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Archive for February, 2013

PixelFLEX LED Curtain Video Wall Supports Rodney Atkins During Take a Back Road Tour

For his recent 100-city Take a Back Road tour, Rodney Atkins used the industry’s leading lightweight and flexible LED Curtain video wall from PixelFLEX to maximize the concert audiences’ experience through visual images and effects.

PixelFLEX’s unparalleled flexibility enabled Atkins’ production team to incorporate video at any venue, no matter the layout. Whether at a corporate event, a small club or an arena, the team could bend and fly the LED Curtain to capitalize on the available space.

“We primarily used it as a broken wall with six strips – four double hung, two high panels and two single hung panels – to give the illusion of essentially a 40′ x 18′ wall,” said James “Mo” Butts, production manager and front of house engineer. “We ran all sorts of content on it…anything from video b-roll to IMAG to computer generated content.”

According to Butts, the 12 panel, 20mm resolution system, rented from Elite Multimedia, a professional sound, lighting and video company based in Nashville, offered multiple benefits to the Atkins tour beyond its flexibility.

“From a production manager’s perspective, there are four major reasons to go with the PixelFLEX solution,” Butts stated. “Weight, power draw, truck space and cost. There is nothing that even comes close to how much video you get relative to how little truck space is needed to pack the Curtain.”

Still, as Butts points out, the Curtain’s ultra light weight and flexibility is what truly separates it from other LED solutions.

“When you go and do a venue where you can fly video, but you can only fly 600 or 800 pounds a point, the PixelFLEX LED lets you put up your entire rig,” Butts remarked. “If you were working with a rigid wall that weighs four times as much, you’d either have to scale it down or not use it at all. With PixelFLEX I can even put the entire rig on Genie Towers because it is so light weight.”

Pleased with the system’s performance, in tandem with its ease of set-up, tear down and transport throughout the 2012 tour, Atkins’ team is planning to use the PixelFLEX LED Curtain for their 2013 dates starting in March.

“We’re going to use them again this year,” Butts continued, “probably very similar to how we used it last year. The Curtain is ideal for acts that travel in one or two trucks, because of how much you can fit into a small space in your pack. It allows even a one bus tour to do video in a club. There’s no other product out there that can do that with the kind of resolution PixelFLEX offers.”

For more information on PixelFLEX and its growing line of lightweight LED video screens, visit www.LEDCurtain.com. Follow PixelFLEX at www.Facebook.com/PixelFLEXUSA and @LEDCurtain.

Vintage Takes on New with Yamaha CL

BUENA PARK, Calif.— Vintage Trouble formed just three short years ago, and now are the opening act for The Who’s “Quadrophenia and More” tour, already completing 25 shows with 12 more to go. Recording their first CD The Bomb Shelter Sessions, successfully selling it at gigs, and, as luck would have it, began receiving requests to feature their music in several commercials. Their good fortune continued when they opened for Brian May’s “Anthems” tour; followed by Bon Jovi dates in stadiums and arenas in the UK, Ireland and Germany.

25-year veteran front of house engineer, Brian Anderson, is mixing the band using a new Yamaha CL5 digital audio console and Rio3224-D, provided by Sound Image (Nashville). Anderson’s credits include Blues Traveler, Spinal Tap, Hoobastank, Batlord, Lovehammers, Brother, just to name a few. He has also mixed a Cirque Productions show entitled “Pop Goes The Rock”.

“The CL5 is operating the front of house mix as well as four in-ear monitor mixes on stage and a 24-track ProTools recording using Audinate’s Virtual Sound card,” states Anderson. “The fact that the console allows everything to be done from one surface with one operator has been invaluable to the band in regard to staying on budget. We have a relatively controlled environment that keeps things very consistent from day to day.”

Anderson said he has been mixing on digital consoles since the Yamaha ProMix01. “The CL sound is far superior to previous consoles, and the amount of available effects, Premium Rack plug ins, iPad control, Dante interface (no heavy snake to carry), and control surface ergonomics are great benefits. Other manufacturers’ consoles have often been unreliable, so I always request a Yamaha whenever possible.”

For more information on the Yamaha CL Series, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Middle Atlantic Unveils Mobile Videoconference Display System


Fairfield, NJ–– In a move to provide unparalleled support for the technology powering today’s AV systems, Middle Atlantic Products announced the new VTC Series Mobile Videoconferencing & Presentation Cart System. Designed with generous equipment mounting space, the VTC Series is a versatile mobile cart system for videoconferencing and presentation applications.

The VTC Series was engineered with industry-leading screen capacity, supporting single screens up to 80” or dual large screens up to 70” built to support up to 250 lbs in screen weight. Its welded steel frame is UL Listed, tip and weight tested.

Versatile equipment mounting is made possible throughout every area of the VTC Series, which was designed with up to 15 total rackspaces. The cart was designed with the company’s patent-pending Lever Lock™ tool-free mounting system. The Lever Lock plate, ideal for Codecs, media extenders, power supplies and other small devices, is easy to install and service.

The VTC cart’s base features rackmount space for heavier components, such as UPS systems that offer point of use protection. The lower frame provides 4 rackspaces that are ideal mounting for switchers and processors, and can accommodate tower-style PCs.

Several options greatly increase the versatility of the VTC Series. A removable 12 space rack frame option is available, and allows for easy pre-staging, integration and maintenance access. Also available are storage drawer, work surface and speaker shelf options.

For more information about the VTC Series and Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

Martin Audio MLA Covers Wide Range Of Venues On Killers Tour


The recent Killers U.S. tour presented a unique set of challenges for Delicate Productions.

Besides the need to provide consistent coverage in radically different venues ranging from mid-sized arenas to small theaters, casinos and ballrooms, the Camarillo, CA-based production company had to contend with cancellations of major arena shows at New York’s Madison Square Garden, Toronto’s Air Canada Centre and New Jersey’s Susquehanna Bank Center due to lead singer Brandon Flowers’ laryngitis.

That said, the tour was still well received by enthusiastic fans and media, earning praise from Rolling Stone magazine for its “thunderous, meaty sound” at the tour opener in Denver’s 1stBank Center.

The successful six-man band that formed in 2001 and consists of front man Flowers who also doubles on keyboards, Dave Keuning (guitars), Mark Stoermer (bass), and Ronnie Vannucci (drums), was supplemented by two multi-instrumentalists for this critical tour to support their popular Battle Born release.

Delicate actually picked up the tour from Capital Sound in the UK, making a seamless transition in terms of coverage, audio quality and impact. Asked if the systems were similar, Killers Front of House Engineer James Gebhard said, “Absolutely identical. Capital and Delicate worked really well hand in hand. We did some fine-tuning of the system in the UK and Capital communicated directly with Delicate about the details so they could be set up exactly the same. It was a very quick transition from one to the other.”

A veteran engineer who worked his way up from university amateur shows through a variety of bands to the highest level of touring, the Manchester-born Gebhard has been with the Killers since 2004. He had been using other line arrays before the tour, but Delicate was instrumental in getting him onboard with the Martin Audio MLA system.

As described by Delicate’s Smoother Smyth, the process involved several steps. “Once we had teamed with our friends at Capital for MLA,” Smoother recounts, “we got James to see the system in action in the UK and at a Zac Brown Band show in Indianapolis. We then brought him in to our warehouse to discuss MLA theory and spend some hands-on time with the system before he signed off on MLA for the tour. Needless to say, it worked out really well in the end for everyone involved.”

The touring setup included 14 MLA cabinets and two MLD down fill cabinets per side for the main PA; 12 MLA cabinets per side for the side hangs; 20 MLX subwoofers ground-stacked in a cardioid broadside array in front of the stage along with four MLX flown per side to fill in those areas. I10 Martin Audio W8LC cabinets along the stage edge are used for in fill.

In addition to MLA, Gebhard relied on his “ever-trusted” DiGiCo SD7 console with two 56-channel DiGiCo SD racks stage running at 96 kHz along with Waves SoundGrid processing and plug-ins. A variety of microphones were used, starting with a Shure SM58A for lead singer Flowers to a mixture of Shure, Audio-Technica, Sennheiser and E-V, depending on what worked best for the job.

Asked about his maiden voyage with MLA during this critical tour, James was typically candid, “Smoother had to go out of his way to convince me to switch to MLA, but once I was able to work on it, I was amazed.

“One of the most impressive aspects is the phase coherence,” he explains. “Walk the room and everywhere you go it sounds exactly the same. It’s like an audio guy’s dream. You don’t have to start making compromises or second-guessing yourself, searching for holes in the coverage between PA points or the back and front of the room. You can’t believe it actually does what is says it does.”

MLA’s scalability also proved to be very useful for this tour, especially given the radical differences in sizes from venue to venue. As Gebhard points out, “With typical line arrays, you work an artificial X amount of boxes per side to do an arena, but because of what MLA does with all the steering, you can use less boxes for the venue. It all depends on how you predict the room, what you want to do and what the software comes up with. Whether it’s smaller or larger room, you could almost use the same amount of boxes, which definitely makes MLA a very scalable system. And the sound was literally identical everywhere we went, every day. It was fantastic. The pure consistency regardless of the type or size of the room.”

Another useful aspect for Gebhard was MLA’s Hard Avoid feature. “We played around with it a lot during rehearsals in Vegas,” he recalls. “We were in a sound room with very reflective back walls and ceilings so we set it up in there, put on the hard avoids and it made the room sound incredible.

“As far as I’m concerned, Martin Audio has reinvented the wheel in terms of PA design with MLA,” he concludes. “It’s just unbelievable.” The biggest problem Martin Audio has is marketing the product. They really need to get the word out because it’s unbelievable.”

Unfortunately, Delicate was never able to fly the full MLA/MLA Compact system due to the cancellation of the major arena shows. Smoother points out that “it was disappointing that we didn’t get to rig the full system, especially hearing it with the MLA Compacts rigged for rear coverage. But we’ll be using it for the makeup dates in May.”

Pressed for his feelings about MLA, Smyth is enthusiastic but judicious in his response. “I don’t claim to know it all, which is why I surround myself with people who know audio, video and lighting in depth and give in to their wishes. We look at what’s out there in the marketplace, evaluate it and the purchases come on the merits of the product. My guys said ‘MLA is a must-have.’ And even though it’s a challenge because of the cost and complexity of the onboard technology. But at the end of the day that’s what separates MLA from all of the competitive products.

“In the end, I always want to be with the leading edge on anything and everything, and MLA truly is in a class of its own. It’s not just being operational at the flick of a switch; it’s a whole other mindset that represents a new learning curve for engineers that go out with this system. Which means hard work on our part in terms of training courses, the software and hardware updates. We’re dealing with a whole new audio concept, which is very different from anything we’ve worked with before.

“When I worked the MusicCares event with Paul McCartney last February, we deployed MLA and it sounded like a Vegas showroom. And no one thanked us for a job well done because it was just accepted that the room must sound that good. It gives us great satisfaction to provide engineers with such a great place to start from.

“Given the size of the MLA, what it puts out is remarkable and stunning,” Smyth concludes.” It’s a midsized box that can outperform all of the large format cabinets in the marketplace. The fact that I can use it in theaters, hotel ballrooms, casinos, arenas and up, speaks volumes.”

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

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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Looking for advanced projector training? Join Digital Projection and partners throughout Q1 2013.

ATLANTA, GA – Digital Projection International (DPI), an Emmy® Award-winning manufacturer of high-performance projection systems, announces certified training opportunities for Commercial AV and Home Cinema integrators. Class topics range from the general, with an overview of two-piece projection systems, to the specific, with an intensive look at Warp and Blend application techniques. Integrators interested in earning CTS and AIA credits while learning advanced skills in more

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Timothy Dorwart Appointed Community CEO

Community Professional Loudspeakers is pleased to announce the appointment of Timothy Dorwart as CEO. Dorwart brings over 30 years of sales, manufacturing and management experience in the pro audio and music industries. In his new role, Dorwart is tasked with overseeing the company’s overall business and sales strategies, and leading Community into a new era of exceptional growth.

Dorwart’s previous roles have included director and VP positions with Bose Corporation and DMX Music. Since 2007, he led the Stanton Group through a successful turnaround as their CEO. Dorwart joins Community from Gibson Guitar Corporation where he held the position of General Manager, Pro Audio and guided the integration of Stanton Group assets to form Gibson’s new Pro Audio Division.

“I am delighted to join Community at a pivotal time in their history,” said Dorwart. “The company is poised for considerable expansion and I look forward to leading the company into the future.”

Dorwart joins Community at an important stage of the company’s development. The company started as a loudspeaker component and lighting company 45 years ago when it was founded by current president and chief engineer Bruce Howze. Today Community is a prominent loudspeaker manufacturer with an advanced product range, supplying acoustic solutions to high profile installations worldwide and enjoying its highest level of sales in domestic and international markets.

“Community has continued to grow throughout the economic recession, with its diverse profile of high value, high performance outdoor and installation products,” remarked Howze. “I’m confident that under Tim’s leadership, Community will not only continue its strong performance, but start an upward trajectory of unprecedented growth. Tim will be the major driving force in the company’s future. I’m thrilled to welcome him to Community.”

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St Joseph’s University Gets Dual Community Sound Systems

Philadelphia, PA, – When St Joseph’s University decided to transform their McGuire campus’ former chapel into a contemporary multi-use student center, they called upon Maryland-based RJC Designs to create an A/V and media solution that could address a multitude of challenges, from the acoustical and logistical to the aesthetic, while maintaining the room’s classic architectural lines.

Video is centered on a Panasonic WUXGA DLP projector sending HD video to a Draper retractable 108″ x 192″ screen. The rear wall and both wings are hung with additional 60″ LED monitors, each of which can be tied into the main display or used as separate presentation areas. Digital technologies were used within the development of the infrastructure to support the various displays and also reduce the size and cost of the pathways. All the LED monitors are tied into the campus signage and information network. HDMI, DVI, Component, and other analog and digital sources are available on the buffer wall and in the front presentation areas.

Audio is provided via dual integrated sound systems, each addressing a critical niche. A pair of Community ENTASYS high-performance column line arrays mounted to either side of the proscenium hones in on spoken word intelligibility, augmented by VLF208 subwoofers. High-level musical performance is covered by a pair of iBOX iHP3594 three-way cabinets, with low frequency muscle from a couple of i215LVS dual 15-inch subwoofers. Crown CTs amplification powers the system, with DSP covered by a Biamp AudiaFLEX CM.

RJC Designs President Rich Coluzzi remarked, “clear and intelligible sound along with dynamic program audio makes for an exciting audio experience for the Saint Joseph’s University students and other attendants.”

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ENTASYS Helps Bring Modern Technology to Historic Church

The rolling hills and fertile farmlands along the Delaware River were among the first to be settled by European colonists, and the area is rich in historic buildings and landmarks. Among them is Alexandria First Presbyterian Church, whose main sanctuary was built in the late 1800s, and is listed on the National Registry of Historic Places.

Despite being one of the older buildings in the area, Alexandria First Presbyterian is all modern on the inside, thanks to a sophisticated audio and video system designed and installed by Blackwood, NJ-based JD Sound and Video. The system includes distributed HD video, with multiple screens throughout, as well as a sound system featuring Community Professional Loudspeakers’ ENTASYS column arrays and VLF Series subwoofers.

“It’s not a large building, and it’s not very ornate,” says JD Sound’s Joe DiSabatino. “But they’ve invested wisely with the technology they’ve installed.”

As DiSabatino explains, the building’s old stone walls and hard surfaces make for a highly reflective acoustical environment, and achieving good spoken word intelligibility has long been a challenge. “It’s a large, boxy room with high ceilings, hard plaster walls, and lots of hard wood,” says DiSabatino. “It sounds great for the choir, but not for the sermon.”

JD Sound recommended a pair of Community ENTASYS column loudspeakers to cover the entire space. “We set up a temporary system for them to use during a service, and they were immediately convinced,” says DiSabatino.

The church uses quite a bit of music in their program, and DiSabatino recommended a pair of VLF208 subwoofers to fill out the frequency range. “We built the subs into the altar, underneath the stage,” he says. “They provide just that little bit of extra low end and kick.”

The ENTASYS also addressed the church’s aesthetic concerns. “The columns are painted to match the walls, and are barely visible,” says DiSabatino. Crown amps power the system, and a Rane HAL system provides DSP and enables the church to make multi-channel recordings of their services, with an eye toward webcasting in the future.

The church’s previous system, a pair of Community CSX loudspeakers, has been repurposed. “The kids have a gathering spot down in the basement, and the original Community system is still working fine, so it was perfect for that,” says DiSabatino.

“The ENTASYS system was the perfect solution,” DiSabatino concludes. “Coverage is consistent to every seat, even under the balcony, and we’ve got far more gain before feedback. And they sound terrific.”

New FlexGlass™ Rear-Projection Screen Material by Screen Innovations Features Zero Hotspot, Wide Viewing Angles, and the Ability to be Rolled on a 2-foot Core to Reduce Freight Costs and Job Site Handling

SI now shipping  FlexGlass™ to integrators worldwide for use in Command, Control, Simulation, Digital Signage, Retail, Hospitality and other Commercial or Residential application 

Austin, TX – February 18, 2013 Screen Innovations (SI), a leading US-based manufacturer of the acclaimed multi-directional ambient light rejecting Black Diamond projection screen technology, recently began shipping the much-anticipated FlexGlass™ flexible rear-projection screen material. Designed to resolve size, space, and shipping concerns, as well as to deliver an impressive and unrivaled image quality for Commercial applications, FlexGlass is poised to become a top-rated solution for rear-projection applications.

With an increased focus on – and presence in – the Commercial AV market, SI has launched itself yet again into an aggressive product development cycle to produce technologies and associated solutions for an ever-changing technical marketplace. FlexGlass is an innovative new rear projection screen material that offers all of the benefits of the best rigid optical panels with the added benefit of custom and curve capabilities that can only be achieved with a flexible screen material. Delivering unmatched edge-blend capability, zero hotspot, almost infinite viewing angles, and the ability to be rolled on a 2-foot core to significantly reduce freight and job site handling issues, FlexGlass is an ideal choice for multiple-projector, edge blending, and short throw projector applications; all of which serves to fulfill a very real need in the marketplace.

“FlexGlass™ is an absolutely amazing product,” said Richard Cope, CEO of NanoLumens. “Not only does it give us the uniformity, contrast, and viewing angles that we need, but its ability to be rolled on a 2-foot core allows us to get it into places where other screens simply cannot go.

“FlexGlass™ offers a very wide viewing angle and good contrast that’s excellent for rear-projected edge-blending because of its very high half-gain angle, low absolute gain and darker tint. It’s semi-rigid, which allows FlexGlass to be rolled in long seamless sheets onto 2-foot cores, doing away with the logistical problems often associated with getting rigid glass or Plexiglas sheets into buildings, upper stories, elevators and small doorways,” said Rajeev Surati, Chairman, President and Founder of Scalable Display Technologies. “Being semi-rigid also means FlexGlass can be used in curved configurations, as one of our customers has done for a large cylindrical cave configuration. Being lightweight, it’s truly portable, which is another plus. In fact, we use FlexGlass for a 20-foot by 6-foot display provided to our partners who use it to show off their large visualizations at tradeshows and other events.”

See video – how FlexGlass works: http://www.screeninnovations.com/screen-materials/flexglass-rear-pro/

 

“The introduction of our new FlexGlass™ rear-projection screens and other Commercial product solutions serves to further establish SI as a force to be reckoned with in the Commercial market,” said Ryan Gustafson, President of Screen Innovations. “It’s my belief that our new Commercial lineup will surpass that of traditional standard-bearers. What you see now is only the beginning. By Infocomm 2013, SI will have many new and innovative products ideally suited for Commercial applications. Come see us at Infocomm and you’ll see what we’re all about. The possibilities are endless.”

An assortment of proprietary screen materials and a highly innovative design and engineering team ensures SI has – and continues to develop – unique solutions that deliver tangible results at a competitive price. Those interested in learning more about SI’s Commercial product offering, joining the Screen Innovations community, or for a preview of FlexGlass and other Commercial solutions, are encouraged to visit www.screeninnovations.com, write to josh@screeninnovations.com, or call (512) 832-6939.

To download SI product images, videos, logos and associated marketing materials click on the following link: http://www.screeninnovations.com/downloads/.

###

About SI

Screen Innovations (SI) is a leading manufacturer of projection screens and associated technologies for Residential and Commercial applications. Best known for Black Diamond™, the world’s first and only multi-directional ambient light rejection projection screen technology, SI has effectively revolutionized the two-piece projection category by producing screens which deliver an unparalleled video image in either light or dark environments.

Designed to solve complex installation challenges, sold at affordable price points, and designed to blend flawlessly with surrounding design and décor, SI projection screens deliver stunning images and a fully immersive entertainment experience that rival or surpass traditional displays. Operating under the principle that “No matter the budget, Screen Innovations has the best available screen solution to suit your needs,” SI produces a comprehensive assortment of projection screens and accessories for nearly any budget or application.

Interested parties are encouraged to visit www.screeninnovations.com or call (512) 832-6939 to learn more about the SI family of products and services available. Follow SI on Twitter @SIScreens and on Facebook at www.facebook.com/screeninnovations.

Screen Innovations Media Contact:

Katye (McGregor) Bennett

E.  Katye@kmbcomm.com

O. (406) 446-1283

C. (425) 328-8640

W. www.screeninnovations.com

T. @SIScreens and @katyemcgregor

F. www.facebook.com/screeninnovations

 

 

Are you a Digital Projection customer? Meet the numerous new additions to your support network.

Atlanta, Georgia – Digital Projection International (DPI), an Emmy® Award-winning manufacturer of high-performance projection systems, announces a major expansion of its customer sales and support network. Through the addition of numerous new manufacturers reps across the US and Canada, DPI’s already substantial support network sees a rapid expansion. DPI’s rep firms are an integral part of the robust line of communication that exists between each more

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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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