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Archive for January, 2013

iStreamPlanet Announces New RTMP-Based Live Streaming Video Services

RTMP Services Open Up Live-Linear Opportunities for Traditional and Emerging Broadcasters

LAS VEGAS — Jan. 3, 2013 — iStreamPlanet, a leading provider of live and on-demand streaming video solutions, announced today that the company is adding new RTMP-based global acquisition, ingest, and publishing capabilities to its portfolio of live streaming video services. These new capabilities enable broadcasters of all sizes to target a rapidly growing audience tuning in to live content on IP-connected devices. The new services include the ability to acquire a live video source via single-bit-rate RTMP and output multiple-bit-rate RTMP streams, along with the ability to package RTMP streams in Apple(R) HTTP Live Streaming (HLS) for targeting iOS devices.

“IP-based RTMP acquisition helps to reduce the cost and complexity of live video streaming, and allows for content acquisition from practically anywhere in the world,” said Lou Greco, executive vice president of global sales and service at iStreamPlanet. “In addition to traditional satellite and fiber acquisition, these new IP-based offerings provide a comprehensive infrastructure to enable broadcasters to deliver live-linear streaming channels in addition to their on-demand and live event content.”

To utilize the RTMP live-video workflow, content providers simply push an RTMP stream to an iStreamPlanet-certified content delivery network (CDN). iStreamPlanet pulls the stream from the CDN for media processing, which includes output to HLS or RTMP streams with multiple bit rates, and publishing to a certified CDN for playback on multiple screens. A certified CDN can also serve RTMP streams such as Adobe(R) HTTP Dynamic Streams targeting Flash(R) playback.

“There are a number of efficiencies to be gained in adopting an IP-based video workflow,” said Colin Dixon, senior partner at The Diffusion Group. “For larger broadcasters, IP-based live video workflows accelerate their TV Everywhere strategy. New levels of cost-effectiveness will open up connected, live video streaming to a new market of emerging broadcasters and distributors.”

The new services are available now. More information is available at www.istreamplanet.com.

# # #

About iStreamPlanet
iStreamPlanet is a premier multiformat video-workflow solutions provider committed to bringing high-quality video experiences to multiplatform connected audiences around the world. With more than a decade of live streaming-video experience, iStreamPlanet has built a comprehensive offering of cloud-based video-workflow products and services for live and on-demand content. iStreamPlanet’s innovative approach has been chosen by the world’s leading sports, entertainment, and technology brands including NBC, Turner Broadcasting, Notre Dame Athletics, AMC Networks, AT&T, and Microsoft. Founded in 2000, the privately held company is headquartered in Las Vegas with offices in Redmond, Wash., and London. More information can be found at http://www.istreamplanet.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

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Brandon Metcalf Chooses Carl Tatz Design PhantomFocus™ System

— Seattle-to-Nashville transplant Metcalf opens his new Destiny-Nashville studios on iconic Music Row —

Nashville, TN: “I had never heard anything like this in my life – monitors that were this accurate and enveloping,” quotes Seattle-to-Nashville transplant and multi-talented engineer/producer Brandon Metcalf about his initial listening experience of the acclaimed PhantomFocus™ System (PFS™) from Carl Tatz Design (CTD). Metcalf continues, “I could hear EVERYTHING – from 20Hz to 20Khz – the good, bad, and ugly, and because of that, I knew immediately that I wanted this precision monitoring tool in my new Nashville studio.”

Metcalf, whose recent projects include progressive acts such as Secondhand Serenade, Brooke Hogan, and The Classic Crime, moved his Seattle-based Destiny Studios into its new home on Music Row, in the heart of Music City, over the summer. Once settled, he quickly made preparation for his PFS.

He had been using the Barefoot MicroMain 27 monitors and was used to them, but after being so blown away by a different brand of monitors in a PhantomFocus System at another studio, he was a bit skeptical that the Barefoots could match their performance. “I assured him that they would and pointed him toward Tesla drummer Troy Luccetta’s studio, with his PFS/Barefoot MM27s, and that convinced Brandon that the combination would live up to his expectations,” recalls CTD founder and award-winning studio designer Carl Tatz.

“It’s all about the listening experience for us pro audio guys,” explains Tatz. “I have observed that once someone sits in the PFS sweetspot, all the testimonials, brochures and hype congeal into an a-ha experience. You can kind of see a light go on inside their heads as they are realizing what they have been missing and at the same time what they can now have.”

Concludes Metcalf, “No piece of gear is as valuable as the critical listening experience that the PFS provides. It’s the most important tool in my studio, and I couldn’t be more excited with how it turned out.”

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New RTI Products Provide Dealers With Innovative Solutions Covering a Broad Spectrum for Control

RTI Now Shipping New KX7 In-Wall Touchpanel Controller and SURFiR Companion Remote for RTiPanel App

SHAKOPEE, Minn. — Jan. 3, 2013 — Remote Technologies Incorporated (RTI) announced that it is now shipping its new KX7 in-wall color touchpanel controller and SURFiR companion remote. With these new products ranging from touchscreen controllers to wireless remote controls, RTI continues to design award-winning products that meet the specific needs of professional integrators in all sectors of the CE world. The KX7 is loaded with high-end features, such as a capacitive touchscreen, analog and digital video viewing capability, and a self contained control system — perfect for sophisticated residential and commercial installations. The SURFiR is a low-cost companion remote control, for end-users that enjoy using their tablet or smartphone as their primary controller but want hard-buttons with instant control. more

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Largest MLA Compact Rig Ever Fills 17,000-Seat Bercy Arena

––Franck Sono First In France To Use Martin Audio MLA Compact System 36––

The largest MLA Compact rig to date recently made its French debut at the Paris Bercy when a capacity crowd of 17,000 attended a six-hour marathon concert, La Nuit de l’Outremer (The Overseas Night).

This technical deployment could hardly have provided a more exacting challenge for production company Franck Sono, the first French customer for the new MLA Compact Multi-cellular Loudspeaker Array System 36.

This French Caribbean festival featured a succession of highly popular artists in the local community, including Admiral T, Kreyol La, Akiyo, Daly, Esy Kennenga, Desiré François, Stony, Princess Lover, Jean-Marie Ragald, Tanya St Val, Jean-Marc Ferdinand, Daddy Yod, Tiwony and many others.

Since Franck Sono wanted to achieve coverage over the vast space without setting up delay points, they rigged 24 MLA Compact elements per side as the main array, with 24 DSX subs designed in a broadside progressive array across the front. An additional eight W8LC and eight W8LM enclosures were used for outfills while 12 of Martin Audio’s LE1500S floor monitors provided artists with their reference sound on stage.

Said Martin Audio’s Nigel Meddemmen, who provided on-site support, “Since the objective was to provide coverage without delays, we simply doubled the size of the rig. It was the first time in the world that we have flown 24-box MLA Compact hangs and it sounded superb—the coverage was excellent. Everyone was really impressed that so much sound was coming from these tiny enclosures.”

Meddemmen’s views were supported by Bruno Dabard, technical director of Audia, the pro audio division of French Martin Audio distributor, Algam.
“Just by using the optimization process we were able to achieve very smooth coverage of the system across the 295 ft. throw distance, and up to the back rows, 59 ft. high, where the presence of the sound was just as obvious. This included the left and right top of the bleachers where the delay systems are generally set up.

“In fact this was probably the smallest cabinet format ever used for a concert in the Bercy arena.”

Dabard added that the DSX broadside array also demonstrated both clarity and high impact. And with a succession of rap, hip hop and reggae artists pounding relentlessly through the system in quick succession over the six hour period, Franck Sono director, Franck Lichtlé, was left in little doubt about the wisdom of his investment.

“We are grateful to the teams at Martin Audio and Algam for their support in helping us to meet the high level requirements within really challenging set-up constraints.” He also credited the personnel at Miel production company, for their confidence in MLA Compact, promising further big projects to come using the system.

For more about Martin Audio, please click to www.martin-audio.com.

About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio
network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Almo Professional A/V’s “AV Snacks” Monthly Mini Webinar Series Resumes on January 4

Almo Professional A/V’s “AV Snacks” Monthly Mini Webinar Series Resumes on January 4

Engaging 15-Minute Webinars Held Every Friday; January Theme is Corporate Boardrooms; Hosted by Almo and Led by AMX, TrippLite, Hitachi and Sharp

Philadelphia, PA — January 3, 2013 — Almo Professional A/V, the nation’s fastest growing audiovisual distributor, is resuming its interactive mini-webinar series “AV Snacks” on Friday, January 4 with a focus on corporate boardrooms. Created last year to provide relevant industry trends, application examples and more to busy AV professionals, this month’s15-minute snack-style webinars, which take place every Friday at 2:00 p.m. E.T., will include succinct and upbeat information from AMX, TrippLite, Hitachi and Sharp.

The sessions are designed to provide a “taste” of a particular topic each week in a format that is lively and engaging, with a five-question quiz that attendees can take to earn specific prizes .The following mini-webinars are in place for January:

Theme: Corporate Boardrooms

1/4 AMX: “Are You Still Programming Standard Meeting Rooms?”
Discover how AMX’s RPM configuration software eliminates programming costs with a quick, comprehensive software configuration tool that’s easy to use.
Prize: Starbucks gift card
Register

1/11 TrippLite: “Power Management Design in Boardrooms”
Learn how TrippLite’s suite of power management solutions can provide effective power management and optimize system performance and longevity.
Prize: 4-foot Cat5e retractable patch cable & hook-and-loop Velcro cable ties
Register

1/18 Hitachi: “Who Wants to Take Meeting Notes?”
Not us! Learn how StarBoard software can make any display device into an interactive presentation tool. Annotate on the screen to gather input from your colleagues for a comprehensive, collaborative environment.
Prize: Touch Stylus for iPad/iPhone
Register

1/25 Sharp: “Anatomy of an Interactive Professional Display”
Come and touch the knowledge, and learn why Sharp is the leader with its Aquos Board products if you dare…
Prize: Amazon gift card
Register

All of the AV Snacks sessions are recorded and archived for access after they run. AV Snacks is the latest program in Almo Professional A/V’s extensive line up of industry education and training resources for its partners. Other ongoing programs include full-length webinars, streaming Tech Tips and the company’s popular traveling E4 AV Tour, which is a free one-day program with an intense educational focus that allows partners to earn valuable InfoComm International CTS RUs while networking with the industry’s top manufacturers.

# # #

About Almo Professional A/V
Almo Professional A/V is the nation’s fastest growing distributor serving the needs of professional audiovisual integrators, dealers and consultants. With a highly skilled sales team, reseller education programs, 10 distribution centers across the U.S. and product lines for the Pro A/V channel, Almo Professional A/V provides customers with the full distribution experience on a local and a personal level. Almo Professional A/V is a division of Almo Corp., the nation’s leading independent distributor of consumer electronics and major appliances. For more information about Almo Professional A/V, please call 410-560-2890 or go to www.almoproav.com. Almo Professional A/V can also be followed on Twitter at http://twitter.com/almoproav and on Facebook at www.facebook.com/almoproav.

*All product and company names herein may be trademarks of their registered owners.

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New Rialto 400 Amplifier/DAC from AudioControl is a Game-Changer for Wireless Audio Systems

Seattle, WA – January 3, 2013 – AudioControl announces the launch of its breakthrough product, the Rialto 400, a compact, high-powered amplifier with a built-in audiophile-grade DAC (digital to analog converter) designed specifically to provide greater performance and higher sound quality for all analog and digital systems, including Sonos® home entertainment systems.

The Rialto 400’s amplifier delivers over 100 watts of power per channel into 8 ohms and 200 watts per channel into 4 ohm loads. Additionally, the Rialto 400 can be bridged to perform as a mono-block amplifier. The state of the art Rialto 400 features a built-in high-performance Wolfson® DAC that drastically improves audio quality allowing digital and analog audio-systems to perform with better speakers across the home. This choice of an audiophile-quality DAC allows connected digital audio sources such as Apple iTunes® library, Pandora® and Spotify® to provide higher quality acoustics with clearer, more accurate analog signals during playback.

All of the performance and power of the Rialto 400 has been designed and engineered into a compact design that sits at an incredible 8.5” wide, 2.9” tall and 5.4” deep. This compact size makes the Rialto 400 the perfect local-zone amplifier solution for any location across the home or in a traditional rack set-up.

“The Rialto 400 is revolutionary in its size and quality of performance,” said Alex Camara, CEO of AudioControl. “Digital audio systems tend to be under-powered and unable to deliver the quality of performance the artist intended. The Rialto 400 offers compact audiophile quality to virtually any place in the home, combining the convenience of digital systems with our high power amplification, world-class DAC technology and introducing AccuBASS™ to create incredible audio performance.”

Equipped with AudioControl’s unique patent-pending AccuBASS™ circuitry, the Rialto 400 rejuvenates the bass response lost in most digital compression schemes and brings it back to the signal path. This results in a richer and fuller audio performance with better bass and mid-bass response often missing in today’s compressed music. The net effect is that the audience will enjoy a more complete listening experience and hear music much closer to the way the artist intended.

The Rialto 400 has an array of digital and analog inputs, including PCM to connect with digital audio outputs from televisions and a 12V trigger for use with control and automation systems. Toslink, coaxial, line level RCA, 1/8″ audio and speaker level inputs for interfacing with source units without line level are included in the specification. This plethora of inputs eliminates the need for additional expensive outboard components thus making it the most flexible product of its kind.

In order to keep these inputs systemized, the Rialto 400 utilizes AudioControl’s SMART Signal Sensing, which allows the user to prioritize which input to use based on personal preference. When the system is turned on, it is configured to automatically search for the preferred active signal and decipher the appropriate processor needed in communication with one of the system’s digital or analog inputs. For example, if a homeowner decides to switch from using a separate distributed audio system within the home to his or her integrated Sonos® Connect set-up, the Rialto 400 will instantly recognize the change and immediately switch to using the connected digital audio input used by the Sonos®.

The Rialto 400 also features an integrated headphone jack to allow it to be used in other applications such as gaming systems or with personal audio products such as headphones and iDevices.

The Rialto 400 will be available through AudioControl authorized dealers and will begin shipping in February 2013. The product is designed, engineered and manufactured in the United States and is backed by a 5-year warranty. The suggested client price for the Rialto 400 is $799 and allows custom audio installers to maximize the audio performance of their clients installations by “making good sound great”.

International CES 2013 attendees can see the Rialto 400 by visiting the AudioControl booth (#2409) in the North Hall of the Las Vegas Convention Center.

About AudioControl
AudioControl is a U.S. based designer and manufacturer of the highest quality home theater processors and amplifiers, distributed audio amplifiers, car audio, signal processors and precise analysis products, celebrating nearly four decades of “making good sound great”. The company’s headquarters, including research and development, manufacturing, production, and training facilities continue to thrive in Seattle, Washington heart of the rainforest of the Pacific Northwest. For more information visit www.audiocontrol.com.

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J3 Productions LLC Casts Its Vote for HRS Control’s UDC 400 On ABC’s Election Night Set

The broadcast and cable networks pulled out all the stops and spared no expense to deliver exciting, visually compelling coverage of Election Night 2012 – an evening which engendered a good deal of excitement on its own. J3 Productions LLC in Austin, Texas chose HRS Control’s UDC 400 (Universal Device Controller) to help feed content to a dynamic set designed for ABC’s Diane Sawyer and George Stephanopoulos, who were hosting from a studio at the epicenter of New York City’s Times Square.

J3′s John Mims selected the powerful, fully-customizable UDC 400 control surface to take a pair of Vista Systems’ Spyder X20 1608 systems through their paces as they fed imagery to a number of destinations. “The Vista Spyder and UDC are fixtures for each and every large show J3 Productions is involved with,” he says.

UDC 400 got Mims’s vote to control the Spyders feeding displays across ABC’s Election Night set. They included a seamless video wall, comprised of 17 60-inch Sharp monitors in a 9×3 configuration, which formed an atmospheric background for the anchors; seven 60-inch Sharp displays, which were rotated 90 degrees and joined to create a roughly 4:1 aspect ratio used a background image for a panel of expert political analysts; a Barco NX 4mm LED wall in a circular shape, which displayed an interactive map of national polling results; and an Everbrighten 5mm LED wall, which formed a header completely rimming the upper portion of the set.

“The UDC 400 works flawlessly with virtually zero delay when triggering commands,” notes Mims. “I have yet to see another such innovative, user-friendly control interface on the market. And I emphasize ‘user-friendly,’ because there are other control systems out there, but none match the flexibility and intuitive nature of the HRS Control platform.”

Mims says that, as a company, High Resolution Systems “pioneered in the industry with regard to their work on the Montage system and 300 series Spyders – they have an acute level of understanding at multi-destination and screen management. Now High Resolution has again pioneered by way of system and show control. I have been using UDC 400 since its inception and have had nothing but success with it. I have watched it grow into a very slick piece of technology.”

Mims adds that the people behind the UDC 400 have proved equally important to his success with the device controller. “The support I get from Drew Taylor and his team is top notch. I’ve developed lifelong friendships with HRS, as I have with Vista Systems. And they’ve been instrumental in my success as an operator.”

About High Resolution Systems
High Resolution Systems, a member of the Society of Broadcast Engineers is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audiovisual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.

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KanexPro Releases HDBaseT Scaler for Presentation Systems

Introducing the next-generation in ultimate presentation scaling and switching, KanexPro announced today the HDSC12D scaler to its pro-line of high-resolution scalers.
This 12-input high resolution scaler boasts a twisted pair output based on HDBaseT® technology that will compensate for long runs up to 230 feet (70m) while switching and scaling up to 12-inputs. It includes an independent receiver, which extends the HDMI output. Fully HDCP and EDID compliant, this professional scaler can be used anywhere from lecture halls, conference rooms to health care facilities and control centers.

Features:
• Switch & Scale 12-inputs to 2-high-resolution displays
• 4 HDMI + 4 VGA Inputs with 3.5mm Audio
• 1 YPbPr + 1 Composite / S-Video Input with L/R Stereo Audio
• 1 Microphone Input
• 1 HDMI +1 VGA Output with L/R Stereo Audio (For non-HDCP encrypted content)
• 1 HDMI HDBaseT CAT6 STP receiver included
• Extender supports distance up to 230ft [70m]
• Supports scaling input up to 1080p
• 2 x 10 Watt Amplifier
• IR remote control included
• RS-232 & TCP/IP control with third party control systems
• Backed by KanexPro 3 -Year Parts & Labor Warranty

For more information, please visit: http://www.kanexpro.com/item/?id=HDSC12D

Ultimate in Presentation Switching Environments

Metra Home Theater Group Appoints Jessy Crabb to General Manager, Adds New Sales Team

HOLLY HILL, Fla. – January 2, 2013 – Metra Home Theater Group, a leading provider for electronic accessories for over 65 years, has appointed Jessy Crabb to General Manager and developed a new strategic sales team.

Jessy Crabb, who has been with Metra Home Theater group for 10 years, was promoted from Director of Operations to General Manager and will now oversee and manage sales, marketing and daily functions for Metra Home Theater Group. Her new responsibilities also include supervision of activities related to trade show management, new product development and customer service.

“I am honored to accept my new position as General Manager with Metra Home Theater,” said Crabb. “This new endeavor will allow me to expand on the work we do, creating innovative products and delivering the best customer service to our clients.”

Metra Home Theater also expanded its sales team, promoting Jason Lundell to East Coast Sales Manager and Product Specialist and adding three new staff member: Kim Holloran will serve as the new Northeast Regional Sales Manager; Miranda Grantham is the new West Coast Regional Sales Manager; and Jim Drummond is the new Key Account Sales Manager.

“We are excited about the growth we are experiencing at Metra Home Theater Group,” said Eddie Robertson of Metra Home Theater Group. “Jessy has long been an asset to our company and we are looking forward to the work she and our new sales team will produce in their new positions.”

For more information on Metra Home Theater Group, visit http://www.metrahometheatergroup.com.

About Metra Electronics/Metra Home Theater Group
Metra Electronics has been the world leader and “The Installer’s Choice™” for vehicle installation kits and electronic accessories for over 60 years. Headquartered in Florida, Metra Electronics strives to create innovated, high quality products to satisfy and astonish our customers. Metra’s brands include: AxxessTM, TsunamiTM, The InstallBayTM, ShurikenTM, RaptorTM, BallisticTM, EtherealTM, and Audio SolutionsTM.. For ordering information and pricing, visit Metra Electronics online at www.metraonline.com or call 800.221.0932.

Press Contact: Scott Moody, Director of Public Relations Marketing Matters Tel: 954-925-1511 Email: scott@marketingmatters.net Web: http://www.marketingmatters.net

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BBC Commissions its Largest HARMAN Studer OnAir 3000 Desk Deployment

LONDON, United Kingdom — It is a little over three years since HARMAN’s Studer announced that it had won a major contract from the BBC to deliver in the region of 85 OnAir 3000 digital audio mixing consoles to its flagship locations at MediaCityUK, in the north of England, and the second phase of the rebuilding of the London HQ to create the new W1 Centre.

The latter is now home for all the BBC’s national radio networks, as well as a focus for the BBC’s national and international news operations, bringing the World Service and the domestic news service together in one venue for the first time.

The transformation of the London HQ includes the creation of 140 acoustic spaces for Radio & Music, News and World Service in the new 10-storey-high West One Phase 2. Three years on, and all facilities have been equipped with different Studer OnAir 3000 frames—with control surfaces ranging from 6-fader for simple self-operated broadcasts up to the largest 36-fader General Purpose studios—with many customised for specific needs.

The OnAir3000s—all modulo types, mounted into desks and using standard faders—have been supplied with a mix of SCore and SCore Live racks.

Nearly 30 of the OnAir 3000s have been installed at the new MediaCityUK broadcast centre in Manchester, for the Corporation’s domestic radio services, such as BBC 5 Live, where the first 40-fader desks were installed.

The new West One Phase 2 facility, which is home to over 5,000 personnel, offers splendid views over the London skyline, and equally impressive views of the vast open plan double-atrium newsroom, home to 450 staff alone, from the ground floor gallery.

In London, the OnAir 3000s have mainly been deployed in GP and self-op studios. A typical layout for a GP studio control room would include the OnAir 3000, VCS dira playout system, BNCS (Broadcast Network Control System) and Delec talkback, with outside sources locally integrated by the Studer console. Since the OnAir 3000 sits downstream from the Delec this can also provide back-up talkback in the event of failure. The facility also contains a Broadcast Bionics PhoneBox system for handling on-air telephone calls and IDS (Intelligent Display System) for displaying clocks and signal lights and controlling TVs and video monitors.

Many consoles are supplemented with RTW TM7 TFT meters configured with software to show electronically the standard BBC PPM ‘moving needle’ ballistics.

Adjacent to a number of studios are ten journalists’ kiosks known as Voice Points, using OnAir 3000 modules linked to the main studio control desk. Each is equipped with a Studer Editor Module — an extended three-fader module including a subset of monitoring and talkback functionality and buttons for the assignment. Each one has access to a Codec, ISDN, VCS dira! machine, etc.

John Sullivan was the BBC’s lead project manager on both Salford and New Broadcasting House. He explained that the original vision of the project team was to make everything identical, for ease of implementation and consistent workflow, but it was understood that there would need to be variation across different areas and operating divisions. Having an OnAir 3000 desk in every facility, albeit configured differently, does allow a studio manager or less technical operator to have familiarity wherever they are and make the desk work in seconds.

The audio integration of a total of 80 studios at West One Phase 2 and BBC North was carried out by IPE who bid successfully for the contract under an EU competitive tender process.

As for any large scale BBC project, the in-house team and user divisions wrote a stringent specification against which suppliers were to tender. For example, the number of clean feeds supported and extent of configurability were key, both of which were very BBC specific given the range of studios and workflows the consoles were required to support. There were other requirements, particular to the BBC, that had to be accommodated either ‘out of the box’ or by changes to the console software.

Other criteria included the requisite number of channels, the amount of processing power available, scalability and whether the same desk type could be used in different locations. Price was, of course, a consideration as the BBC must be able to demonstrate the best value for money for the licence payers.

Finally, in the self-op studios (such as World Service, where AKG C414 microphones are also deployed) the console needed to permit over-control from an adjacent studio, which the OnAir 3000 desks were able to simply achieve with MADI links between two DSP cores.

The project team learned a lot during the initial deployment in Salford. The teams knew that if they could make Radio Five Live’s big GP studios work, within the short time frame available, then the studios would be able to meet all the requirements for the West 1 workflows. In fact, the two 40-fader OnAir 3000 desks utilised in Salford are the largest available OnAir 3000 format.

With the BBC’s specialist project manager, Andy Laughton, providing the liaison between Studer and IPE, factory testing was carried out on site, along with acceptance testing and operational proving, in time for the MediaCityUK studios to go live in September 2011, while down in London World Service went live in January 2012.

Since then there have been other high profile transitions, most notably the major migration of the popular Radio 1, from Yalding House to the 8th floor at Broadcasting House. Here guest DJs are equipped with a full CDJ rig and turntables, while a Soundcraft Ghost has been provided for mixing visiting bands performing in the Radio 1 Live Lounge.

All Studer consoles were configured on site and issues concerning workflow resolved during the BBC’s operational proving phase.

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.

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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.

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