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Archive for October 26th, 2012

NUGEN Audio Demonstrates Prototype of New ISOSTEM(R) Surround Upmixer/Downmixer Plug-In at AES SF 2012

LEEDS, U.K. — Oct. 25, 2012 — NUGEN Audio, a creator of intuitive tools for audio professionals, is demonstrating a prototype of a software plug-in at AES 2012 that offers market-leading upmixing/downmixing between stereo and 5.1 surround. The plug-in uses the patented ISOSTEM(R) technology, which is believed to be the only upmix engine that is fully compatible with stereo. ISOSTEM delivers a surround stem that downmixes exactly to the original stereo, and, if required, automatically constrains the dialog in the center channel. more

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The IABM Training Academy Builds on 2012 Momentum With Plans for Geographic and Course Expansion in 2013

GLOUCESTERSHIRE, U.K. — Oct. 25, 2012 — The IABM Training Academy today announced that, given the success of its 2012 course offering, the organization will significantly extend the breadth of its course offering in 2013. Through this ongoing geographical expansion and course development, the academy will continue to deliver training that addresses the broadcast industry’s skills and knowledge shortage. The academy also will continue its work in establishing valuable links with academic institutions. more

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iStreamPlanet to Debut Aventus, Comprehensive Cloud-Based Live Video Platform, at Streaming Media West 2012

New Solution Will Be Available in 2013

LAS VEGAS — Oct. 25, 2012 — iStreamPlanet, a leading provider of live and on-demand streaming-video solutions, today announced that it will for the first time demonstrate Aventus, its new cloud-based, comprehensive, automated, video workflow platform for delivering live events and live linear channels online, at Streaming Media West 2012 in late October. The demonstration will take place during a keynote session with NBC Sports, who has been one of the key customers working with iStreamPlanet to develop the next generation live video platform. more

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HARMAN’s dbx Components Help Enable Phillip Freeman Realize His Musical Aspirations

SALT LAKE CITY, Utah – When musician and composer Phillip Freeman first received the e-mail telling him he would be receiving free gear from HARMAN’s dbx on Facebook he didn’t believe it. “I had never won anything before in my life,” stated Freeman. A user of the dbx 266XS compressor for his home recording studio, Freeman had been posting about how much he liked it on the dbx Facebook page. Once annually, dbx picks from the comments on its Facebook page and selects a “Friend in Need” and awards them a prize – in Freeman’s case a dbx 231S dual-channel 31-band equalizer and a 286S microphone preamp/processor. Freeman was chosen based on his compelling story and loyalty to all of the HARMAN brands.

Freeman might value his home recording setup more than most. The 63-year-old Freeman is disabled as a result of complications from Type II diabetes and can’t get out of his home very often. “I am literally at home all the time, every day, and I spend every day in my recording studio.”

The Bakersfield, California musician knew what he wanted to be from an early age. “I started playing guitar at age seven and it’s been my life ever since.” Freeman soon took up keyboards and bass, which became his primary instrument. “I was on the bill with dozens of top country, rock and pop artists. I made a few records and until 1990 playing music was all I ever did,” added Freeman.

“I got off the road when I got married but the need to make music never left me. About five years ago I put together a home studio with about the least I could get away with in gear – but it was enough for me to start recording and creating my own music again. A few years ago the effects of my diabetes got much worse, affecting my ability to walk so severely that I became permanently disabled. My home studio became much more than a hobby – it became a release, a solace, and enabled my to keep making music even though I couldn’t go out and play live anymore.”

Freeman started upgrading his recording setup as he could, given his limited budget. “I couldn’t afford a big mixer so I use four little mixers chained together that I bought over time. I bought a drum machine and learned how to program it. My son gave me some gear including two Lexicon MX200 Dual Reverb/Effects Processors, a DigiTech JamMan Solo Looper and the dbx 266XS compressor, so I became more familiar with HARMAN components and how useful they could be for a guy like me in making home recordings. I was so enthusiastic that I started posting on the dbx Facebook page.”

“I was able to make good recordings before, but the dbx 231S and 286S have taken things to a much higher level,” noted Freeman. “ The 286s’s built-in compressor, enhancer and expander/gate allow me to really warm up and tweak each track. I’m using it on instruments as well as vocals – I write a lot of instrumental music and the 286S works really well on instruments as well as vocals, even though it’s known as a mic preamp. I’m particularly impressed on how well it works on electric bass. My tracks now sound like they were done in an expensive pro recording studio.”

The 231S and 286S provide another sonic benefit Freeman would not have guessed at first. “Since I’m recording at home, I have to use small solid-state guitar amps – I can’t crank up big tube amps. I used to get a lot of noise and wasn’t happy with the recorded sound of my amps. Now, with the 231S and 286S, I can boost, clean up and EQ the sound of the amps to where they sound great. That alone is worth every penny. I had never thought about getting a mic preamp before but now, because the quality of the individual tracks is so much better, I find myself having to do a lot less fixing in the final mix.”

“Now that I have them, I don’t see how a recording studio could operate without these components,” Freeman concluded. “They’re especially useful for a home user like me. I can’t explain the joy I get from making music. There are no words to express how happy I am now.”

“dbx is lucky to have so many fans and followers that have supported the brand for over 40 years. Phillip is one of those loyal fans and we are very pleased that we could help him in reaching his goal of improving his studio,” stated Noel Larson, Market Manager, Portable PA, Tour and Recording at HARMAN Signal Processing.

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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Marty Stuart and Engineer Mick Conley Get Back to Their Country Music Roots With HARMAN’s JBL LSR4300 Series Studio Monitors

Mick Conley (left), longtime engineer for Marty Stuart (right), relies on JBL LSR4300 Series studio for all of his mixes.

SAN FRANCISCO, California – Marty Stuart was born a country music traditionalist who has always embraced the styles and sounds of pure country—right down to recording with his Fabulous Superlatives band in Nashville’s iconic RCA Studio B with the help of Stuart’s longtime engineer Mick Conley and his HARMAN JBL LSR4300 Series studio monitors.

“Marty is as old school as I am when it comes to the sound he wants to get on his records,” said Conley, who has worked with greats such as Kathy Mattea, Patti Page, The Blind Boys of Alabama, Suzy Bogguss and many others. “We want to achieve a rich, full sound with plenty of detail. JBL LSR Series studio monitors are a big part of helping us achieve that.”

For his most recent release, Nashville Volume 1: Tear the Woodpile Down, and his 2010 release, Ghost Train, Stuart sought out the prestigious confines of Studio B. “Studio B was one of the places where the legendary Nashville Sound of the 1960s was created,” Conley noted. “Some of the greatest country music recordings of all time were made there and it was the first place Marty ever recorded. Marty and his band wanted to feel that vibe.”

However, since Studio B is now a museum, they had to get special permission to record there, which meant bringing in some key pieces of gear, including Conley’s JBL LSR4326P studio monitors and LSR4312SP subwoofer. “Studio B might be hallowed ground for recording industry pros—but let’s not forget that it was designed on the back of a napkin,” Conley said. “It’s always had acoustic challenges. I needed monitors I could trust. We use JBL LSR monitors everywhere—at my studio, and at [Marty Stuart’s bassist] Paul Martin’s studio in both stereo and 5.1 configurations, for The Marty Stuart Show and for a recent broadcast of a live concert on SiriusXM. I know can rely on them in any situation.”
“In any kind of recording, the hardest thing is to get the bottom end right,” Conley continued. “With the LSR’s, I can trust what I’m hearing, whether I’m using a stereo or 5.1 monitoring setup. Their RMC Room Mode Correction enables me to factor out the influence of the room on the low-frequency response and make subtle or major adjustments to the bottom end. Depending on the project, I might or might not use a subwoofer, but even without the sub I know there’s no guessing.”

“When Marty and his band record, we just like to go in and do it—get in there and cut those tracks as a complete performance. For Ghost Train and the newly released Nashville Volume 1: Tear the Woodpile Down, each song was tracked live with minimal overdubs to finish it—then on to the next song. It would be hard to do that if I don’t know what I’m hearing on the monitors is what it really sounds like where the musicians are performing. And of course, The Marty Stuart Show is recorded ‘live’ with a ‘Who’s Who” of country music starts, so I have to meet Marty’s high standards and his guests’ high standards also. That’s why I rely on the LSR Series studio monitors.”

With a variety of projects on the horizon for the rest of 2012 and beyond, Conley will take his LSR studio monitors wherever he goes. “I don’t want any surprises,” he said. “When it comes to trusting what you’re hearing, your monitors are your only comfort factor.”

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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On Stage Audio and HARMAN’s JBL Loudspeakers are Clear Winners at Presidential Debates

NORTHRIDGE, California – Audio rental systems provider On Stage Audio has supplied JBL VRX Constant Curvature loudspeakers for use in all three presidential debates and the vice presidential debate. The presidential debates took place at the University of Denver on October 4, Hofstra University in Hempstead, New York on October 16, and Lynn University in Boca Raton, Florida on October 22. Additionally, the vice presidential debate took place October 11 at Centre College in Danville, Kentucky.

The audio system for each event remained consistent across the different locations, with JBL VRX932LA portable line arrays arranged in clusters of two each in left-center-right configurations, with two additional delay fills of two VRX932LA loudspeakers each. Crown I-Tech 4x3500HD amplifiers powered the system, with processing handled by a dbx SC32.

Larry Estrin served as Audio and Production Communications Director for the Commission on Presidential Debates, overseeing the audio/video systems for each event. “High-profile events such as the presidential and vice presidential debates leave zero margin for error when it comes to the audio reinforcement system—it is imperative that the system performs flawlessly,” Estrin said. “As was the case during the debates four years ago, the JBL loudspeakers once again delivered high-quality, reliable sound.”

While On Stage Audio’s Chicago-based facility provided similar audio system packages for each of these three locations, JBL’s ability to provide a variety of loudspeakers for different needs helped overcome any acoustical challenges that may have arose in each venue.

“The combination of JBL VRX loudspeakers, Crown amplifiers and dbx processing gave us a high-performing and consistent audio system that we were able to deploy in several different environments,” said Jim Risgin, Vice President of On Stage Audio.

On Stage Audio’s Chicago-area rental services facility can be reached in Wood Dale, IL at (630) 227-1008 or on the web at http://www.osacorp.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.

HARMAN’s Soundcraft Si Performer Passes Touring Induction with Flying Colours

POTTERS BAR, United Kingdom — The newly launched Si Performer integrated sound and lighting control desk from HARMAN’s Soundcraft has made its world debut—mixing the current UK club tour for rapidly emerging Sony artiste Kyla La Grange.

West Country PA company Amber Audio is the first rental house to pilot the board and co-owner Paul Bullimore (handling Kyla’s FOH mix) is loving the experience.

Amber Audio was already a fan of Soundcraft technology, with an inventory including GB4, GB8, K1 and Series 2—as well as the popular Si Compact 32, which Paul and partner Alan Burgess purchased 18 months ago. Yet Bullimore believes the Si Performer 3 (32-channel version) is more akin to the superior Soundcraft Vi platform—particularly with its assignable Gain, Pan and HPF functions.

“We had inquired about Soundcraft desk updates with this tour in mind and the timing of the Si Performer launch couldn’t have been better,” Bullimore reported. “When Soundcraft showed us the new desk it contained everything that was good about the Si Compact 32—along with even better features, such as the independent LCD channel screens and eight assignable VCA groups, which the Compact didn’t have.

“But the strongest attribute is the select fader function which allows you to assign any fader to any job, and build the work surface you want specifically for the show you’re working on. The other notable feature is the TOTEM touch [The One Touch Easy Mix] which allows you to get to your mix with one button push; so the board is definitely quicker to navigate enabling engineers to get straight on and use it.”

Since Amber Audio also handles one-off shows and dry hires in addition to touring, Paul Bullimore believes that the lighting function will have a major role to play, providing control of a single DMX512 universe. “There are customers we hire to who will love the ability to do simplistic lighting scenes with this desk,” he predicted.

As for road tours, the physical advantages of the Si Performer stand out. “As a touring desk to have 32ch measuring under 1m in width, which I can carry on my own and put in the back of a splitter bus, is amazing. The Si Performer fits comfortably into small format venues—yet there’s so much under the bonnet.”

In particular, he singles out the 14 mix busses —which when touring small venues and theatres with part-equipped house rigs has enabled him to handle monitor mixes from FOH. “Most in-house desks I’d be working on during this tour would be unable to handle five- or six-way monitor mixes and in ears; they wouldn’t have the physical outputs do it. Being able to bring the Si Performer into small venues enhances stage sound for the band, making a more enjoyable performance for everyone.”

The list of attributes extends to the FX. “Using in-house desks I’d rarely have more than two FX busses to play with but now we can use all four Lexicon FX—vocal hall and plate reverbs, varying delays, drum plate etc on this tour, while the preamps are crystal clear and transparent, the gain pots responsive and the BSS EQ robust.

In summary, he said, “The Si Performer is fantastic and the feedback I have had from engineers couldn’t be more positive; they all speak of the ease of getting around the work surface and how quickly they can be up and running on the board. Most importantly they say it sounds a lot better than comparable desks while several technical managers have commented that they see the DMX feature as a real asset.”

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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B.M.C. Audio Introduces Integrated Amplifier With Built-in Power Amp Upgrade Option

Housing a Wealth of Exclusive Features, the AMP CS2 Delivers
High-End Reproduction that’s Natural, Neutral and Transparent

GESEKE, GERMANY, Oct. 16, 2012 — Balanced Music Concept (B.M.C.) Audio, a developer and manufacturer of high-performance, high-value audiophile components, is introducing into the U.S. market the AMP CS2 Power Amplifier. The AMP CS2 delivers 2 channels of 200 Watts housed in a sturdy aluminum chassis with large Power and Volume buttons and an easily read Power Meter.

The AMP CS2 is notable for a built-in option that automatically changes it from operating as an integrated amplifier with B.M.C.’s exclusive Load Effect Free (LEF) technology into a stereo power amplifier with LEF by simply connecting it to a B.M.C. digital-to-analog converter (DAC).One of a series of amplifiers B.M.C. developed to deliver music to loudspeakers purely, naturally and neutrally, the AMP CS2 also features a full package of B.M.C.’s unique and exclusive technologies, including LEF amplification, Current Injection (CI), and Discrete Intelligent Gain Management (DIGM). Used together, as in the Amp CS2, they lead listeners to a previously unheard level of musical transparency.

Contributing to the exceptional sound are a short, pure signal path, and the absence of distortion. Instead of compensating for distortion as other amps do through a negative feedback loop, the AMP CS2 simply avoids it, believing that it’s better to avoid distortion from the start than to try to correct it later.

Users can take advantage of the built-in upgrade option by combining the AMP CS2 with a B.M.C. DAC, which transforms the CS2 into a stereo power amp, while retaining all of B.M.C.’s exclusive technologies.

And all of the AMP CS2′s dynamic power. The amplifier outputs 2 channels of 200 Watts into 8 Ohms, and 2 channels of 360 Watts into 4 Ohms. A fully regulated power supply with a large 2kW toroidal transformer, and energy storage by specially designed balanced current capacitors, provide the muscle behind the music even as the amp, itself, runs cool and quietly. In addition, an innovative electronic stabilization circuit filters voltage ripples and other disturbances out of the supply voltage, ensuring exceptional tranquility and dynamic stability.

Three Technologies
The AMP CS2 includes three technologies developed by and exclusive to B.M.C.:

Load Effect Free (LEF) Technology handles a speaker’s current demand separately from the voltage demand. This helps the amplifier achieve high output and high-quality reproduction. It provides a top-level signal without voltage amplification, and increases efficiency. The result is a level of musical complexity that brings to life delicate details, rock-shaking power, high dynamics, sonic vitality, and accurate imaging.

Current Injection (CI) Technology processes the input current from a signal source through a special XLR-CI input and the amplifier’s circuitry until it attains the desired output voltage for the loudspeakers, increasing the purity of the amplified signal and the immediacy of its musical reproduction.

Digital Intelligent Gain Management (DIGM) is a volume and amplification control system that recalibrates gain without dividing and downgrading the input signal. It enables users to adjust left/right output balances in 66 1-decibel increments. It also avoids unnecessary attenuation of the input signal and excessive amplification, eliminates the need for a preamp circuit, and allows a DAC to directly connect to the amplifier. Less amplification means less distortion and noise, which leads to a more natural musical quality

B,M.C.'s AMP CS2

Exhibiting the modular construction and massive build quality typical of B.M.C. components, the AMP CS2 is housed in a sturdy aerospace-grade aluminum chassis using the finest components available. Large Power and Volume buttons and an easily read Power Meter enhance the front panel.

A variety of inputs and outputs — including XLR-CI, RCA and optical
connections — help the AMP CS2 take advantage of its advanced technologies.

A handsome aluminum remote control is included to operate the AMP CS2. Rear-panel connections include 2 pairs of balanced XLR-CI inputs, 3 pairs of unbalanced RCA inputs, 2 pairs of speaker outputs, an optical input and output for stereo operation, and an AC power connection.

The AMP CS2 Power Amplifier is available now from authorized B.M.C. Audio dealers at a suggested price of $8,390 (U.S. MSRP).

About B.M.C. Audio
B.M.C. Audio, based in Germany, is a developer and manufacturer of innovative audiophile components that combine a radically different approach with unconventional technologies, modular designs and affordable prices for music lovers with the highest expectations.

For further technical information, visit B.M.C. Audio’s website at www.BMC-audio/de/en or the Aaudio Imports website at www.aaudioimports.com

For further press information and high-resolution images, please visit www.JBStantonPressRoom.com

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MythBusters Test the “Frequency of Fear” with Meyer Sound’s New 1100-LFC

When Discovery Channel’s MythBusters set out to test the claim that subaudible low-frequency sounds near 19 Hz can instill feelings of discomfort, dread, and even outright terror, they turned to Meyer Sound and Dr. Roger Schwenke, the company’s staff scientist and honorary MythBuster, for assistance.

Filming for the “fear frequency” segment took place in and around four abandoned cabins at a secluded forest resort in Northern California. To test the theory, the show enlisted 10 volunteers to spend time in the cabins.

“One cabin was subjected to infrasonic sound while the other control cabins had no sound,” says Schwenke. “Although the cabins were essentially identical, the idea was to ask the participants if one cabin seemed more eerie or frightening than the others.”

Unbeknownst to the subjects, a U-shaped array of nine modified Meyer Sound 1100-LFC low-frequency control elements was hidden behind one of the cabins to create the ultra-low sounds.

“We used the U-shape to get the 1100-LFCs as close together as possible,” explains Schwenke, “and to direct any higher overtones away from the cabin so we could get the infrasonic level as high as possible without anything being audible.”

It turns out that nine of the potent 1100-LFC low-frequency control elements were more than needed. “We had to be careful with the level because, at around 95 dB, we started rattling the cabin walls,” recalls Schwenke. “That would have been a dead giveaway.”

Did the MythBusters debunk or confirm the myth? Schwenke isn’t saying: “I did feel a sense of unease. You could tell when it was on even though you couldn’t hear anything. It was more of a whole-body, change-in-the-air sensation, an undefined ominous feeling.”

To find out if the myth was officially confirmed, busted, or deemed merely plausible, tune in to the Discovery Channel on October 28 at 8 PM. The 2012 Halloween edition marks Schwenke’s seventh appearance on the phenomenally popular TV series. In previous episodes, Schwenke applied his expertise and Meyer Sound technical resources to urban myths associated with movie gunshots and explosionsextinguishing flames with sound, the echo of a duck’s call, a human voice breaking glass, and the infamous “brown note.”

www.meyersound.com/news

 

 

 

 

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Video: Blackhawk Audio Unveils New Meyer Sound LEO at Beach Festival

At the ultimate beach party in Florida, DeLuna FestBlackhawk Audio demonstrated how its brand new Meyer Sound LEO system delivered what it was built for: to carry a whole new level of musical fidelity and impact for long distances.

Featuring Clint Aull, production manager of DeLuna, and Rick Shimer and Jamie Nixon of Nashville-based Blackhawk Audio, this first LEO video explains the linearity philosophy behind LEO, and how LEO has raised the bar for large-scale sound reinforcement.

The LEO system at DeLuna included the LEO-M line array loudspeaker, MICA line array loudspeaker, 1100-LFC low-frequency control element, and the Galileo Callisto loudspeaker management system. Artists who played on the LEO system included Pearl Jam, Foo Fighters, Zac Brown Band, The Gaslight Anthem, The Joy Formidable, Fitz and The Tantrums, and The Wallflowers.

“No matter where you went, the LEO was in your face. The fidelity of the system is just incredible.” – Jamie Nixon, Blackhawk Audio

Video: Blackhawk Audio Unveils Its New Meyer Sound LEO at Beach Festival

Learn more about the Meyer Sound LEO at www.meyersound.com/leo.

 

 

 

 

 

 

 

 

 

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