A virtual press conference from Sound & Video Contractor

Archive for November, 2012

ENTASYS Brings Clarity to Historic Philadelphia Sanctuary

Sharon Hill, PA, October 2012… Since its founding in 1891, Holy Spirit Catholic Church has held a special place in the hearts of Philadelphia-area residents. In the early years of the twentieth century, the church forged a reputation as one of the few non-segregated churches and parochial schools in the region.

Dedicated in 1961, Holy Spirit’s current sanctuary is a unique and welcoming space, resplendent with ornate woodcarvings, wrought iron, and magnificent stained glass, including perhaps one of the only works commemorating John Fitzgerald Kennedy’s inauguration as the country’s first Catholic president.

But the same elements that make the sanctuary so beautiful to behold also make it a rather acoustically challenging space. As Tony Albano of Avondale, PA-based Naamans Creek Audio Video explains, the room’s configuration is anything but ordinary.

“It’s a very different type of room,” says Albano. “The chapel itself is surrounded by smaller sub-chapels. The walls are largely brick, and the ceiling is about 30 feet high at its peak. It’s a complex space, and very reflective, and they’ve always had problems with intelligibility.”

To address the room’s sonic issues, Albano designed an audio system comprising four Community ENTASYS column line array loudspeakers. Two more ENTASYS columns provide delay toward the back of the room. A Crown CTS-4200 four-channel amplifier drives the system, with Rane RPM-88 providing system DSP.

“Their previous system had been pretty problematic,” says Albano. “Parishioners complained about loud volume but low intelligibility, particularly along the center seating areas. The ENTASYS columns were the ideal solution for focusing the sound away from the walls and windows and into the seating area where it belongs. Several of the church’s long-time parishioners have said that it’s the first time they could actually understand the priest’s sermon.”

###

Community Professional Loudspeakers is a manufacturer and supplier of professional audio equipment.  Since 1968, Community has led the pro-audio industry with technological innovations which have become industry standards. Today, Community offers over 150 professional loudspeaker products, including installed loudspeaker systems, weather-resistant outdoor loudspeaker systems, ceiling loudspeakers, high level voice paging systems, and portable entertainment systems.  Visit www.communitypro.com for more information. 

HARMAN’s AKG C544L Works Miracles on Jesus Christ Superstar Tour

VIENNA, Austria – Andrew Lloyd Webber was just 21 years old when he and Tim Rice collaborated to pen Jesus Christ Superstar. Now, more than 40 years later, Laurence Connor’s contemporary take on the production, which features former Spice Girl Mel C and Australian comedian Tim Minchin, is in the midst of an arena tour of the United Kingdom. Sixty of HARMAN’s AKG C544L headset mics are deployed for all vocals during the show, and according to both FOH and monitor engineers, the mic was ideally suited to this particular application.

Both engineers talked to Redditch-based SSE Audio Group’s director, Yan Stile, whose company provided the audio for the tour, and requested an organized “shootout” to find out which microphone would be best suited to the job in hand.

“I arranged for the best current offerings from all the major microphone manufacturers to be set up and tested through a smaller version of the show’s touring sound system,” Stile explains. “They were looking for sonic performance, stability during head movement, ease of mounting and durability; and after a full day’s testing, the unanimous choice was the AKG C544L. We also did a blind test with a number of other experienced engineers, and the result was the same.”

With the amount of dancing and acrobatics on this production, the cast mics needed to be in the optimum location at all times, regardless of head movement. Monitor Engineer, Seamus Fenton, says the C544L was the perfect choice.

“We did our A-B tests with about 12 different microphone models, and the C544L came out on top – none of us had ever heard one in action before, but we soon realized what an amazing mic it is,” he states. “Literally everyone is using one on this show, and the sound it puts out really suits the production too; it was certainly head and shoulders above the rest in all departments.”

“It was very much a production decision to go with the AKG mics,” confirms AEG’s Keith Wood, production manager for the show. “Because this is essentially an arena rock show, we realized we needed a head-worn microphone that would be more roadworthy and provide a greater output level and better off-axis rejection than some models currently favored in musical theatre.”

HARMAN Professional’s exclusive United Kingdom and Eire distributors, Sound Technology Ltd, supplied the AKG microphones.

Jesus Christ Superstar opened on September 21 at London’s O2 Arena and played host to several other sizeable venues including Wembley Arena and Liverpool’s Echo Arena. It closes on October 21 at the Motorpoint Arena in Sheffield.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, Microphones, News, Video |

Busy Day for Premier Production & Sound Services and HARMAN’s JBL Loudspeakers Includes Sound Reinforcement for Voodoo Experience Festival and Other Regional Events

NORTHRIDGE, California – Premier Production & Sound Services, LLC (PSS) of Baton Rouge, Louisiana is one of the region’s biggest sound companies, and on October 25 the company proved it, providing HARMAN’s JBL, Crown, dbx and BSS audio gear for no less than 14 locations throughout the area. The day gave PSS the chance to put its newly purchased JBL VTX Series line arrays into play at the “Le Plur/Red Bulletin” stage at the Voodoo Experience festival, which featured Skrillex, Die Antwoord, Dave Stewart, Thomas Dolby and other top artists performing for more than 100,000 fans at City Park in New Orleans.

“We recently purchased a number of the new JBL VTX Series V25 fullsize line array elements and S28 arrayable subwoofers, and the Voodoo Experience was the perfect proving ground because the Le Plur/Red Bulletin stage was inside a tent, which limited the height that was available to fly the main left and right clusters,” noted Brian W. Gordon, Co-Owner of PSS.

For the main PA system at the Le Plur/Red Bulletin stage, PSS hung six V25 elements per side and placed six S28 subs per side on the ground in a cardioid configuration. PSS also used four JBL VERTEC® VT4886 subcompact line array elements for front fill, 16 JBL SRX712M monitor wedges and three stacks each of two VERTEC VT4883 subcompact arrayable subwoofers plus four VT4886 loudspeakers for side fill. The speakers were powered by two racks that each housed 18 Crown IT 12000HD amplifiers, plus six IT 8000 amps for the monitors and three IT 4×3500 HD amps for the side fills. A Soundcraft Vi6 digital console was used for front of house mixing.

“This was the second year we provided sound for the Le Plur/Red Bulletin stage and even though we were more limited in the available space where we could deploy the speakers, the system had more horsepower and sounded fantastic, thanks to the VTX line arrays,” Gordon said.

For the Voodoo Le Carnival stage, PSS flew left-right arrays of four JBL VERTEC VT4888 midsize line array elements, four VT4886 line array elements and three SRX728S subwoofers on each side. Additional near-field left and right stacks included four VT4887A compact line array elements and three SRX728S subwoofers. Four VT4887A speakers also provided front fill, while PSS also provided 12 SRX712M stage monitors, one STX835 with two VRX918S subwoofers as side fill, and one STX835 with two VT4883 subwoofers as drum fill.

While the Voodoo Experience would qualify as a full weekend of work for any sound company, it was merely the tip of the iceberg for PSS. “We’re a big company and we’re used to doing things on a big scale, but the weekend of the Voodoo Experience was just crazy,” said Russ Bryant, Director of Operations and Co-Owner of PSS. “In addition to the Voodoo Experience, Harry Connick, Jr. at L’Auberge Casino and Hotel in Baton Rouge, the Live After Five concert series in Baton Rouge and the Belle of Baton Rouge Casino concert series, we also provided sound for events at Tulane University, the Sheraton Galleria, Sullivan’s Steakhouse, the Roux House, Los Diablos, a private show and inside and outside the Station Sports Bar and Grill. Altogether we took out more than 700 loudspeakers, amplifiers and other pieces of gear—not counting cables!”

“We also brought in the VTX line arrays for a very different situation—Harry Connick, Jr. at the L’Auberge Casino in Baton Rouge,” Bryant noted. “For this show we used six V25 mains and three S28 subs per side, along with four VT4886’s per side and four more for front fills, all driven by Crown I-Tech HD Series amps. This was a very different situation than the Voodoo festival, a quieter and more intimate indoor setting where clarity and nuance were paramount as opposed to rocking out 100,000 people. Again, the system sounded superb.”

How was PSS able to handle 14 stages and rooms in three days? “We have 20 engineers on staff,” said Russ Bryant, Co-Owner and Director of Operations for PSS. “We pride ourselves in providing systems for any application from a huge festival to an intimate club.”

“Using HARMAN’S HiQnet System Architect™, JBL HiQnet Performance Manager™, JBL’s Line Array II Calculator system setup software and the VERTEC V5 preset tunings makes it a lot easier and faster to set up our systems and make them sound great in any venue,” Gordon added. “In fact, we had an unusual situation at the Voodoo Le Carnival stage. The stage had both an inside and an outside area, with 1,000 people between the stage and the set of left and right stacks that were 25 feet from the stage. Because of the unconventional tent construction and location, those stacks were sort of like a hybrid between a front fill, a really powerful main system and a set of delay towers that were only 25 feet from the stage. The fact that all the HARMAN loudspeakers, amps and software all talked to each other really helped us sort out and optimize this unusual acoustic situation.”

For more information on Premier Production & Sound Services, LLC, please visit www.psssound.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 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,900 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for year ended June 30, 2012.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Audio, Case Studies, Loudspeakers, News, Video |

Zeehi’s CueCast Technology Allows User File Conversion Between Three DiGiCo Models, Yamaha PM5D and Avid

Danny Abelson, Co-Founder of software startup Zeehi, announces that the CueCast Digital Mixing Console User File Conversion Service will support the DiGiCo SD7 platform beginning mid-November 2012. This raises the number of supported console models to five in CueCast’s latest Beta Release.

CueCast enables sound engineers, hire companies and production managers to quickly and easily convert complex show files between different digital audio mixing consoles.

“We’ve had a very positive response from the pro audio community since we released the first CueCast Beta version in July,” according to Abelson. “A growing number of engineers have been converting their files at our site, and new users from around the world are signing up for the service every week.”

CueCast gives every new user two free fully-featured conversions. That means anyone who’s interested can evaluate the service with no cost or commitment.

“We’ve been working closely with several of the large hire companies. One of their most frequent requests was that we add support for the DiGiCo SD7, since they have so many of these desks in their inventories. We were happy to oblige, and our development team is doing a great job implementing the new console. We’ve also made significant enhancements to the user interface.”

In its latest version, CueCast converts user files between Avid, Yamaha PM5D, and now three DiGiCo models: SD7, SD8 and SD10. The company plans to develop solutions for every major console model.

The web-based CueCast service solves a fundamental problem in audio engineering; transferring complex user settings from one console to another without the time-consuming headache of entering those settings manually.

“Converting show files on CueCast is reliable and takes just three easy steps,” says Abelson. “Simply upload your file to the secure Cuecast site, then specify the format you need, and download the converted file for installation in the new console. CueCast stores your files on a secure server for safe-keeping and future use.”

Abelson noted, “We are helping people improve the way they work by making the process of moving user settings to a new console fast and easy. We can bring the biggest benefit to the engineering community by expanding the number of different console models we support. Adding the SD7 was a significant step. Soon we’ll be announcing support for more Yamaha models, including the new CL range, as well as the Soundcraft Vista and Midas desks.”

The current Beta release of CueCast converts the most commonly used console features and functions including bussing, sub-group assigns, control group assigns, routing, labeling, mutes and mute groups, EQ and dynamic in/out settings, aux. send on/off/and assigns, and effects and matrix on/off and assigns. Future releases will support variable settings, snapshots and many other features.

Information on CueCast can be found at cuecast.com

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Audio-Technica Mics Chosen for All Four 2012 Presidential Debates

—A leading audio resource for high-profile broadcast events, Audio-Technica has been outfitting the debates since 1988 —

133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — Audio-Technica (booth 705), a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” provided a wide selection of microphones to capture every word from the candidates, moderators and selected crowd members at the 2012 presidential debates. The events were held October 3 at Colorado’s University of Denver; October 11 (Vice Presidential) at Centre College in Danville, Kentucky; October 16 at Hofstra University in Hempstead, New York; and October 22 at Lynn University in Boca Raton, Florida. Larry Estrin, of Best Audio in Studio City, CA, serves as Audio and Production Communications Director for the Commission on Presidential Debates (CPD) and chose to use Audio-Technica microphones at these landmark events. Steve Savanyu, Audio-Technica’s Director, Educational Services, was also present at each debate for on-site support. Audio-Technica microphones have been chosen for the presidential debates since 1988.

Michael Abbott, A1 for the debates, stated, “The Audio-Technica microphones, which we’ve used on all the previous debates, performed flawlessly – which is exactly what you need them to do for an event of this magnitude of importance. Every word, every nuance has to be captured and captured accurately, and that’s what the A-T mics did, at all of the debate locations. Dependability and accuracy – that’s what A-T delivered.”

A leading audio resource for high-profile broadcast events, Audio-Technica provided a host of microphones from their comprehensive product line to pick up crisp, intelligible audio and cover the diverse needs of each debate.

Audio-Technica products used on both candidates at their lecterns (President Obama and Governor Romney) at the first 2012 presidential debate, held October 3, included Engineered Sound® ES991 dual-element podium microphones as well as AT898cW Subminiature Cardioid Condenser Lavalier Microphones with 5000 Series wireless. On moderator Jim Lehrer, wired and wireless versions of the AT898 Subminiature Cardioid Condenser Lavalier Microphones were used (AT898cW with 5000 Series wireless). Audio-Technica’s Broadcast and Production BP4071 Line + Gradient Condenser Microphones were used for room ambience.

Products used at the October 11 VP debate (conference table format) included A-T’s Engineered Sound® ES935ML6 MicroLine® Condenser Gooseneck Microphones on Vice President Joe Biden and Republican vice presidential nominee Rep. Paul Ryan. Two AT898cW mics with 5000 Series wireless were used for moderator Martha Raddatz. Audio-Technica’s BP4071 mics were used for room ambience. Backup mics at the event included AT898cW wireless lavaliers and AEW-T5400a handheld transmitters with 5000 Series wireless for the candidates, and AT898 wired lavalier mics for Raddatz.

Products used at the next event, a “Town Hall” format, included A-T’s 5000 Series wireless with AEW-T5400a condenser handheld transmitters and AEW-R5200 receivers for President Obama and Governor Romney (allowing the candidates to freely roam while answering the evening’s questions); AT898cW lavalier mics with AEW-T1000a body packs (doubled for redundancy) for moderator Candy Crowley; AE6100 Hypercardioid Dynamic Handheld (wired) microphones, connected to Audio-Technica’s AT-MX351a SmartMixer® Five-Channel Mixers, for audience members asking questions of the candidates; and BP4071 mics for room ambience. Candidate backup mics, required for redundancy, were additional AT898cW units with AEW-T1000a body packs and AEW-R5200 receivers.

The fourth debate (conference table format), held on the evening of October 22 in Boca Raton, Florida, wrapped the 2012 debate series. Microphones used included AT898cW lavalier mics (5000 Series wireless with AEW-T1000a bodypacks) on each candidate and moderator Bob Schieffer, as well as wired AT898 mics for backup and redundancy and BP4071 mics for room ambience.

Larry Estrin stated, “The primary reason that I chose to once again use Audio-Technica microphone and mixer products for the Presidential Debates is their ‘extra-mile’ support. We utilized the 5000 Series wireless, and we used the T5400a transmitter for the town hall meetings, giving us proven reliability and studio-quality audio. Two key features of the AEW-T1000a UniPak® body-pack transmitter are its safety cover, which protects the soft-touch controls from being accidently activated, and a superior locking microphone input connector. We used the AT898 miniature lavalier microphones at all the debates, and each candidate always wore two systems, for redundant backup. In most cases the wireless microphones were used as the primary mics while the wired microphones were the backup mics. In addition to the hardware support, Audio-Technica also sends one of their employees to all of the debates to assure the support we need from the factory.”

For more information, please visit www.audio-technica.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

GC Pro and Affiliate Program Member Omnicoustics Help Braza Dancante Restaurant with Its AV Systems Integration Needs

— Unique perspective of Omnicoustics LLC Owner shows how GC Pro has become the
single most comprehensive resource for AV technology and its installation —

WESTLAKE VILLAGE, CA, October 19, 2012 — When Braza Dancante, an authentic Brazilian churrascaria presenting the finest Brazilian cuisine to guests in Allen, Texas, opened last year, its menu drew from traditional South Brazilian churrascarias (similar to steakhouses), but its sound, lighting and video systems called for the most up-to-date AV technology. The restaurant’s PA and distributed audio systems feature components from Bose Professional Systems Division, a truss system was loaded with Chauvet Professional lighting products for the music stage and wash mood lighting, and a Key Digital video distribution system was put in place for televisions and digital signage.

The entirety of the system was sourced by Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, and the installation and systems integration was handled by Omnicoustics LLC, a member of GC Pro’s expanding Affiliate Program. The Braza Dancante project illustrates how GC Pro has become the premier resource for AV systems integration projects, and how its Affiliate Program has grown into a principal source of installation and related services.

“Working with GC Pro is the simplest, most straightforward way to get a project done and done right,” says Adrian Gamez, Owner of Omnicoustics, the two-year-old AV systems integrator that installed, among other systems, the following Bose Professional Systems products: ControlSpace® ESP-88 engineered sound processor, FreeSpace® DS 100SE Loudspeaker, Panaray® MA12EX Full-Range Modular Line Array and MB24 Modular Bass Loudspeaker at Braza Dancante. “Even though we faced some challenges on the project, working around the general contractor, we always had every piece of equipment and product we needed exactly on time, thanks to GC Pro.”

Gamez should know how well GC Pro services projects like these – prior to opening his integration company, Gamez worked for the same GC Pro office in the Dallas area that serviced the Braza Dancante project. “I know what GC Pro can accomplish because I worked there,” he says. “They can get just about any piece of equipment you can think of, from a $30,000 audio console to a $3 connector, and have it all there on time for the job. When I worked for GC Pro, we prided ourselves on how well we could service AV systems integrators. Today, as one of those integrators and as part of the GC Pro Affiliate Program, I can really appreciate how well they do that. They have a great workflow.”

Jeffery McDaniel, GC Pro Senior Account Manager, stated, “This was a great project to work on because we were able to work with the customer from the conceptual blueprint stages all the way through the construction and final installation stages of the project, and we were able to make sure everything was perfect for their needs. It was also a pleasure to work with one of our affiliates, Omnicoustics LLC, throughout all of these stages, resulting in a project that exceeded the customer’s expectations at every step of the way. This is what it’s all about.”

Gamez also appreciates the fact that the Affiliate Program has also helped his company grow, allowing him to bid on and spec more projects than he could have on his own. “I’ve been on both sides of the fence with GC Pro – selling products and now buying them,” he says. “And from that perspective you can really see how good GC Pro is at what they do.”

For more information, please visit www.gcpro.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Robert C. Bigelow and Audio-Technica Keep the Music Real for HBO Hit Series Treme

— Treme’s use of live music in the show is unique on television, and Bigelow relies on A-T microphones to capture the sounds of street musicians, parades and club shows —

— A-T further supports Bigelow’s educational efforts as a teacher of recording and mixing techniques at the University of New Orleans, providing microphones and other support materials —

133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — When viewers of HBO’s hit series Treme watch a parade of street musicians leading a crowd through New Orleans’ French Quarter or listen as a blues trumpet wails late into the night in a jazz club, they’re not hearing music dubbed in later in post production. They’re hearing that musician play those actual notes. That’s what sets the work that the show’s Music Recordist, Robert C. Bigelow, has done for the last three seasons of the program, distinct from most music in television drama. On Treme, the music is as real as can be because it’s recorded on site as the show is shot, and Bigelow chooses microphones from Audio-Technica to capture Treme’s music.

“The big challenge for Treme is that the music you hear on the show is what we film live on location,” says Bigelow. “Most television shows will shoot to pre-recorded music and mix it in later; on this show, we record the musicians playing live in front of the camera, so you’re hearing the real thing. This really sets Treme apart from any other drama on television.”

Bigelow says Audio-Technica offers him what no other microphone manufacturer can: the ability to capture a huge palette of sound using just a few key microphones. He uses the A-T BP4027 and BP4029 Stereo Shotgun Microphones to create the ambient sound foundation for the show’s music. “They give me the big picture and context for the music, and we build the package on them,” he explains. A-T’s ATM350 Cardioid Condenser Clip-on Microphones are used for the brass instruments in parades and club scenes. “They’re incredibly versatile and I’ll use them on instruments from a trombone to a piano,” he says. “They’re very easy to hide – unlike other clip-on mics, I can just take the capsule of the 350 and attach it to the horn, yet they still give me full-range sound.” One very cool trick Bigelow has developed is to tape the 350 to the back of a shirt collar of a musician in a marching band to record the sound of the horns that are behind him.

Bigelow uses several microphones from A-T’s Artist Elite® wireless Series, including the AE5100 Cardioid Condenser Instrument Microphone and AE4100 Cardioid Dynamic Handheld Microphone, on both vocals and instruments, and the ATM450 Cardioid Condenser Instrument Microphone for nearly invisible miking of guitar amps and pianos, as well as overheads for drum kits. “The 450 has a really low profile so it’s great for capturing a little guitar amp on a street corner, and on drum overheads it’s got a pristine high end with absolutely no sibilance – crisp highs with no shrillness,” he raves. “The real beauty of this is that I’m able to capture the entire range of music for this show with just a few key microphones. You don’t need a big microphone closet to do this show.”

In addition to his groundbreaking work on Treme, Bigelow also heads a mentoring program in audio recording for film/TV at the University of New Orleans, helping the school further develop its film/TV production program. And A-T is a big part of that, too, providing microphones for classes and educational support materials for students. “One of the nice things about A-T microphones when it comes to teaching is that A-T mics are a great value without giving up any performance, so they’re the microphones that students can build their own tool kits with affordably, and those microphones will stay with them for the rest of their careers,” he says. “And it’s great that I’m able to teach using the very same microphones that I’m using on a multi-million-dollar film production. These are really the only microphones that can truly do it all.”

For more information, please visit www.audio-technica.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

GC Pro Extends Its New High-End Technical Support Group Initiative to Nashville

— GC Pro continues to expand this acclaimed service with the addition of technical support personnel in Nashville, which joins GC Pro’s location in Hollywood to offer access to complex systems design, installation and integration services —

— The initiative will also be fully integrated with GC Pro’s acclaimed Affiliate Services Program to create a truly comprehensive turnkey system solution —

WESTLAKE VILLAGE, CA, October 22, 2012 — As part of its continuing effort to add useful and valuable services and products to its client offerings, Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, today announced the extension of its successful new Technical Support Group initiative to the Nashville professional audio market. The program, which provides a number of technical support services, including customized Macintosh®-based audio systems solutions for clients in all of the market sectors it serves (recording studios, post production facilities and installed A/V), will now benefit Nashville’s music recording and production community. The Technical Support Group was initially launched in May 2011 at GC Pro’s Hollywood, California location. Additional personnel for the Technical Support Group are planned for other GC Pro locations in the U.S. in the future.

In the newly opened Nashville location, GC Pro Technical Services Technician Frantz Verna says that key services have already been provided for a range of professional clients there, such as loading and authorizing customers’ plug-in packages and integrating key applications including AVID’s Pro Tools® HD systems and others, and designing and building Mac-based audio systems equipped to the customers’ specifications for hard drives, video cards, RAM and other parameters. Such clients include producer/drummer Mike Marsh of the band Dashboard Confessional, legendary vocalist/composer/actress Bonnie Bramlett and Sound Emporium Recording Studios.

Verna says that many of these tasks, such as loading and authorizing software, are time- and labor-intensive, and pull music professionals away from their real work. “Musicians in Nashville definitely have better things to do with their time,” he says. “The advantage we bring to them, that they cannot get at a computer store, is that GC Pro understands how to optimize and maximize computer hardware, software and peripherals for music applications and integrate computers with their outboard equipment. We know how a computer best fits into a professional audio system. We’re able to give our clients a computer that’s ready to plug and play, which is exactly what they want and what no computer store could ever offer.” And all systems from the Technical Support Group will also be available for integration by members of GC Pro’s acclaimed Affiliate Services Program, which offers the services of certified studio designers, acousticians, systems integrators and other technical services to all GC Pro customers. No other professional audio retailer can offer such a comprehensive package of high-end products and programs.

“We are proud to expand our Technical Support Group endeavors to the rich market of Nashville,” stated Rick Plushner, GC Pro Vice President. “Nashville’s music community is growing larger and larger every day, and with such a large concentration of artists, players, composers, producers, engineers and post-production professionals, it is the type of market that can clearly benefit from the services of our Technical Support Group.”

For more information, please visit www.gcpro.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Madonna Gives Sennheiser All Her Luvin’

Stadiums, arenas and open air venues across Asia, Europe, North and South America are hosting Madonna’s 2012 MDNA Tour, with all featuring a large Sennheiser wireless microphone and monitoring system that helps deliver a flawless performance, night after night. Madonna has six Sennheiser SKM 5200 mics for each show, which, as monitor engineer Matt Napier explains, get tested to the limit.

“The 5200s get a real battering. The whole first section of the show is highly stylised with an almost comic book aggression. There is a lot of staged violence and the microphones get hurled around and are frequently being thrown to and from dancers and onto the floor,” commented Napier. “We’re going through a new microphone every ten shows or so. But given that the 5200 is not a microphone designed for such abuse, I think they are standing up remarkably well. Of course we have a whole drawer of spares from Sennheiser!” he concluded.

Audio rental company Eighth Day Sound provided the Sennheiser equipment after purchasing from Sennheiser Electronic Corporation, USA. The tour features six further SKM 5200s with MD 5005 capsules for backing and guest vocal microphones. Together with Madonna’s vocal mics, these use seven EM 3732-II wireless receivers. Fourteen 2000 series wireless systems are used for in-ear monitors, with 14 more for guitar systems. In addition, a percussion trio uses SKP 2000 plug-on transmitters, taking the overall wireless channel count to around 50.

“The plug-on transmitters are a very useful solution, because the trio comes on stage, does its section and goes off again. There’s no time to cable the musicians up. It’s a very neat way of using RF,” says Napier. “On top of everything else, there is also a wireless comms system, so we are probably up to 70 channels of RF at each show and we have had no problems at all.

“Everything is using the built-in networking, all programmed on the Wireless Systems Manager, which saves a huge amount of time. Every show so far has been trouble free.”

Caption:
Madonna.jpg: Madonna’s 2012 MDNA Tour uses Sennheiser microphones and monitors
(Photo credit: Kevin Mazur)

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, Microphones |

Horne Audio, Inc. Delivers Unforgettable Experience With HARMAN Soundcraft Si Compact 16 Digital Mixing Console

PORTLAND, Oregon — With music in the air and hundreds of revelers dressed in “steampunk”-themed costumes, Horne Audio, Inc. provided a HARMAN Soundcraft Si Compact 16 digital mixing console for a unique event dubbed “The Music Experience” in Portland, Oregon. Intel and MTV Iggy hosted the event, which took place on the Sternwheeler steamboat and featured performances by bands The Jezabels and Y La Bamba as the vessel cruised the Willamette River.

Horne Audio set up the Si Compact 16 on the second of the Sternwheeler’s three decks, as the performances alternated between two levels. Audio engineer Jim Schamberg of Horne Audio ran 16 inputs with one feed coming from the system on the boat’s upper deck and one feed running from the Si Compact 16 to the upper deck, so the live performances could be heard throughout the boat.

“The Si Compact has been a terrific board for us,” Schamberg said. “The effects are great and it’s compact but versatile. Fourteen busses for this size board is also a tremendous advantage. We’re able to easily transport the console for a range of different events.”

Based in Portland, Horne Audio, Inc. specializes in live sound reinforcement for a diverse variety of events ranging from intimate audiences to large-scale productions at major venues throughout the Pacific Northwest. Founded in 1999, the company has developed a strong reputation for quality service, maintaining a state-of-the-art equipment inventory and employing dedicated experienced professionals.

“The console worked great tonight, it’s really perfect for this size of an event,” Schamberg noted. “We have more than enough channels and the sound is excellent.”

For more information on Horne Audio, Inc., please visit www.horne-audio.com

Photo Credit: Ryan Abeling, bePortland (www.beportland.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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, News |

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

November 2012
M T W T F S S
« Oct   Dec »
 1234
567891011
12131415161718
19202122232425
2627282930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication