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Archive for September, 2012

Core Brands Unveils New Brand, Training and Sales Management Organization at CEDIA 2012

Moving swiftly to integrate its product development and marketing functions into a dynamic new brand management organization that drives both innovation and collaboration, Core Brands LLC today announced the implementation of a focused management structure comprised of eight individual brand managers. The brand management team will report directly to Core Brands Senior Vice President of Marketing Paul Starkey.

“The formation of Core Brands combines the expertise of ten iconic brands into one powerful new business organization that will bring more opportunities to our more than 4,300 dealers and integrators around the world,” Starkey said today. “Our new brand management structure makes a focused team responsible for driving the innovation in the areas of control, audio, and power management.”

According to Dave Keller, Senior Vice President of Sales, Core Brands is taking the additional step of moving its field support team and six trainers closer to dealers and introducing an expanded training schedule that more than quadruples the number of face-to-face training sessions over the next 12 months. “What’s more,” Keller emphasized, “face-to-face training is also being combined with new online training initiatives and electronic mini communications programs in ways that will provide dealers and integrators with the necessary product information that will help them to sell and install solutions more efficiently and profitably than ever before.”

Regarding the overall sales organization, Keller said today that Core Brands will retain its four current United States sales rep networks to keep consistency and the best level of ground support for its dealers. “In order to maximize our effectiveness at the local level, we are moving to six U.S. sales regions each with a Regional Sales Manager. “Our goal is to make the decision point for dealers and reps very accessible at the local level,” Keller explained, emphasizing that two immediate impacts are expected by these changes. First, the company expects dealers to have easy access to the lines in the Group to maximize efficiency and profits for all dealers. Secondly, the field support organization allows more factory support at the local level, thus increasing the productivity of the dealers with all of the Core Brands product lines.

Headquartered in Petaluma, California, Core Brands is a division of the Nortek Technology Solutions Segment (www.nortek-inc.com). Core Brands combines the product and marketing strengths of ten iconic audio, power management and control brands into a single business unit that includes ATON®, BlueBOLT®, ELAN®, Furman®, Niles®, Panamax®, Proficient®, SpeakerCraft®, Sunfire® and Xantech® brands. Core Brands has more than 190 years of combined experience in the residential, commercial and professional markets and over 4,300 direct customer accounts in multiple distribution channels in the United States and around the world.

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NOVA Group Improves Its Viewer’s Audio Experience With Jünger Audio’s LEVEL MAGIC™ Technology

TV Nova, the biggest commercial television station in the Czech Republic, has replaced its former audio processors with Jünger Audio’s LEVEL MAGIC™ technology to help prevent surprise level changes when switching from one audio source to another.

The Prague-based station, which began broadcasting in 1994, is now owned by Central European Media Enterprises (CME). It reaches 98% of the country’s population of 10.2 million and provides a programme mix that includes its own fiction and non-fiction productions, foreign acquisitions, entertainment shows and news.

In 2008, Nova Group began broadcasting in High Definition via its Nova HD and Nova Sport HD channels. It also has a strong internet presence. It is now broadcasting five FTA channels and two online channels.

Nova Group initially invested in 10 Jünger Audio frame-based C8086 LEVEL MAGIC™, which were installed across four of its broadcasting channels. This summer, the broadcaster undertook an upgrade of its loudness processing systems by installing Jünger Audio’s new C8086+ 8ch LEVEL MAGIC™ II modules with R128 loudness processing. This means it can now comply with all current loudness recommendations.

Josef Uher, Technical Director of Nova Group, says: “It is clear to us that the decision to switch to Jünger Audio’s LEVEL MAGIC™ audio processing was the right one.”

Lukáš Kobl, Broadcast Maintenance Manager Nova Group, adds: “LEVEL MAGIC™ provides a safe algorithm for controlling audio level and is functionally very reliable. Our engineers are very pleased with the performance of these units and with their overall sound quality.”

Nova Group’s LEVEL MAGIC™ system was supplied and installed by Jünger Audio’s Czech distributor Mediatronik.

“Jünger Audio’s LEVEL MAGIC™ technology is providing Nova Groups channels with a viable solution to the problem of surprise audio level changes, “ says Mediatronik director Lubos Novacek. “The automated nature of the system makes it very easy for broadcasters to operate. All they have to do is install it into the transmission chain and set the correct parameters – after that there is very little to do because the system effectively looks after itself.”

LEVEL MAGIC is a sophisticated adaptive loudness control algorithm that is designed to adjust the loudness from any source at any time, with no pumping, breathing or distortion. It is based on a simultaneous combination of an AGC, a Transient Processor for fast changes and a “look ahead” Peak Limiter for continuous unattended control of any programme material, regardless of its original source.

Capable of using any kind of I/O (Analog and Digital) sources, as well as SDI, HD/SDI, Dolby 5.1 and all its related metadata, LEVEL MAGIC is available in a variety of configurations to suit different applications.

-ends-

About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities.

DPA Microphones 4017B Shotgun Microphone is on the Mark for National Geographic’s Border Wars

Sound Mixer Bob Tiwana Relied on the Mic, Connected to a Sound Devices 788T, to Record Season 7

LOS ANGELES, SEPTEMBER 4, 2012 – When Sound Mixer Bob Tiwana sought a new boom microphone to record the seventh season of National Geographic’s Border Wars, he turned to DPA Microphones’ 4017B Shotgun Microphone. Already familiar with the quality of the DPA brand, Tiwana connected the microphone to his Sound Devices 788T digital audio recorder to record and profile U.S. Customs and Border Protection agents as they patrol the nation’s southern ports of entry from the air and on boats and horseback.

Tiwana records on location in the hot, humid weather of Texas, Arizona and southern California. Having never used the 4017B in the field, he took a chance that the microphone would work as well in the elements as it does in the studio.

“I already knew the DPA 4017B would sound great because I’ve heard it before and have used it in more controlled environments,” says Tiwana. “For Border Wars, I went out on a limb and took it out in the field to see how well it does. I was a little apprehensive because it’s not an expendable piece of equipment, but I didn’t baby the microphone. After the first couple of days, I came back with stunning results. It worked very well in the field and in all the situations I put it through.”

Designed for a broad range of applications, the phantom-powered DPA 4017B is ideal for broadcast, ENG and film booming, among many other uses. The highly directional supercardioid pickup pattern of the DPA 4017B, obtained using a supercardioid design with an interference tube that provides excellent off-axis rejection, is extremely accurate. It also offers a great amount of clarity.

The size of the DPA 4017B makes it exceptionally convenient for field use. This is essential for Tiwana and his team, who regularly experience physically grueling and sometimes dangerous field conditions and must keep their gear to a minimum. On any given day, the team might need to hide in the brush or along water banks or run through cactus-laden fields. Like the agents that the show follows, Tiwana’s team also faces life-threatening situations, such as gunfights with cartels. To keep safe, everyone must wear heavy Kevlar vests and be able to move on a moment’s notice.

The combination of the DPA 4017B with Sound Devices’ 788T provides Tiwana with a portable, high-quality recording setup. “The mic-pre on the mixer and the impedance on the DPA are well matched,” he continues. “I didn’t have to use a lot of gain to get my desired results from the boom. I plugged it right into the XLR input, applied phantom power—which the 788T does in a lovely way—and used the 10k boost and high-pass filter to avoid handling noise in case I was running or it was windy.”

With the latest 788T software upgrade, Tiwana is also able to create sound logs at the end of each day. This enabled him to provide reports to the production team of time codes and the duration of each take, as well as notes and track assignments.

“I’ve been working with Sound Devices since their first recorder, the 744T,” concludes Tiwana. “When they introduced the 788T, I made a point of adding it to my arsenal. I bring both units with me in the field. As for the DPA 4017B, this is the first time I’ve used it in this type of setting, and I’m really impressed that it took everything I gave it on the show. It was very grueling in south Texas, with 95- to 100-degree temperatures and humidity at 75 to 80 percent every day. The microphone performed flawlessly. I’ve had others that haven’t performed as well in the humidity. I’m really impressed with the DPA mic, and if they call on me again next year to record this show, I’m bringing it with me.”

Bob Tiwana is a multitalented production professional who has been involved in audio for nearly 30 years. A seasoned vet in live performance, studio and on-location recording, his experience runs the gamut from television and film to post production. His long list of credits includes work for Avatar, Moneyball, Grey’s Anatomy, House and the 2012 ESPY Awards. He has also worked on commercials for several large companies, including Sony, Bank of America and the Chicago White Sox. More information about about Tiwana can be found at: www.trackwizzard.com.

Border Wars is an American documentary television series that airs on the National Geographic Channel. The program follows agents of the U.S. Customs and Border Protection (CBP), Immigration and Customs Enforcement (ICE) and other divisions of the Department of Homeland Security as they investigate and apprehend illegal aliens, drug smugglers and other criminals violating U.S. immigration and customs laws. Season 7 will begin airing this fall.

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 on DPA Microphones, please visit www.dpamicrophones.com.

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Ventuz taps into Chyron BlueNet™

The cooperation between Chyron and 3d realtime graphics specialist Ventuz Technology AG reaches a new level with the integration of Ventuz into the BlueNet workflow

The established Broadcast systems supplier Chyron and graphics specialist Ventuz, who entered into a strategic partnership in February of this year, today announced that the companies will use IBC 2012 in Amsterdam to showcase their first joint development success. “We are now ready to announce our integration of Ventuz within the CAMIO broadcast environment,” said Erik Beaumont, Product Manager of Ventuz. “This allows us to seamlessly and transparently operate Ventuz graphics systems within the existing Chyron BlueNet workflow.”

The implementation allows Ventuz to be controlled by the CAMIO and LUCI systems, and so function as part of an automated newsroom environment. Asset management, MOS integration, playout control using Chyron’s ISQ, and distribution functionalities are all covered by the proven and robust Chyron framework, while Ventuz offers unparalleled flexibility and capability as a real-time graphics system.

“This also gives Ventuz users access to Chyron’s hosted cloud-based graphics using the Axis World Graphics system for news and map images,” said Bill Hendler, CTO of Chyron.

“Through this integration, we are leveraging the best of both companies,” said Beaumont. “Ventuz adds advanced data visualization and interactive touch screen capabilities to the Chyron family of graphics solutions which is utilized by thousands of editors, operators, artists and producers all over the world.”

Ventuz and Chyron will showcase their integration at IBC 2012 in Amsterdam, September 7th through 11th, at the Chyron stand, 7.D11.

Meyer Sound MILO at Lollapalooza Main Stage is “Smooth & Coherent”

For three evenings in July, 45,000-plus fervent fans gathered at the Lollapalooza festival’s Bud Light Stage to hear some of the world’s top musical acts, including Black Sabbath with Ozzy Osbourne, Avicii, Justice, and Franz Ferdinand. To deliver their music with full impact across the 7.5-acre grassy quadrangle, Thunder Audio of Livonia, Mich. assembled a massive sound reinforcement system built around 76 Meyer Sound MILO line array loudspeakers.

“The MILO system sounded phenomenal, as it always does,” comments Thunder’s Gregory Snyder, who served as system designer and project manager for the event. “The FOH mixers for every act were amazed with how smooth and coherent the system was, regardless of levels.”

Anchoring the sound at the stage were dual main hangs of 18 per side MILO loudspeakers, supplemented by outfills of eight MILO loudspeakers each. Low end pumped through 36 700-HP subwoofers while MILO 120, MICA, and M’elodie line array loudspeakers provided, respectively, front, front-out, and center downfill. Eight MILO loudspeakers were hoisted atop each of three delay towers, and the entire system was governed by a Galileo loudspeaker management system with four Galileo 616 processors.

The Meyer Sound rig—along with everyone in attendance—received a thorough drenching from a fierce Saturday afternoon thunderstorm, forcing cancellation of one act at the stage. All other acts performed as scheduled, and to overwhelming audience response.

“They all sounded great, but to be honest I thought Black Sabbath with Ozzy was beyond amazing,” recounts Snyder. “Considering the volumes they were playing, the stereo imaging and clarity were astonishing. It never sounded overdriven.”

With Florence + The Machine, Snyder was impressed by “the precise separation of the instruments and the way her voice fell into the mix.” And with the French DJ duo Justice, he noted how the low end was “punchy and yet smooth, with none of that distorted square wave sound you’ll get sometimes in DJ sets.”

Thunder Audio also provided Avid Profile consoles for FOH and monitors, plus eight Shure 900 Series IEM systems and eight Shure UHF-R wireless microphone systems. Systems tech on the Thunder Audio crew was Erik Rogers.

Lollapalooza producer C3 Presents invited Thunder Audio to bring the MILO rig to Chicago based in large part on the performance of the system at Metallica’s Orion Music + More festival, also produced by C3, which was staged in Atlantic City in June.

www.meyersound.com/news

Clear-Com Announces European Availability of HelixNet at IBC 2012

World’s First Networked Partyline Intercom System Delivers Greater Efficiency, More Flexibility and Cost-Savings Through a Revolutionary Platform Design

AMSTERDAM, SEPTEMBER 4, 2012 ? Clear-Com, a global leader in critical voice communication systems, is pleased to announce at IBC 2012 (Stand 10.D29a) that its new HelixNet Partyline Intercom System is now shipping throughout Europe. The industry’s first networked partyline intercom arrives at IBC after successfully showcasing its capabilities at the Queen’s Diamond Jubilee and other recent London events. In both instances, live production teams were able to take advantage of the systems’ efficiency, cost-savings and flexibility from setup to operation and maintenance.

Under the initial release of HelixNet Partyline, users can purchase the HMS-4X Main Station, HBP-2X HelixNet Beltpacks, an HLI-2W2 two-wire Interface Module and the HLI-4W2 four-wire Interface Module. They can then experience the first system to combine a revolutionary platform with the superb audio clarity of the digitized Clear-Com sound and the ruggedness to withstand all conditions. Also, as the central administration of the entire system can be performed from the Main Station with a single cable, including firmware upgrades and maintenance, HelixNet can work off one’s existing cable infrastructure.

“HelixNet offers users the simplicity of running cable anywhere without worrying about each cable type or where it will run,” says Chris Barry, Product Manager, HelixNet, Clear-Com. “Essentially, they only have to run one long cable, along which audio can be distributed on every channel. It doesn’t matter how or where the cable is run, users will have access to each and every feed. At the beltpack end, users can choose what channel they want or need to run. Another perk of HelixNet is that it can be run on inexpensive cabling, such as Cat-5, keeping the cost of deployment low.”

HelixNet’s sleek 1RU main station fits into any standard 19-inch rack, and can provide power and four channels of audio to support up to 20 digital beltpacks. Unlike standard analog systems, the all-digital HelixNet system is immune to electro-magnetic interference and ground loops, so there is never any hum or buzz. The Main Station settings and menus are quickly accessible, highly flexible and offer intuitive user operations. The system’s firmware maintenance and upgrades can also be achieved easily via USB ports, and it offers greater connectivity with existing analog intercom systems and audio devices.

“For more than 40 years, the pro audio community has been using the common, three-pin XLR microphone cable to carry audio for analog partyline systems,” continues Barry. “In order to preserve our customers’ investments in intercom systems and cabling infrastructure, we specifically designed the HelixNet Partyline to transmit four channels of digital-quality audio, plus program and power for beltpacks, over a single, shielded, twisted-pair cable (ex. microphone cable, CAT5 or CAT6 cable). This capability alone is unprecedented in the history of intercom technology.”

The expansion bay in the Main Station allows optional HLI-2W2 two-wire and HLI-4W2 four-wire interface modules to connect easily with existing analog intercom systems and audio devices, while preserving the high audio quality that is free of hum and noise.

Boasting an especially clear audio signal, the HBP-2X HelixNet Beltpack offers high channel density and selectable channels to save resources. The rugged, ergonomically designed unit is a two-channel beltpack that can access two of any four system channels, connect program audio and provide individual level control over just one single cable, while distributing networked audio over a twisted pair. These features decrease the required number of cables. The beltpacks are also simple to operate and read, with optimally positioned buttons and volume knobs that are easy to locate, identify and control. Channel labels are simple to read on the high-contrast ten-character OLED displays. The flexibility of the units allow them to be set up in daisy chain or star configurations, with no need for active split boxes.

The HelixNet beltpacks are highly durable, fabricated from lightweight cast aluminum, and come with a sturdy beltclip, rubber bumpons and an integrated strap guide, offering a variety of practical mounting options.

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.

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LECTROSONICS SELECTS WOOLLEY FOR SALES REPRESENTATION

*** R. Scott Woolley ***

Rio Rancho, NM – September 2012… Lectrosonics, recognized the world over as a leading manufacturer of wireless microphone systems and audio processing products, is pleased to announce the appointment of R. Scott Woolley to the position of Sales Manager for the U.S. Southwest and Northwest regions, including California, Washington, Oregon, Nevada, Utah, Alaska, Idaho, Arizona, and Hawaii. With a background that encompasses a rich blend of application and sales experience, Woolley will be tasked with increasing Lectrosonics’ presence throughout the critical Western U.S. territory. Woolley’s appointment took effect August 27th, 2012.

Based out of South Jordan, UT, Woolley’s work experience is an ideal match for his new position with Lectrosonics. Most recently, he served as Senior Engineer for the LDS (Latter-Day Saints) Church Media Services Department. In this capacity, his responsibilities were to manage and lead the conference room design team, overseeing the design of sound and audiovisual systems for conference rooms, theaters, museums, and other spaces. Prior to this, Woolley was Director of Product Management at Salt Lake City, UT-based ClearOne Communications, where he was responsible for the company’s global marketing efforts for the ClearOne professional and NetStreams networking product lines. Additionally, Woolley held the position of Consulting Engineer – Technology Systems for Spectrum Engineers of Salt Lake City, UT as well as Sales Manager for General Communications, Inc. of Draper, UT. more

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Flag Systems Expands Its Horizons With HARMAN’s JBL VTX Series Line Arrays

Flag Systems recently deployed its new JBL VTX line array system at Jazz Fest West in San Dimas, California.

NORTHRIDGE, California – Flag Systems is a top southern California sound contractor that supplies systems for everything from major outdoor festivals to private corporate events and the Santa Ana-based company recently joined the growing list of sound providers who have added JBL’s new flagship VTX Series line array loudspeakers to their inventory. Flag Systems put its V25 line arrays and S28 subwoofers to the test at the recent Jazz Fest West and Hard Summer outdoor concerts—two musically diverse events that spanned the musical gamut from smooth jazz to bass-heavy hip-hop.

“We have been long-time JBL users—we bought our first VERTEC® line array system in 2001 and have seen the quality of JBL line arrays improve steadily since then,” said Dave Forney, Flag Systems’ Owner. “In fact, even before the VTX Series came along we saw a big improvement in the performance of our VERTEC line arrays by upgrading our power amplifiers to Crown Audio IT12000HD amps, which allowed us to take advantage of their built-in VERTEC V5 presets. Everywhere we tried V5 we heard amazing results, including at the permanent installation we run at the Hollywood Palladium. So when JBL announced the introduction of the VTX Series you might say we were all ears.”

“We looked at our upcoming summer concert schedule and determined we could support a major new equipment buy,” Forney added. “We had already bought the Crown I-Tech HD amps, which are optimized for use with VTX line arrays, so we were already a good part of the way there.”

Flag Systems purchased 24 VTX V25 fullsize line array elements and 16 S28 arrayable subwoofers. “Depending on the venue, we’ll use some or all of our VTX boxes for a concert,” noted Forney. “We can do a 4,000 to 5,000 person show using two left and right hangs of four V25’s each along with six S28 subs per side, or we’ll go all the way up to the full rig of 24 V25’s and 16 S28’s for large outdoor events.”

“The sound quality of the V25 is just stunning,” Forney commented. “The first thing that struck me is how in-phase everything seems to be. It really doesn’t sound like you’re listening to multiple drivers; it sounds like all the sound is coming from one source instead of a bunch of 15-inch and 8-inch drivers and tweeters.”

According to Eric Williams, Chief Systems Engineer for Flag Systems, the clarity of the V25 is exceptional. “At Jazz Fest West, all of us at Flag and a number of guest front-of-house engineers were marveling at the sound,” he said. “We had to re-check all of our reverb settings as the system was so revealing that the quality of the reverbs came through much more clearly.”

“After firing the system up, I realized it didn’t need any EQ,” Williams pointed out. “I mean, none. I’d never had this happen before—typically, a line array system will always need some EQ. During Chaka Khan’s performance, Anthony Jeffries, her mixing engineer, added a little bit of EQ but after that we went back to flat—and except for a little touch here and there, no one else EQ’d the system for the rest of the weekend. I kept telling myself, ‘This is not normal!’ In fact, it actually felt a little scary…we had to get used to it!”

“I mixed the first three acts at Jazz Fest West and it was effortless,” Williams continued. “During guitarist Marc Antoine’s set, I could feel every nuance of him playing the strings, the snare was punchy and fat, and the cymbals had shimmer and complexity. We went from console to console depending on what the acts specified on their rider, and everyone was able to get consistently excellent sound from the V25’s and S28’s.”

“The new VTX rig is like a Maserati—it is a thrill to drive and the performance is outstanding,” said Pamela Forney, Production Manager for Flag Systems. “I have now used VTX at three festivals and it is wildly efficient. It throws forever and the clarity and warmth are never compromised. Congratulations to JBL as they have definitely crossed over this time with VTX!”

Flag Systems’ VTX rig can go from subtle to seismic, as demonstrated at the HARD Summer Festival in Los Angeles, which featured the immensely popular electronic artist Skrillex. “At HARD Summer, we mixed Skrillex at 125dB in an outdoor space that was about 200 feet by 500 feet. The system did an amazing job of getting there, staying there and doing it well,” Williams added.

Flag Systems uses JBL HiQnet Performance Manager™ control software for the VTX line arrays and Crown amps. “Performance Manager makes it extremely quick to set up the system and get the amps on line, but maybe even more important, it gives us real-time monitoring and reporting,” Williams said. “I know what’s going on with every speaker and amp. Performance Manager is the one piece of software I start with at the beginning of the day, and it’s the last thing I shut off at the end of the day.”

“The quality of the JBL VTX Series is so good that engineers are going to have to re-think what their sound systems are capable of,” Williams concluded. “We now need to realize that we’re going to have to mix to what we’re capable of hearing—not to what we’re used to hearing.”

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.

Digital Rapids Enhances Award-Winning Encoders with Powerful New Software Updates

New upgrades expand content accessibility, monetization and security capabilities while further enhancing renowned encoding quality

September 4, 2012 — Markham, Ontario: Digital Rapids has announced an array of new enhancements to the Digital Rapids Stream software for the company’s StreamZ, StreamZHD and Flux encoding solutions. Upcoming new features include Closed Caption support for live streaming with Adobe(r) Flash(r) technologies; expanded support for automated advertising insertion; enhanced H.264 and MPEG-2 encoding; and new integration with content access and security solutions from Irdeto and Motorola Mobility.

The same advances will also be available as applicable in the StreamZ Live family of live streaming encoders and the Digital Rapids Transcode Manager automated, high-volume file transcoding software.

The new software releases extend Digital Rapids’ support for Closed Captions with enhanced preservation of captions during conversion between differing frame rates and the new ability to embed CEA-608 and 708 captions in live streams targeting Adobe Flash Player and Adobe AIR(r) applications. These expanded Closed Caption capabilities help bolster content accessibility for hearing impaired viewers while enabling compliance with legal requirements that have recently expanded to encompass online video. Digital Rapids encoding solutions support Adobe technologies including RTMP streaming and HTTP Dynamic Streaming (HDS) via Adobe Media Server.

The upcoming version 3.8 expands the Stream software’s support for automated advertising and monetization workflows to include the HTTP Live Streaming (HLS) protocol. Cueing messages in live input sources can be detected to automate the insertion of markers into HLS outputs for triggering downstream events such as local ad insertion or replacement.

The soon-to-be-released Stream 3.7.4 update features integration with the Irdeto Control content management system, expanding Digital Rapids’ range of third-party integrations supporting Microsoft PlayReady technology for protecting Internet Information Services (IIS) Smooth Streaming content. Irdeto Control, a component of the Irdeto Broadband solution suite, allows content owners and distributors to protect their valuable digital content and to manage how that content is accessed by consumers on a variety of devices.

Stream 3.7.4 also adds support for the Motorola SecureMedia(r) Encryptonite ONE(tm) HLS+ content security solution. Based on the HLS adaptive streaming protocol, SecureMedia Encryptonite ONE HLS+ is the award-winning security component of the Motorola Medios suite of multi-screen content delivery solutions, enabling operators to securely deliver linear and on-demand content to a wide range of viewing devices.

The new software upgrades also further enhance Digital Rapids’ highly-acclaimed H.264 and MPEG-2 encoding quality, performance and configurability.

“While our solutions have earned their reputation for delivering superior encoding quality, there continue to be opportunities for further quality enhancements, and we’re pleased to be bringing such gains to our customers in our upcoming updates,” said Darren Gallipeau, Product Manager at Digital Rapids. “Meanwhile, as content and rights owners refine their multi-screen content monetization strategies, robust support for their chosen content security and rights management technologies and the ability to streamline their advertising workflows become increasingly imperative in enabling their success.”

The complete range of Digital Rapids media transformation and workflow solutions will be showcased in booth number 7.F33 at the IBC 2012 exhibition in Amsterdam. For more information about Digital Rapids, please visit www.digitalrapids.com.

About Digital Rapids Corporation — Digital Rapids provides market-leading content transformation and workflow solutions that empower the world’s leading media organizations to reach wider audiences more efficiently, more effectively and more profitably. Recipients of more than two dozen prestigious awards for company and product excellence, Digital Rapids combines innovative technology with proven expertise and visionary insight to help our customers expand their audiences, increase their revenues, and reduce their costs. Digital Rapids Corporation (www.digitalrapids.com) is headquartered in Ontario, Canada with offices in the United States, the United Kingdom, Hong Kong, Australia and Argentina.

Koz, Britton, and a Yamaha CL Digital Console

BUENA PARK, Calif.—An early August stop at the Count Basie Theatre (Red Bank, N.J.) gave engineer Melissa Britton the opportunity of mixing front of house on the new Yamaha CL5 digital audio console while out on summer concert tour with saxophone player, Dave Koz, and special guest BeBe Winans.

Koz is one of the most prominent figures in contemporary jazz, the recipient of two Gold Albums and two GRAMMY® nominations, with five Top 5 hits on the contemporary jazz charts to his name. His most recent release, Hello Tomorrow, was called “an event record” by The New York Times, and was named Best Smooth Jazz Album of 2010 by iTunes. Gospel and R&B singer BeBe Winans won his first Dove Award for a duet with his sister CeCe, “Close to You,” on their 2009 album Still.

“I was definitely interested in using the new Yamaha CL console when I heard about it,” states Britton. “I’ve been using the PM5D for a long time, and was pleasantly surprised when I finally got to use the CL. ACIR Professional (Egg Harbor Township, N.J.) co-owner Ed DiBona asked me if I’d be interested in using the console, and I was so happy he brought it in. It was really fun to mix on and easy to get around on. I was comfortable instantly.”

Britton said the Yamaha CL Console has some really cool features that neither the M7CL nor the 5D have. “I love the fact that Yamaha took the very best parts of each of those consoles and added a bunch more cool features like the Premium rack, love that,” she says. “The console sounds good and it feels good. The CL has more input and output options which is great when I’m mixing monitors. Another great feature is that you can record straight to a USB thumb drive, which I did at the Basie show, and was amazed when I listened to what was coming through the headphones. You can also cue processing and effects from the touch screen, as opposed to going to the channel.”

Not long ago, Britton had the opportunity to demo the new NEXO 45 N-12 stage monitors and was quite impressed while mixing monitors. “If I could have the N-12 wedges and the CL when mixing monitors, now that would be a great gig.”

Britton said the CL is now her new first choice in a digital console. With the summer tour ending, she will re-unite with Koz for a Christmas tour beginning on Thanksgiving through Christmas Eve.

For more information on the Yamaha CL Digital Console or NEXO 45-N12 monitors, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

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