/composers. He speaks both French and Spanish fluently and has worked extensively in India, Russia, the Middle East and Southern Europe.

“At SSL we pay close attention to our customers, so industry expertise and personal commitment are a must have for anyone joining the SSL team,” says Philippe Guerinet, director of international sales for SSL. “Dominic is greatly respected in many countries around the world because of his vast skill level and enthusiasm. He brings with him an excellent track record in equipment sales and hands-on studio experience, so he understands the needs of a creative studio environment from both sides of the glass. We are indeed excited to welcome him on board.”

Jacobson’s work experience includes Reuters, the international news agency, as a satellite coordinator; Thomson Netg, a company specializing in integrated corporate learning solutions, as a software localization engineer; Sony as a pre-sales/support technician for audio and video media products; and four years as a sales manager at Avid and Euphonix, selling professional mixing consoles.

Jacobson is also involved with music production and content creation including work with Charlie Watts and leading session drummer, Jim Keltner, as well as award-winning artists such as multi-platinum Japanese R&B singer, Misia, as well as Ursula Rucker and the group Tom and Joyce. He has performed remix and production work for major labels such as Sony, Mercury and Virgin, as well as for smaller labels such as Talkin’ Loud, Yellow Productions and K7. In addition, Jacobson is a successful composer, having penned the title music for the London Live show on the UK’s Channel 4, which is now in its eighth season, as well as composing content for advertisements and virals for Nike, Ford, Proctor & Gamble and LG.

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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Canon HD Digital SLR Cameras Provide Documentary Filmmakers With Creative Freedom

Documentary filmmakers have long agreed that the more inconspicuous the camera, the more “truth” it can capture. The proliferation of compact, highly mobile video cameras during the past 20 years has proven this to be true, but many of today’s documentarians not only want a camera that won’t intimidate interviewees, they also want a camera that can capture imagery that’s more cinematic. The filmmakers behind two of this year’s Oscar-nominated documentaries achieved both goals by using digital SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. Directors Danfung Dennis (Hell and Back Again) and Lucy Walker (The Tsunami and the Cherry Blossom) recently discussed the advantages of their Canon digital SLR cameras during interviews at the International Documentary Association’s Los Angeles DocuDay event. Each documentary took advantage of a different EOS DSLR and series of EF lenses to uniquely capture their particular stories. Dennis’ camera of choice was the EOS 5D Mark II, while Walker and her director of photography Aaron Phillips used an EOS 7D DSLR.

Hell and Back Again tells the story of a U.S. Marine Corps sergeant’s battle with post-traumatic stress disorder after his return from Afghanistan. The film combines combat footage shot by Dennis with intimate scenes of the soldier’s physical and emotional difficulties as he tries to readjust to everyday married life as a civilian in North Carolina. Prior to shooting the film, Dennis spent several years as a photojournalist covering both Iraq and Afghanistan with Canon DSLR cameras. An early adopter of the HD capabilities of the EOS 5D Mark II, Dennis built a stabilization rig for the camera that enabled him to shoot run-and-gun video while embedded with Echo Company 28 of the 2nd Marine Division in Southern Afghanistan.

“I have always been interested in how I could advance documentary cinematography so that it was closer to the methods and look of both still-photojournalism and narrative cinematography,” Dennis explained. “I was deeply moved by past war photographers, especially those from the Vietnam era. I wanted to borrow from the syntax of photojournalism, and then mold and shape it with cinematic HD to convey the emotional power of still images to give audiences a very direct, immersive feeling of what it’s like to go to war and then come home from it. Canon’s EOS 5D Mark II allowed me to do that, with extremely high-quality lenses and a small single-person set-up that enabled me to get into various situations ranging from combat zones to the home of an injured soldier. This type of visual medium helped me get into that person’s mind, and was very different from a traditional documentary look and feel.”

Technology and Trust
Upon returning to the U.S., Dennis rebuilt his EOS 5D Mark II camera-stabilization rig to be even smaller and less intrusive for capturing cinema vérité footage of the everyday lives of the sergeant and his wife. Shooting extensively in interior locations, Dennis had special praise for the low-light capabilities of the Canon 5D Mark II’s 21.1-megapixel 36mm x 24 mm full-frame Canon CMOS sensor, and for the Canon EF series lenses he used.

“The 5D Mark II’s sensor is incredible, I was pushing the limits of what’s possible with its low-light capabilities,” Dennis stated. “You can shoot at extremely high ISOs and still have a relatively clean image. I also used really nice Canon lenses, an EF 35mm f/1.4 and an EF 50mm f/1.2. Those L Series lenses allowed me to open it all the way up to f/1.2 in extreme low-light, push the ISOs quite high, and still get this incredible image without having to use any external lights. They gave me a shallow depth of field for conveying a lot of the emotions of the central character. In Afghanistan I primarily used an EF 24-70mm f/2.8, which gave me the diversity necessary to get wide and tight shots, without having to fumble and change lenses when there is a lot of dust and action going on. The EOS 5D Mark II and its EF lenses allowed me to work as one person with one rig and shoot an entire film.”

Equipment aside, Dennis hastened to mention another essential element of his documentary technique that goes beyond using a small camera with no intimidating movie lights. That element is trust.

“I think it’s really also about having that level of trust with your subjects, where they are willing to open up to you and let you capture something that is very personal and raw,” he noted.

Visual Haiku
Trust was also key to director Lucy Walker and DP Aaron Phillips’ interviews of Japanese earthquake and flood survivors in The Tsunami and the Cherry Blossom. Touring areas devastated by the 2011 Tohoku earthquake by car and on foot, Walker, Phillips, and their driver/translator carried their Canon EOS 7D cameras and minimal gear in backpacks, and were always careful to tell their interview subjects that they were filming video footage and not just taking still pictures.

“It was important for people to understand that we were shooting video, because you want them to be ‘on-board’ with what we were doing,” Walker said. “And even though they knew we were filming, the compact size of the Canon 7D and its familiar stills-camera appearance helped avoid any ‘intimidation’ factor. They felt comfortable, and you always want the scene to be about the people you’re filming – candid, honest, and emotional – and not about the crew and the equipment. The EOS 7D was absolutely super for us and we never really considered an alternative.”

“The Canon EOS 7D was liberating,” Phillips agreed. “I don’t think people would have been as receptive to us if we had a larger, traditional-format documentary camera. I think we would have been booted from many locations if we had a crew with boom poles and lights. The EOS 7D made us much more ‘human’ and sensitive to the situation.”

Walker and Philips shot interviews with survivors in the areas hardest hit by the disaster, juxtaposing that footage – and news video of the tsunami – with scenes showing the beginning of cherry blossom season, a cherished annual tradition in Japan. As the film’s website notes, The Tsunami and the Cherry Blossom is “a stunning visual haiku about the ephemeral nature of life and the healing power of Japan’s most beloved flower.”

A Cinematic Look
Walker and Phillips found that the 18-megapixel APS-C-size CMOS sensor in the Canon EOS 7D digital SLR camera was particularly well-suited not only for photographing the beauty of nature in bright outdoor settings, but also for shooting intimate, emotional indoor interviews in subdued lighting. “To have the option to shoot with no light and still get a gorgeous image was important,” Phillips related.

Lenses used for filming The Tsunami and the Cherry Blossom included a combination of Canon EF series models. “We used all Canon lenses, including Canon L-Series zooms: the EF 16-35mm f/2.8, the 24-70mm f/2.8, and the 70-200mm f/2.8,” he said. “We also used a Canon Extender EF 2x and did a little work with 24mm and 45mm Canon tilt-shift lenses.”

Crafting beautiful images for a documentary is as appropriate as it is for any other kind of film, Walker believes. There’s no reason why a documentary has to have a traditional “documentary” look. “People often think of documentaries as being poorly shot and low quality, but I like to think of documentaries as being potentially very beautiful,” Walker explained. “Just because it’s depicting real life doesn’t mean that it’s ugly. Aaron is the kind of cinematographer who can bring artistry to spontaneity, even when I am demanding that we move fast. I believe you should be able to deliver results that stand up to a big-screen cinematic blow-up and look absolutely stunning.”

Both filmmakers believe that this is a golden age for documentary production, due not only to the sophistication of cameras such as the Canon EOS 7D digital SLR, but also due to the elimination of the cost of film and processing made possible by digital recording and editing.

“The decreased cost is a huge advantage,” Walker stated. “You have the flexibility to shoot, experiment, and explore. We were translating Japanese as we went, which slowed the interviews, but we didn’t have to cut. This does make it easy to shoot too much content and get into trouble in post, but we didn’t. We had 46 hours of footage, which would have been totally unaffordable in film, but for us it was the absolute right amount to shoot, and a fabulous freedom. Now it is easier than ever to sculpt stories from scratch, and I credit the new digital tools of non-linear editing and affordable, cinematic cameras such as the Canon EOS 7D digital SLR as the reason why it’s such an exciting time to be a documentary filmmaker.”


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Jazz Artist Esperanza Spalding Chooses DPA Microphones d:facto™ Vocal Microphone for Radio Music Society Tour

Also Relies on DPA d:vote 4099 Instrument Microphones

LONGMONT, CO, SEPTEMBER 5, 2012 – Bassist and vocalist artist Esperanza Spalding is currently touring with her new group, the Radio Music Society, with a full microphone setup from DPA Microphones, including the new d:facto™ Vocal Microphone, which she is using for her vocal performances. Esperanza’s sound engineer Jaime Armengol chose DPA for the world tour because of the sound quality he knew he could achieve with the brand. In addition to the d:facto, Armengol relies on the full range of d:vote™ 4099 Instrument Microphones, and has employed them on piano, upright bass and saxophone.

Armengol is delighted with the performance of DPA’s new d:facto Vocal Microphone – and he’s not the only one. “Esperanza enjoyed the d:facto from the first minute she used it – and so did I,” says Armengol. “I didn’t tell Esperanza that I had changed her microphone at first. When we started a sound check, she said ‘what did you do with my vocal? It sounds much better and more natural.’ After that, we decided to make the full switch to d:facto, and Esperanza is now using it for her vocals during this year’s tour. Being able to use it is a wish fulfilled for me.”

DPA’s hand-held d:facto Vocal Microphone bridges the gap between live stage performances and studio recordings. Offering an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling, this microphone is ideal for live music performances 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.

“It is a very clean microphone, which is typical of the sound you expect from DPA,” continues Armengol. “I usually use a channel strip, and the clarity at all frequencies is really impressive. The frequency response cuts the lows appropriately, and it has a nice HF boost. It is evident that its capsule comes from one of the best mics ever – the DPA 4011 Cardioid Microphone. I was really impressed with the optimized proximity effect, and so far I have not had any problems with feedback or pop and handling noise. I also liked the linearity in frequency and phase and the impressive off-axis response. It is a powerful microphone and DPA has done a really good job!”

DPA’s d:vote is ideal for live performance settings requiring high-quality, discreet mics that are effortless to change. Building on the success of the highly acclaimed 4099 instrument clip mic series, d:vote features an enhanced shock mount to provide even better absorption.

“The d:vote’s are also really great,” Armengol concludes. “They give incredible results that everyone is very happy with.”

Esperanza Spalding draws upon many genres in her own compositions and has garnered numerous accolades for her musicianship and smooth, experimental sound. In 2011, she won a Grammy for Best New Artist, becoming the first jazz musician to do so, and her career also includes collaborations with great artists like Wayne Shorter and Joe Lovano.

To see Esperanza Spalding live in concert using the DPA d:facto, please visit this YouTube link: http://www.youtube.com/watch?v=iRipEPBsuTQ

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 the company’s website – www.dpamicrophones.com.

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Altincizme Provides HARMAN’s JBL VERTEC® Line Arrays and Soundcraft® Vi6 Console in Turkey for Efes Pilsen One Love Festival

Altincizme provided JBL VERTEC line arrays and a Soundcraft Vi6 front-of-house console for the One Love Festival in Istanbul, Turkey.

ISTANBUL, Turkey – Altincizme recently provided an extensive HARMAN audio system featuring JBL VERTEC® line arrays and a Soundcraft Vi6 front-of-house console for the One Love Festival in Istanbul, Turkey, produced by Pozitif Productions.

The One Love Festival took place at the famous Santralistanbul venue and celebrated its 11th consecutive year with performances by internationally renowned artists including Kaiser Chiefs, Pulp, Damien Rice and Kimbra.

The main PA system at the Festival featured 24 VERTEC VT4889 fullsize line array elements (12 per side), powered by eight Crown VRack complete amplification systems. A Soundcraft Vi6 console was used as the FOH console at the Festival.

“It was the smoothest VERTEC I have ever heard,” said Chris Leckie, FOH Engineer for Kaiser Chiefs, who has also used the Soundcraft Vi6 and Vi1 digital consoles for the band’s most recent world tour.

“I’m grateful to be mixing on a Soundcraft board and continue to love my job, which is the most important part. With the help of Soundcraft it only gets better,” Leckie recently noted.

Founded in the late 1950s, Altincizme (owned by Serdar and Serhan Altincizme) is the oldest and most successful systems-for-hire company in Turkey, supported by HARMAN’s Turkish distributor, SF Ses ve Isik Sistemleri Ltd.

For more information on Altincizme, please visit www.altincizme.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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LONDON, SEPTEMBER 5, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, will highlight the latest additions to its line of professional headsets, the CC-300 and CC-400, at PLASA 2012 (Stand I-F29). The CC-300 and CC-400 offer extra comfort, better performance and more flexibility for users who are constantly employing intercoms for long hours. The headsets are compatible with Clear-Com’s wide range of wired and wireless intercoms.

Personalized for Comfortable Fit
Continuously wearing headsets, while communicating with other team members over the intercom, can easily and quickly exhaust a user. The new Clear-Com CC-300 single-ear headset and CC-400 double-ear headset were designed to reduce fatigue while accommodating individual preferences, by offering a clear and comfortable audio experience.

The CC-300 and CC-400 headsets’ microphone booms can rotate 300 degrees, allowing the microphone to be worn on the right or left side of the head. Users can also make the headsets larger or smaller by manipulating the slide adjustments on either side of the headband. In addition, the enclosed headphones have very soft padding and a slight rotation to provide a better fit.

Balanced for High Performance
The CC-300 and CC-400 headsets are equipped with hyper-cardioid dynamic microphones and high ambient-noise attenuation headphones that deliver balanced audio performance to the user. The acoustic isolation capability significantly reduces external background noise. With a clear audio profile, including an up to 20-kHz frequency response, the new headsets are made for professionals who demand high-quality sound.

Flexibility for Operational Convenience
The CC-300 and CC-400 headset microphones can be powered on or off by moving the microphone boom. Users need only to pull the boom gently downwards to turn on the microphone and push the boom gently upwards to turn it off; providing a quick and simple mute to their intercom system.

Interchangeable cabling is another major benefit of the CC-300 and CC-400 headsets. Both headsets come with a standard four-pin female connector. Users can easily change the cable and connector at the base of the headset by using a Phillips screwdriver, in order to accommodate different connector types. The same process can be used to repair and replace a damaged cable on the fly.

“Busy crew members need a headset that they can slip on and immediately feel the difference in fit and performance,” says Stephen Sandford, Product Manager, Clear-Com. “The Clear-Com CC-300 and CC-400 deliver by providing long-lasting comfort and high-quality audio, and can be used in conjunction with virtually all of our intercom solutions.”

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 Analog & 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.

About HME
HM Electronics, Inc. is a diverse group of companies providing solutions that enhance productivity and customer service in markets including restaurants, sports and professional audio. Founded in 1971, we sell, service and support products in 89 countries worldwide, via company-owned offices in the U.S., Canada, Europe, and China, and an extensive network of HME-authorized distributors, dealers and service agents. Every day quick service restaurants take over 24 million orders using HME systems. With the recent acquisition of Clear-Com, HME is the world’s leading provider of professional intercom systems. To learn more, visit www.hme.com.

# # #

Heather Ball / Vanessa Sanchez
D. Pagan Communications, Inc.
+1-631-659-2309, ext. 19 / ext.24
heatherb@dpagan.com / vanessas@dpagan.com

Judy Cheng
Director of Worldwide Marketing
+1-510-337-6600 (number not for publication)

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Kramer Introduces the VS-88DTP High-Performance 8×8 DVI Matrix Switcher with Twisted Pair Outputs

Kramer's 8x8 Matrix SwitcherHampton, New Jersey – Kramer Electronics is pleased to introduce the high−performance VS−88DTP Twisted Pair Matrix Switcher for DVI signals. The unit reclocks and equalizes the signal, and can route any or all inputs to any or all DGKat twisted pair outputs simultaneously.

The VS−88DTP has a maximum input data rate of 1.65Gbps and is HDTV compatible. The VS−88DTP has eight DVI−D inputs on DVI−I connectors, and eight DGKat twisted pair outputs on RJ−45 connectors. The unit features Kramer’s re−Klocking™ & Equalization technology, which rebuilds the digital signal to travel longer distances.

The VS−88DTP has a system range of up to 225 ft. (90m) at 1080i, or up to 98 ft.m (30m) at 1080p on Kramer shielded BC−DGKat524 cable. On Kramer shielded BC−DGKat623 cable, the unit has a range of up to 295 ft. (90m) at 1080i, or up to 230 ft. (70m) at 1080p, and on Kramer shielded BC−DGKat7a23 cable, it has a range of up to 330 ft. (100m) at 1080i or up to 295 ft. (90m) at 1080p.

The VS−88DTP features Kramer’s DGKat™ Signal Integration – unique technology for converting digital TMDS signals such as DVI or HDMI as well as control and communication to signals that run over twisted pair cables. For best performance, Kramer strongly recommends using DGKat cables designed specifically for optimum range and compatibility with Kramer twisted pair transmitters and receivers.

The VS−88DTP provides convenient features for easy operation including a front panel lockout button. The unit can be controlled via the front−panel touch switches, through its serial RS−232 and RS−485 ports, via Ethernet, or by the included IR remote control. The unit also includes K−Router™ Windows®−based control software, and Windows®−based Ethernet Configuration Manager & Virtual Serial Port Manager. The unit has sixteen memory locations to store setups for quick access to the most frequently used configurations.

The VS−88DTP also features Kramer’s I−EDIDPro™ Intelligent EDID Processing™, an algorithm that ensures “Plug and Play” operation in DVI systems.

The VS−88DTP operates with a worldwide power supply, and is housed in a standard 19” rack mount, with “ears” included.

The VS−88DTP sells in the United States at a list price of $4,195 per unit. It is currently in stock and available from Kramer Electronics sales companies around the world. Complete product information for the VS-88DTP and for all Kramer Electronics and Sierra Video products can be found at www.kramerus.com.

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StrandVision Introduces New Version of its Digital Signage Software

Version 3.0 offers significant digital signage enhancements…

MENOMONIE, Wis. – Sept. 5, 2012 – StrandVision Digital Signage today announced Version 3.0 of its cloud-based electronic sign software to support its growing digital signage player network.

The new version offers enhancements for account setup and reporting, as well as day-to-day management. Installed and deployed over the Labor Day weekend, the update incorporates many subscriber recommendations and includes back-end enhancements that serve as a foundation for long term communication efficiency and customer reliability. These enhancements are automatically provided to StrandVision Digital Signage Subscribers for no additional charge.

“We’ve been delivering our patented StrandVision Digital Signage system to subscribers for more than nine years,” said Mike Strand, StrandVision founder and CEO. “And, as we’ve grown we’ve continued to enhance our digital signage software to offer more features, such as video and database capabilities, administrative and reporting tools, and content management enhancements. This new version further optimizes all of these capabilities creating a more efficient and reliable digital signage delivery environment.”

New features and capabilities include:

Digital Signage Content Management System (CMS) Setup and Reporting
• Enhanced reporting of changes to digital signage content
• Ability to create a report of electronic sign content playing on any account
• Ability to preview all signage pages, including those that are not currently published and that are scheduled or require approval
• An added intermediate user level in addition to beginner and advanced to match the experience level of the digital signage content designer
• Ability to set a background image and text and title colors for paragraph page types
• Ability to setup and listen to background music on the test drive
• An added copy page function
• Added ability to show RSS news feeds on the bottom news crawl in addition to the comprehensive capabilities on electronic signage pages
• Background upload of up to 10 digital signage images per digital signage content page
• Ability to add a photo to the left side, right side or randomly for most page types

Digital Signage Player Systems
• Automatic or periodic scheduling of player PC restarts
• Disable RSS news feeds with emails to content designers if there is no content available for 24 hours
• Improved responsiveness of emergency override schedules
• Improved responsiveness for digital signage subscription renewal
• Reduced bandwidth and optimized communication between Linux digital signage players and production servers in the cloud
• Allow schedules on mobile Linux digital signage player PCs that intermittently connect to the Internet

About StrandVision
StrandVision LLC, based in Menomonie, Wis., delivers low-cost, Web-based digital signage software through a patented Software as a Service (SaaS) approach that delivers content to subscribers’ LCD flat panel screens, as well as computer screens, websites and mobile devices. StrandVision’s service distributes text and graphics pages, video content and national and local weather and news. It is ideal for many large and small business marketing applications, including medical and dental offices (patient education); banks, retailers and industrial distributors (video merchandising); education (student communication, staff and visitor information); employee break rooms (employee communication of events and benefits); nonprofit and religious organizations (member and supporter communication).

StrandVision also offers PC-2-TV.net, a fully digital, high-definition (HD) video extender to connect a computer to a television over long distances for use with digital signage and many other applications. StrandVision Digital Signage services and PC-2-TV.net are available directly from StrandVision and through registered affiliates and system integrators. Additional information about StrandVision Digital Signage is available at StrandVision.com, 715-235-7446 or by email.


EDITORS – For further information:

Mike Strand
715-235-7446 X100

Sandy McLaughlin
Soucy Communications Group

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Stampede Brings Fall 2012 Big Book Of AV Tour To Five Cities Across The United States

North America’s largest ProAV dealer tour continues next Thursday, September 13, when Stampede Presentation Products, Inc. kicks off its Fall 2012 Big Book of AV Tour (BBOAV) with an event-packed program at the Sheraton Detroit Novi in Detroit, Michigan. Following its record-breaking spring tour, the Fall 2012 BBOAV Tour features more products, seminars, and special events, with every aspect specifically designed to help ProAV dealers better meet the needs of their customers. Dealers can register now at www.bigbookofavtour.com, where they can also find directions and a full list of raffle prizes. The Detroit event will be open from 9 a.m. to 1:30 p.m. EST.

According to Stampede President and COO Kevin Kelly, “The Fall 2012 Big Book of AV Tour is the only place that ProAV dealers can see the industry’s newest products and attend seminars focused on digital signage, low cost video conferencing, and touch technology all in one place. As the Big Book of AV grows, the tour grows along with it, and we’re excited to once again bring our dealers the latest and greatest products, insight and advice for creating and maintaining a successful and profitable business.”

With a catalog that now features more than 1,000 pages of the top ProAV solutions, Stampede continues to provide the largest range of ProAV solutions in the industry. “This incredible product selection means our dealers aren’t limited to choosing from just one or two solutions, and have a full range of options that help them create more customized solutions to satisfy their individual needs,” Kelly emphasized. “Add in our expert sales and support team that is expertly trained in ProAV, and you’ve got a winning combination that can’t be beat. We keep our dealers coming back for our expert advice and product selection, two things that we do better than anyone else in the industry.”

All attendees will receive a $50 AMEX gift card, plus an additional $25 AMEX gift card for each training session they attend, and will be treated to a continental breakfast from 9 a.m. to 11:30 a.m. and a lunch buffet from noon to 1:30 p.m. There will also be a prize drawing each hour, with the lucky dealers taking home a Samsung Galaxy Tablet, clean power processors, speakers, gift cards, or even a 42” LCD TV with a Sharp soundbar and Blu-ray player!

The 2012 Big Book of AV Tour will feature more than 40 exhibitors including Atlona, Benq, BrightSign, Canon, Chief, Christie, Draper, Epson, Gefen, Hall Research, Hitachi, Hitachi StarBoard, Ken-a-vision, Kramer, LG Panels, MediaPOINTE, Mitsubishi, Mustang, NEC, Optoma, Peerless, Perfect Path, Samsung, Sharp and Sony. Other stops on the Fall 2012 Tour include:

October 7, 2012 Kansas City, MO
October 24, 2012 New York, NY
November 8, 2012 San Diego, CA
December 5, 2012 Atlanta, GA

About Stampede
Known for its value-added distribution, Amherst, New York-based Stampede is the leading distributor of presentation equipment including LCD/DLP projectors and flat panel displays. Stampede provides a complete range of brand name presentation equipment to a variety of audio/video, computer, and home theater resellers and integrators in the United States, Canada and Latin America. These resellers rely on Stampede for value-added services in distribution, marketing and solution- based sales. Stampede annually produces the “Big Book of AV,” an 816-page catalog and companion website (www.BigBookofAV.com) providing hundreds of sales, installation and spec tips for Stampede’s dealers in addition to product details on more than 5,000 SKUs. For more information on Stampede, log onto www.stampedeglobal.com.

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Lifting the Sound at Lakewood: HARMAN’s JBL VTX Loudspeakers and Crown I-Tech HD Amplifiers Highlight Overhaul of America’s Largest Church for Pastor Joel Osteen’s Sermons

Covenant Communications recently upgraded the audio system at Lakewood Church in Houston, Texas with an extensive selection of HARMAN components including JBL VTX line arrays, Crown I-Tech HD amplifiers and BSS audio processing. Photo Credit: Brad Ricks

HOUSTON, Texas – Lakewood Church in Houston, Texas, the largest “megachurch” in the United States, recently received a complete audio upgrade to its 16,800-seat facility. Working with Shawn Mullins and Joe Smart of Houston-based sound contractor Covenant Communications, the team designed and installed a HARMAN audio system featuring JBL’s new VTX Series line arrays and subwoofers along with Crown Audio I-Tech HD Series amplifiers and BSS Audio BLU-800 signal processors.

Lakewood Church is led by senior pastor Joel Osteen, whose broadcasts reach more than 10 million viewers worldwide every week. The Church features a large stage at the front with floor and tiered seating all around. Lakewood Church moved into its current location (formerly the Compaq Center) in 2005, renovating the facility and sound system. However, as the Ministry grew in scope, over the past year church management including Lakewood Church technical director Reed Hall and senior audio engineers BK Beard and Brad Duryea realized the system needed to be upgraded.

“Pastor Joel Osteen uses a lavalier mic and moves around the stage quite a bit when giving his sermons. He wants to reach and engage every congregant. The audio system needs to be heard loud and clear in every part of the church,” noted Hall. “However, the existing system was a bit deficient in headroom and because lavaliers don’t have the output (gain before feedback) of handheld mics, it was sometimes a challenge to get a loud enough level from Osteen’s lapel mic. Management also felt that the coverage from the older system’s front fills was inadequate, and that the system was deficient in upper midrange and high-frequency clarity.”

Covenant first demonstrated Crown IT12000HD amplifiers on a section of the existing system. It made a “huge improvement” in headroom and clarity according to Smart, but didn’t solve all of the existing problems. Subsequently Hall, Beard, Duryea and Smart demoed various line array loudspeaker systems. “Nine months ago I knew nothing about JBL VTX line arrays,” said Hall, “but once we found out VTX was on its way we told each other we really needed to hear it.”

For initial evaluation purposes, Hall and key members of his audio team attended a VTX demonstration at the Forum in Los Angeles conducted by Paul Bauman, Senior Manager, Tour Sound, JBL Professional. Next they brought VTX V25 line array loudspeakers and competitors’ models into Lakewood Church to perform side-by-side comparisons, and chose the V25 after extensive auditioning. All were impressed by the high-frequency smoothness, clarity and extension of the V25 and its D2 dual-diaphragm, dual-voice-coil compression driver, as well as the massive amount of low-end the V25 provides, which enabled them to ultimately reduce the number of subwoofers they had planned to deploy and allowed them to select a 60Hz crossover point for the V25’s to achieve a better blend between the main speakers and the subwoofers.

The speaker complement selected for Lakewood Church includes 60 JBL VTX V25 line array cabinets and 20 VTX S28 subwoofers, flown in four arrays: main left-right V25 arrays of 20 enclosures each, two suspended arrays of 10 S28 subwoofers and two side arrays with 10 V25 loudspeakers each. The main left-right arrays curve down 90 degrees to cover from front seats all the way up to the back bowl of the church. In addition, 26 JBL VERTEC® VT4886 subcompact line array elements are employed—eight for sound reinforcement for the choir, 12 used as outfill and six deployed as front fill. A total of 73 Crown IT12000HD amplifiers power the entire system.

Hall feels that Lakewood Church is the best-sounding arena in the country because of its padded seats, sloping floor, and carpeting. However, the room has some hard surfaces surrounding the seats and achieving a tight low end proved to be challenging because of the existence of a number of metal-framed sheetrock partitions that have the potential to resonate. The V25’s tightly focused low-frequency output helped solve this issue.

Hall also found the system much easier to setup and configure than what was previously installed, thanks to the synergy between the JBL VTX loudspeakers, Crown amplifiers and HARMAN’s HiQnet System Architect™ and BSS London Architect programming software and communications protocol. When setting up the system Beard & Duryea went through every cabinet one by one, dialed in each group of speakers and then integrated the entire system, a process made easier by System Architect. Additional onsite support was provided by Allan Devantier, Manager, Objective Evaluation, HARMAN International, and Paul Bauman, and the HARMAN Audio Test System (HATS) was employed to calibrate and tune the Lakewood Church installation. With the improvements to the Lakewood Church audio system, Hall feels that the large facility now offers the acoustic experience of a 4,500-seat theater.

“For those that haven’t heard the new JBL VTX series they can’t imagine the level of performance these speakers achieve. While JBL VERTEC has long been seen as the industry standard, the VTX technology is truly a game-changer for live sound applications,” added Smart.

“Osteen wants the system to sound everywhere the way it sounds in the front row, and with this system we have nailed it,” Hall concluded. “Compared to the old system from the console, Osteen’s voice sounds 50 feet closer than it did before.”

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.

SSL Showcases V5 Software for C100 HDS Digital Broadcast Console at IBC 2012

Upgrade Introduces Dual Operator Functionality

AMSTERDAM – Solid State Logic, the world’s leading manufacturer of advanced analogue and digital audio consoles, will showcase V5 software for the C100 HDS Digital Broadcast Console at the IBC 2012 (Stand 8.D83). The new software is primarily focused on the implementation of Dual Operator Mode. Developed in response to feedback from a wide range of SSL clients, this upgrade is particularly relevant to mobile installations when two operators are necessary to work on complex productions, but where space and weight are at a premium.

“The SSL engineering team has developed the V5 software enhancement for the C100 to meet the needs of productions requiring two mix engineers at the same time,” says Piers Plaskitt, CEO of SSL, Inc. “With V5, for example, our the C100 can be installed in a space and weight conscious OB van to easily handle a live international sporting event presented in different languages. This application would require different simultaneous mixes handled by two operators. We believe the V5 software upgrade will significantly impact the dual-operator segment of the market.”

SSL’s Dual Operator Mode provides two operators the ability to have independent physical controls and access to shared audio assets, through a single console processing engine, Routing and I/O configuration. The system allows for an unlimited number of consecutive eight-channel fader bays to be assigned to a 2nd operator. These bays can be located at either end of a C100 console or separated and installed in a remote location such as a production gallery. The 2nd operator bays can be specified with a dedicated Master Tile to provide access to EQ, dynamics, aux sends and various routing functions, or specified without a Master Tile for simple fader-only operation.

Dual Operator Mode splits the C100 PFL system to provide independent PFL control for each operator with monitoring via headphones, or the main or mini monitor outputs. If both operators access the PFL system simultaneously and route to the monitor outputs, the PFL system delivers a sum of all selected channels. V5 also introduces a new momentary ‘non-latching’ PFL mode to facilitate shared use of monitor outputs.

Each operator will also have independent access to user layers to facilitate selection of individual channels to be laid out in each operator’s area and individual channels that are a shared resource, allowing simultaneous control from both operator areas. A fully redundant C100 system will see both Operator areas as a single console, delivering seamless redundancy for both users. For streamlined project recall for an entire Dual Operator system, all settings for both operators are also saved within a single project.

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:

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