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Archive for October 19th, 2012

Atlantic City’s Lavish Revel Resort “Gets Up Close and Personal” with Flexible Meyer Sound Systems

The $2.4 billion Revel casino resort in Atlantic City is an impressive sight, with its gleaming 47-story tower—the tallest in town—and over 1,000 rooms and 130,000 square feet of gaming floor. It’s also an ear-opener at every turn, with Meyer Sound systems installed in Revel’s vast and morphing Ovation Hall, the lively Social theatre and nightclub, and exclusive lounge and gaming areas.

Montreal-based Scéno Plus, responsible for the look and sound of Revel, is the design firm behind The Colosseum theatre at Caesars Palace in Las Vegas, also a Meyer Sound installation. While Revel’s 5,500-capacity Ovation Hall is larger than The Colosseum and functions as a reconfigurable multi-purpose venue, their overall goal is the same: to foster a sense of intimacy between the performer and an arena-sized audience.

“We knew Ovation would be a multi-purpose venue, so we looked for solutions that would be easy to manage in various configurations,” says Simon Leonard, who headed the Scéno Plus AV design team. “We also needed a system that was reliable, rider friendly, and with exceptional fidelity to make artists seem ‘up close and personal.’ So it was logical to go with Meyer Sound.”

To cover Ovation Hall’s wide seating arc, the system employs three main arrays of 12-each MICA line array loudspeakers. Two stage-side VIP boxes are covered by four MSL-4 and two DF-4 loudspeakers, while eight UPQ-1P loudspeakers and M1D line array loudspeakers supply out and front fills respectively. Prodigious bass pulses through 20 700-HP subwoofers. The system can be re-matrixed and optimized for five different room configurations via presets in a Galileo loudspeaker management system comprising six Galileo 616 processors (five analog and one AES3 digital).

“The Galileo global snapshots are very easy to set,” says Leonard. “Galileo is a great tool for a hall like this, where it’s all about programmability.”

The AV systems in all Scéno Plus-designed areas in Revel were engineered and installed by Columbia, Md. office of AVI-SPL, with project management by LD Parker and project engineering by Stephanie Bryl and Jeff Vogt.

Revel patrons seeking free entertainment gather at The Social, a 700-capacity theatre and show bar that hosts live music early in the evening and converts to a dance club for late night revelry. The reconfigurable system deploys a total of 37 Meyer Sound UPQ-1P, UPQ-2P, UPM-1P, and UPJunior VariO loudspeakers, plus four 700-HP subwoofers.

Meyer Sound systems also lend extra musical flair to the ocean-view Ultra Lounge and two other areas on the gaming floor. Loudspeakers installed here are 13 miniature MM-4 loudspeakers and three M1D-Sub subwoofers in the Ultra Lounge; eight UPM-1P and a 500-HP subwoofer in the Immersive Dome; and 12 UPJ-1P VariO loudspeakers and four 500-HP subwoofers in the DigiPit.

For AVI-SPL’s LD Parker, the demanding installation project was buttressed by Meyer Sound’s unique combination of product quality and support.

“We know we’ll have a great sounding system,” says Parker. “But we also know we’ll have all the documentation we need for rigging, and we’ll have strong support and service after we’re done. There were no unwelcome surprises here, and that’s what I expect with Meyer Sound.”

Design architect was Arquitectonica; executive architectural firm was BLT Architects, with SOSH as associate executive architect for hospitality and casino spaces.

Founded in 1985, Scéno Plus is an entertainment design firm specializing in cultural infrastructures and highly reconfigurable performance spaces. The company has designed world-class spaces such as The New Joint at Hard Rock Hotel Casino, The Venue at Horseshoe Casino, The Colosseum at Caesars Palace, and the Wynn Las Vegas Showroom.

www.meyersound.com/news

Korea’s Largest Multiplex Installs Meyer Sound Cinema System for New “M 2″ Premium Screen

South Korea’s Megabox chain of movie theatres has selected Meyer Sound’s cinema loudspeaker system for its newly enhanced “M 2″ premium screen concept. At the Megabox COEX, the largest multiplex in Korea with 16 screens, powerful, low-distortion sound now accompanies upgrades to projection and patron amenities.

The “M 2″ screen is now operating in 5.1 and 7.1 surround modes, and when the renovation is complete, this room is set to become Asia’s first Atmos-compliant cinema to be equipped with a Meyer Sound cinema system. All “B chain” elements are in place, including the extensive complement of side, rear, and overhead loudspeakers.

“There has been a lot of competition among the new 3D immersive sound formats,” observes Youlgoo Lee, the chief technical manager for Megabox. “But Meyer Sound convinced us that any new format requires high-quality speakers to present clear and powerful sound to the audience. We have already experienced the difference Meyer Sound makes at our other installation, so we decided to install Meyer Sound systems whenever we get the chance.”

The new system at Megabox COEX includes Acheron 80 and Acheron LF screen channel loudspeakers, X-800C cinema subwoofers, HMS-10 cinema surround loudspeakers, MPS-488HP remote power supplies, and a Galileo loudspeaker management system.

“Even though the full Atmos experience has yet to arrive, we’re already having a very good response from the audiences,” reports Lee. “They say they feel the difference compared to regular cinema sound, so we’re excited about what we will experience with the completion of the system.”

The new Meyer Sound system was provided by Kinoton Korea, the company that installed Asia’s first Meyer Sound cinema system at Megabox KINTEX near Seoul in 2011. Kinoton Korea provides conventional and digital cinema projection systems, as well as advanced sound solutions, to commercial cinemas, broadcasters and film/video production facilities, both within Korea and elsewhere in Asia.

Meyer Sound cinema systems are installed at leading-edge cinemas in the United States and Europe, including Cinetopia in Oregon, CinemaxX in Germany and Denmark, and the Solaris Centre in Estonia. A notable roster of film post-production facilities also rely on Meyer Sound cinema loudspeakers for monitoring, including Lucasfilm’s Skywalker Ranch in California, De Lane Lea in London, and Piste Rouge in Paris.

www.meyersound.com/news

QSC Q-Sys Offers Acoustic Echo Cancellation as a Standard Feature

Q-Sys CoreCosta Mesa, CA –(October 19, 2012) QSC Audio Products, LLC is pleased to announce that Acoustic Echo Cancellation (AEC) is now available as a standard component of their acclaimed Q-Sys integrated system platform, which has quickly become the preferred choice worldwide for audio system control and signal transport.

Ideally suited for Q-Sys clients that utilize AV conferencing systems in such places as corporate boardrooms, meeting and convention spaces, hospitality installs, and government and legislative venues, the powerful QSC AEC process is easily deployed in Q-Sys Designer software as a simple, draggable component. And unlike AEC offerings from competing manufacturers which must be purchased as costly add-on input cards, the Q-Sys solution is 100% integrated into the Q-Sys Core without any additional cost to the user.

“Because of the powerful Q-Sys DSP processing engines, we have been able to offer Acoustic Echo Cancellation as an integrated feature to serve our customers,” says Joe Peavey, QSC Product Manager, Software. “The tight integration between the Q-Sys processor, DSP, hardware and control software, gives Q-Sys the ability to do AEC on audio signals coming from any number of sources such as mics, remotes, I/O frames and even over IP streams.”

Current Q-Sys customers can enjoy the AEC feature at no charge by upgrading to Q-Sys Designer Release 3.0 or newer. More information on the upgrade, as well as a new Q-Sys AEC whitepaper can be found at: www.qscmarketing.com/aec.

“We are excited to be able to offer AEC to our customers with Q-Sys,” adds Peavey. “And we continually have plans in the QSC pipeline to add more advanced and powerful features to Q-Sys which will benefit our customers. “

Q-Sys, the complete integrated system platform that encompasses everything from the audio input to loudspeakers, provides all the audio routing, processing, control and monitoring necessary for any facility while maintaining the audio quality and reliability QSC has come to be known for. Designed for the rigorous requirements of both small and large-scale venues, the power of Q-Sys has been demonstrated worldwide in a variety of applications, including stadiums and arenas, theme parks, performing arts venues, transportation hubs, corporate boardrooms, convention halls, government facilities, hotels and casinos and houses of worship.

About QSC Audio
QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, digital signal processors, digital sound transport, and network audio for professional audio systems worldwide. qsc.com

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Train’s ‘California 37′ 2012 Tour Lays Tracks Across U.S. With Dual DiGiCo SD10s

Grammy Award-winning pop-rockers Train have been laying tracks across the continental United States and Canada this summer and fall with their San Francisco 2012 tour. The band pulled out all the stops, rolling through material both old and new, including songs from their latest studio album, California 37. Because of the tour’s beefed-up band and increased input list, engineers Rob Thomas and Robert Greene opted for a pair of SD10 systems at FOH and monitors (provided by Delicate Productions and Hi-Tech Audio), to simplify the production and the technology requirements.

“Rob Greene and I have used many different platforms working together with Train over the years,” Thomas explains, “but for this tour, it got a little more involved. Train is typically a three-piece band, but with this tour there are eight musicians onstage and we needed at least 52 inputs/outputs for the band and the accompaniments, including bass, guitar, vocals and background singers, in-ear mixes and stage monitors. We wanted the best-sounding console and one that was most configurable, and that’s how we came up with the SD10s. Having two of the DiGiCo’s out there was the best option for the tour, allowing us to pick each other’s brains about functionality and also streamline the technology. This is the first time that I’ve toured with a DiGiCo product, although I’ve used and am familiar with the D1 and D5 Series. In my time with the SD10 at FOH, I found that it truly sounds great; it’s one of the best-sounding digital consoles that I’ve been able to get my hands on. Choosing DiGiCo was one of the easiest decisions we had to make early on.”

System Tech Philip Reynolds and FOH Engineer Rob Thomas

“Going into this tour back in early 2012 we knew that we were going to move up above the 48-channel level,” adds Greene. “We had a chance to check out both the SD10 and SD7 and they were both impressive. The SD10 had everything that Rob and I needed so we decided to save the band a little dough and take out the SD10.”

The FOH system uses the DiGiCo SD Rack loaded with 56 inputs, 16 analog outs, and eight AES. “We are using both AES and analog to drive the PA via a Martin Merlin processor ,” clarifies Systems Tech Philip Reynolds. “The system is run in AES to the Martin Merlin 4 in 10 out matrix. From there, the rig is analog throughout. We have a very cool setup with the headliner independent of the support act settings. We use a separate group output off the console to drive three more inputs on the Merlin, also using AES. I am also using both the SD Rack and FOH outputs to feed hearing assist, video recording/ monitor, back of house audio as well… all controlled off the matrix on the desk.”
Thomas says he’s done some slick routing at FOH thanks to the flexibility of the DiGiCo interface. “The compact surface of the SD10—taken from the SD7 approach where any fader can be configured the way I want—allows me to take a musical approach vs. a typical console layout and was a plus. Unlike other consoles, you can minimize your layers, and the SD10 gives us flexible, multiple layers to choose from, so I tend to use less because of how I’m able to lay the console out just on the first layer. What would normally take me three to four layers on the console, I can now do in one, maybe two, because the desk is able to be laid out in almost any configuration of inputs, outputs, etc. I’m not doing anything too crazy; just some fun routing and grouping stuff. We created a Systems/Playback layer that had a few input channels—iPod, pink noise, the input from the support desk—so that any announcements between bands and system tuning is all in one layer.

“I also throw in some dynamics as in the compressed vs. the noncompressed group, which is no trade secret, and I’ve had such awesome results because of using that dynamic section on a wet/dry situation. Everything else on the desk I use simply straight up, it sounds that good. I don’t really need to do a lot to it. As soon as you plug into the desk you’ll hear a difference, from the preamps to the outputs, and that’s the icing on the cake. I love the compression, too. The multiband compression and the dynamic EQ are the best tools on the console. The dynamic section of the console is tops. It’s part of that DiGiCo sound that I just love and that’s one of the reasons I went after the console in the first place.”

Initially, he was making use of the Waves SoundGrid bundle but for simplicity’s sake, found that he was able to get everything he needed within the desk. “I’ve actually forgone the Waves plug-ins and am using all the delays, reverbs and time-based effects on the SD10 itself. The only outboard situation that I take the desk into is a Crane Song HEDD 192 digital signal processor/harmonic sweetener. I take a Subgroup of all of the band and run it through that and it adds a little sparkle to it. I then run it back to the desk and rejoin it with my vocal groups.”

As far as outputs, Thomas says that changes daily. “For our PA situation, I typically use two Left/Right outs these days and then matrix out through either a Lake-type system or the new Martin MLA system feeding left, right sub, front fills, side hangs, delays, lawn and hearing assists. On any given day, we can go from four to 16 sometimes, plus an additional three outputs for our Rational Acoustics Smaart 7 system where we were able to monitor left, right and any input or output off the second solo bus. Being able to see and hear without having to change and manage levels was great. We used one for the nearfield monitors, and the second for the Smaart.”

For recording and virtual soundcheck, Thomas is among the first wave of engineers making use of DiGiCo’s new UB MADI 24-bit/48-channel USB 2.0 interface to get a MADI stream in and out of his MacBook Pro. “I’m using it every night and it’s worked flawlessly,” he says. “I love it. We are at more than 48 channels but I’ve taken the primary inputs, track for track, to a MacBook Pro to a LaCie 4TB Thunderbolt hard drive and I record 48 tracks every night. I also use the ‘Listen to Copied Audio’ function for the Virtual Soundcheck mode, so I can play back the previous night’s show right back to the desk, channel for channel, 1-48. Also, the UB MADI is not DiGiCo proprietary, so the interface will work with any MADI-ready console, which is so cool. Initially we were set up to run with Pro Tools, but we found that if you have Pro Tools Native, it only allows you to go up to 32 channels with the standard PT system, and that was a real bummer. Not taking anything away from Pro Tools or the users of Pro Tools, it’s a great editing system for tracking, but for what we’re doing it’s not. We went and bought a $60 Reaper program that’s absolutely phenomenal. It’s flawless and allows me to listen back to my MADI rack. It sounds really good, too.”

Over at monitor world, Rob Greene is digging the SD10′s flexibility, routing and onboard effects—some of which, including snapshots, are a revelation for the engineer.

“I love the dual solo busses and being able to route a solo to either buss or both,” he says. “It’s very important as a monitor engineer not to have a click-track blasting through your cue wedge. I can also cue up someone’s in-ear mix and wedge mix at the same time. Almost everyone in the band uses Sennheiser in-ears, but my lead singer and guitar player rely heavily on wedges and sidefills. On the first day of rehearsals we decided to run the console at 96kHz. Overall, the console’s sonic quality is superb. It’s got the closest sound to an analog console and sounds better than most of the leading brands of digital consoles.

“I also like the ability to move inputs and outputs to wherever you want on the SD10. I have all the outputs that I need to listen to most often on the first bank so I don’t have to just move banks around too much. Speed is so important. I’m also digging the snapshots on this console. This is the first time I’ve used snapshots for a show. I’ve always been afraid to use them because it’s easy to get lost in them, but I found them easy to understand and they give you a lot of control.”

With the summer/fall leg of the tour coming to a close at the end of September and European dates on the horizon in 2013, Thomas and Greene have been happy with the flexibility the console has offered and will continue to rely on the console’s flexibility to support the show’s diverse structure.

“We’ve tried to keep the audience involved with kids coming onstage to sing, etc.” explains Thomas. “There’s a kind of Vegas show theme to our shows in that there’s always something going at any given time onstage. Using the small footprint of the SD10, which is a condensed screen surface, and having the ability to lay out the console where you need it and for what you need most to be on top and in your hands was key. I went to DiGiCo initially because it sounds the best. And having the ability to have what you need, where you need, when you need it is obviously of the utmost importance with any console. The ergonomics of the SD10 makes it tops. I’ve seen and experienced it all, and having this DiGiCo in my hands every day makes my job easier. And with the tour heading overseas, in fly-date situations, we don’t get to carry our backline, so DiGiCo has now been added to that fly spec of our rider. We’re hoping that everyone will jump on the SD10 format to the extent that we request one from Alabama to Asia. That’s what we’re looking to help do: get it out there and into people’s hands and let them know that this is a very serious product. And the SD10 fits into a lot of regional sound company budgets. It’s a hard-working, great-sounding desk that’s very powerful, and I think it’s going to be one of those consoles that is a staple of the regional and major sound companies. It’s affordable and everyone needs one in their inventory.”

QSC AcousticDesign Loudspeakers Reinforce the Ambience at Atlantic City’s New $2.4 Billion Revel Casino-Resort

Revel CasinoNearly 570 QSC Loudspeakers Deliver Consistent Coverage and High-Quality Audio to Gaming Floor

Atlantic City, NJ (Oct 18, 2012) — Montreal-based Scéno Plus, renowned for its theatre design work in Las Vegas, Canada, and around the world, recently completed a major, multi-venue project at Revel, the new $2.4 billion casino-resort at the north end of Atlantic City’s famed boardwalk. Scéno Plus was the lead designer for all of the entertainment spaces at the Revel, including the Revelry casino floor, where the company designed, specified and optimized nearly 570 QSC Audio Products AcousticDesign Series ceiling- and surface-mount loudspeakers.

Scéno Plus was responsible for the design of two large, multipurpose, transformable venues, several bars and various interconnecting spaces at Revel. The resort, which fronts onto the beach, covers 20 acres and, at 47 stories, is the tallest building in Atlantic City.
In a break with traditional casino design, Revelry’s 130,000-sq.-ft. gaming floor includes windows offering panoramic views of the Atlantic Ocean. As daylight fades, audiovisual, lighting and interior design elements dynamically change the ambiance of what are referred to as “neighborhoods” on the floor as the night’s entertainment begins. “The client wanted to have a high-end theatrical experience on the gaming floor,” explains Simon Léonard, AV Designer, Scéno Plus.
The constant-voltage distributed audio system on the Revelry casino floor includes 274 QSC AcousticDesign AD-CI52ST ceiling speakers, which employ 5.25-inch LF transducer, a 1-inch titanium dome tweeter and a ported enclosure for greater low frequency extension; 170 QSC AcousticDesign AD-S52T two-way surface mount speakers, also incorporating a 5.25-inch woofer and 1-inch neodymium tweeter; and 125 QSC AcousticDesign AD-C81Tw ceiling-mount 8-inch subwoofers, providing additional low-frequency extension.
“The AcousticDesign line was a great choice, because the client really wanted to have fullness and richness of both the high-end and the low-end,” says Léonard. “So we needed a product that could suit that large, broad spectrum, and would also be really comfortable to listen to.”
Despite the significant differences in ceiling height and of finish materials between one neighborhood and the next, the QSC AcousticDesign products were remarkably easy to dial in, according to Léonard. “The voicing of the whole line is very nice. You go from a low ceiling area to an open part of the casino, where AVI/SPL & CALVI worked hard to maintain a certain level of consistency in the trim heights, but the voicing is really similar. You could also get more of the same response between the ceiling and the surface mount versions, which is very nice. We were really astonished at how we could easily, without eq’ing for hours, get the same response everywhere.” He continues, “We were surprised to hear how the AD speakers sounded right out of the box, off-, as well as, on-axis. You can really get something that is consistent throughout the whole coverage area.”
The speaker system on the casino floor also needed to be of high quality, capable of acting as an extension of the sound systems in several of the featured spaces. These include The Social, a two-story, high-energy show-bar in the center of the gaming floor that hosts a variety of events, including musical guests; the Digipit, an area with a raised runway, two raised stages and space for acrobatic and aerial performances; and the Immersive Dome, an overhead, 360-degree digital video projection installation. “There are a couple of features like that on the Revelry floor that the system can take its source from,” says Léonard. “So we put a lot of attention into how we were going to zone the system, just to make sure that we would be able to maintain something that makes sense with the architecture.”
The changing environments and various show elements are preprogrammed and played out through show control automation. “So the floor manager at any time can override the timeline and select something at the catwalk, or later if there’s something happening in the bar and they want to extend the experience onto the floor, they are always able to do so. That’s why we had to provide a sound reinforcement system that would reflect or extend the quality of a live event. It’s more or less an extension of a concert system,” he elaborates.
Scéno Plus collaborated on the Revel project with Claude Ricard and Marc St-Jacques of SF Marketing, the QSC distributor for Canada. “We had the opportunity to do a mock up in their facility, so we could really compare what EASE Address was saying to compare it with the real life installation, or as close as we could get it. Those guys were really a big help,” says Léonard. We were really happy about how it turned out.” More importantly, he comments, “The client is really pleased with the results.”

About QSC Audio
QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, digital signal processors, digital sound transport, and network audio for professional audio systems worldwide. qsc.com

University of Idaho Uses Six Hitachi Cameras to Produce HD Video for Idaho Vandals’ Football Webcasts and Large-Screen Display

WOODBURY, NEW YORK – Hitachi Kokusai Electric America, Ltd., today announced that the Video Production Center (VPC) at the University of Idaho, in Moscow, Idaho, uses six Hitachi Z-HD5000 HDTV studio/field production cameras to produce high-definition video during Idaho Vandals football games.

At the ASUI-Kibbie Dome, the University of Idaho’s 16,000-seat covered football field where the Division 1 Western Athletic Conference team plays, the VPC produces game-day entertainment including highlights and replays that display on the stadium’s 20×10 foot Daktronics display, as well as the Dome’s HD Cable TV system, and the VandalXtra live game webcast.

As U-Idaho’s in-house video production service, the VPC also produces and webcasts HD video of convocations and commencements held at Kibbie, as well as the Lionel Hampton Jazz Festival, a prestigious, annual jazz music event that draws thousands of visitors to the University.

“While we bought these new Hitachi <a href="http://www.hitachikokusai.us/Products/BroadcastandProfessionalCameras/BroadcastandStudioProductionCameras/POC_005889.html”>HD cameras to replace aging SD cameras, they’ve taken our video production to a whole new level,” said Dave Tong, manager/producer for the Video Production Center, which is part of the Creative Services unit of U-Idaho’s Communications and Marketing department. “These cameras give us great picture quality, dependable performance, and useful, convenient features—like the ability to store operator settings for faster easier setup at future events.”

Equipped with Fujinon XA20sX8.5 HD lenses, the six Hitachi Z-HD5000 cameras are workhorses that are constantly on the go. They are part of a fly pack that includes a NewTek TriCaster 855 integrated production switcher, NewTek 3Play 820 HD replay system, and Sony HVR1500A HDV/DVCAM VTR, along with six Hitachi CU-HD500 camera control units and six Hitachi RU-1000VR remote control units.

The gear is packed into four road cases and transported by van wherever events are taking place on campus, including the Kibbie Dome, the University Auditorium, the Idaho Commons as well as the VPC’s own studio within the Student Union Building (SUB).

The purchase of the cameras coincided with the University’s 2011 renovation of the Kibbie Dome—which included new skyboxes, safety improvements, and fiber cabling runs—that was financed by state funding as well as private donations. VPC took that opportunity to obtain its own financing to upgrade the Kibbie Dome’s video production control room, including broadcast quality HD cameras that could maximize the fiber cabling and the new HD TV system in the suites, club deck, and press box areas, including the official’s replay review system.

“We chose the Hitachi Z-HD5000’s because their three 2/3-inch CCDs produce superior native 1080i HD imaging and the fiber adapters take full advantage of the stadium’s fiber cabling,” Tong explained. “The CCU’s integrate all the operational features we were looking for at an economical price.” The CU-HD500 CCU provides many features including two tally lights, two return video sends, power, two intercom channels, and a dedicated teleprompter channel per camera.

“Before we started using these Hitachi cameras, we were spending a lot of time resolving technical issues or searching for spare parts,” Tong continued. “They’ve proven to be high-quality yet cost-effective camera systems in every regard.”

The Hitachi cameras capture every aspect of Idaho Vandals football, including game action, crowd shots, fan appreciation activities, and the team’s entrance from the tunnel onto the field. The TriCaster ISO-records camera signals and the program on its hard drives, webcasts live shows, outputs video for big-screen display, and outputs video to the Sony HDV VTR.

U-Idaho webcasting also gives a global audience the chance to appreciate cultural and arts events taking place at the University, such as the Lionel Hampton Jazz Festival, a premiere jazz music event now in its 44th year. Student performances at the Young Artist Concerts can be seen live or on demand at the University’s website, or purchased as commemorative DVDs. The Hitachi cameras also provide the IMAG for the concerts inside the Kibbie Dome during the festival, which features world-class jazz musicians.

The Hitachi package was purchased through Hitachi dealer VMI, Inc., in Spokane, WA.

About the University of Idaho

The University of Idaho inspires students to succeed and become leaders. Its land-grant mission furthers innovative scholarly and creative research to grow Idaho’s economy and serve a statewide community. From its main campus in Moscow, Idaho, to 70 research and academic locations statewide, U-Idaho emphasizes real-world application as part of its student experience. It is home to the Vandals, and competes in the Western Athletic Conference. Through the university’s $225 million Inspiring Futures capital campaign, private giving will enhance student learning, faculty research, innovation, and a spirit of enterprise.

About Hitachi

Hitachi, Ltd., (NYSE: HIT / TSE: 6501), headquartered in Tokyo, Japan, is a leading global electronics company with approximately 400,000 employees worldwide. Fiscal 2009 (ended March 31, 2009) consolidated revenues totaled 10,000 billion yen ($102.0 billion). The company offers a wide range of systems, products and services in market sectors including information systems, electronic devices, power and industrial systems, consumer products, materials, logistics and financial services. For more information on Hitachi, please visit the company’s website at www.hitachi.com.

Hitachi Kokusai Electric America, Ltd. designs, manufacturers and markets video cameras, digital transmission, processing and recording devices for the broadcast television, cable, video production, and industrial vision markets. For more information, please call (516) 921-7200 or visit Hitachi’s web site athttp://www.hitachikokusai.us . Hitachi Kokusai Electric, Inc. (TSE, OSE: 6756), is a Hitachi, Ltd. (NYSE: HIT) group company.

Full versions of all press releases and product images are posted on the web site in the pressroom section: www.hitachikokusai.us

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Christie Creating Powerful Live Event Experience at LDI 2012

Christie is lighting up the LDI 2012 trade show from Oct. 19-21 with a range of integrated offerings to create the definitive rental staging experience. Designed to replicate a concert stage and inspire the imagination, the Christie booth features the entire Christie Nitro Solutions family of digital luminaires, two Christie Roadster HD20K-J 3-chip DLP projectors and the multiple award-winning Christie MicroTiles.

Award Winning Christie Nitro Solutions Take Center Stage
Taking the figurative center stage at the show is the award winning Christie Nitro Solutions – the Christie YK50, Christie YK100, and Christie YK200 – each with a Christie projector installed displaying bright, brilliant and changeable moving images. Designed for staging and event applications, Christie Nitro Solutions offer three yoke models and provide a platform to move and control a variety of Christie video projectors via DMX protocol – allowing integration of lighting equipment and video projectors easily with the same control console. These versatile yokes can be flown, rigged or set up at floor level, according to application needs.

Rigged on either side of the stage, two Christie YK50 dual-arm yokes have a Christie LX700, installed and in between is a Christie YK200 with a Christie HD20K-J installed.

Christie Nitro YK-200 featured at LDI

Christie Nitro YK-200 featured at LDI

The Christie YK50 is ideal for any small- to mid-size venue where space is limited or less brightness is needed, such as casinos, lobby displays, churches and planetariums. For larger rental staging applications, the Christie YK200 dual-arm yoke is designed for Christie Roadster 3-chip DLP models and was recently featured at Shark Week festivities. The brightest moving digital luminaire on the market, the Christie YK200 enables images between 12,000 to 20,000 ANSI lumens to be displayed on virtually any surface.

Near ground level at both stage left and right, is a Christie YK100 single-arm yoke containing an installed Christie WX10K-M projector displaying bright, moving images. Providing brightness levels from 5700 to 15,000 ANSI lumens, this flexible system includes an interchangeable head system enabling users to replace the video projector with another Christie projector – on the same yoke.

Filling the large curved screen backdrop with blended images are two Christie Roadster HD20K-J projectors.

Located below the Christie YK100 display are two Christie MicroTiles arrays – each in 1-unit wide by 5-unit high configurations – while additional MicroTiles displays bracket the backdrop screen and run along the bottom in a ribbon format.

Displaying stunning visual performances, Christie MicroTiles offer substantially brighter images, a much broader color palette, and a virtually seamless canvas compared to conventional flat panel LCD and plasma displays.

Two Christie Spyder X20 video processors are managing and controlling all content displayed in the booth as well as Pandoras Box servers through Christie’s partnership with coolux Media Systems. Providing image content for Christie at LDI 2012 is Proyección de Ideas, based out of Santiago, Chile.

HARMAN’s AKG Announces Discreet Acoustics Modular Plus Series Shipments

VIENNA, Austria – With a wide range of goosenecks and installation modules available, HARMAN’s AKG Discreet Modular PLUS Series offers optimal adaptation for all types of room setups and speakers, with quick microphone capsule exchange. Today, AKG proudly announces the Discreet Acoustics Modular PLUS Series has begun shipping to clients across the globe.

The reliability stemming from the models’ LED Ring underscores the ability to reduce the risk of operating errors, sturdy material to reduce fatigue and improved protection from signal block outs. The LED Ring uses special circuitry to operate off standard phantom power, as two separate leads carry supply voltage and provide extra shielding to the audio signal.

The Modular PLUS Series’ interface module connects the high-quality gooseneck to the phantom power source, which adds flexibility to all mounting modules. The self-cleaning connector is reliable, inconspicuous and safe – allowing for simplified and cost-effective microphone replacement. The goosenecks themselves are tested under extreme circumstances, bent and twisted into extreme shapes, ensuring their quality and flexibility.

“The Discreet Acoustics Modular PLUS Series is a testament to AKG’s continued offerings of the best in sound in any miked application,” stated Thomas Giczy, Business Development Manager Installed Sound and Conferencing, AKG. “The variety offered through the Modular PLUS Series, from the power to the mounting and capsule modules, is the best in class and will provide optimum audio for videoconferencing or presentations around the world.”

The CK43 supercardioid condenser capsule offers users a 95-degree pickup angle, ideal for situations where unwanted noise pickup is a concern. The CK49 is a reference condenser capsule with an 80-degree pickup, with clean, off-axis response. It is ideal for use with inexperienced speakers, focusing on the voice when the speaker is distant, and reducing pop if close to the mic.

AKG’s Gooseneck GN155M is a 155cm module with a heavy, shock-mount floor stand that works perfectly as a stand-alone unit or on stages placed in front of a large group of instruments or speakers. HM1000M is a reference-hanging module used to fly mics from the ceiling to record or reinforce music or speech in houses of worship, theatres or conference halls.

AKG’s PAE M reference powering module offers the phantom power for fixed and mobile installation, providing a gold-plated, 3-pin XLR connector. Its wide voltage range fits most mic mixers. PAESP M is a programmable power module for fixed and mobile installation, fitted with a unique binary coded decimal switch to recall operating modes. PAESP M’s noiseless mic switch reduces its level by 26dB, avoiding the irritating crackling sound when phantom power is interrupted. The PAE5 M provides a 5-pin XLR connection allowing audio signal and central voltage to be fed separately.

The four different powering modules, five mounting modules and three capsule modules combine and add up to a total of 60 different microphones combinations.

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics.

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.

InfoComm Recognizes Kramer Electronics Training & Education Manager with InfoComm International 2012 Women in AV Award

Hampton, New Jersey – Kramer Electronics is very pleased to announce Malissa Dillman, CTS−D, CTS−I, Kramer’s Training and Education Manager, has received the 2012 InfoComm International Women in AV Award. This prestigious award acknowledges the important contributions of female InfoComm members, who not only are achieving rewarding and successful careers in the AV industry, but have also achieved excellence in the AV field.
Dillman received the award in recognition of her extraordinary contributions, noteworthy leadership, and dedication to promote the audiovisual and information communications industries. In her capacity as an educator for Kramer, Dillman prepared approximately 300 people to take their InfoComm CTS exam, and taught a combined total of more than 600 people in the past year. She has also served as a role model and encouraged many of her trainees to pursue advanced InfoComm Certifications. She also conceived and successfully executed Kramer’s highly successful “Designing in a Digital Age Road Show” program, creating regional opportunities for industry members to spend a full day earning InfoComm CTS renewal units while receiving essential industry technology training.
InfoComm said in its announcement of their yearly awards, that winners of this award “… are in the upper echelon of AV professionals and symbolize the strength of entrepreneurship and excellence in developing tomorrow’s AV talent.”
“I am honored to receive this most distinguished award from the association who represents the industry I love so much,” said Dillman. “My husband I have both been fortunate enough to work for many years in the AV industry, so it is a family affair for us. The AV industry is my passion and I feel incredibly lucky to be a part of it every day.”
Since Dillman joined Kramer Electronics in May of 2011, she has trained over 600 AV professionals from all over the country. She has over twelve years of extensive A/V experience and brings her diversified skills and vast experiences to the classroom when she teaches. Dillman has been active on several important InfoComm Committees, including most recently being one of the inaugural 9 members of the InfoComm Certification Committee. While serving on the Certification Committee she was the Chairman of the CTS Subcommittee, as well as being recognized as a “Subject Matter Expert” for test development. Through her years in the industry, Dillman has also owned and operated an AV installation company, worked as both a Regional Sales Manager and Division Sales Manager at AV dealerships, and also served as a Regional Field Sales Engineer for a prominent industry manufacturer.

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