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Archive for February, 2013

Multi-Platinum Engineer Young Guru Profiled In AES Convention Doc

NEW YORK: Multi-Platinum engineer/producer Young Guru was highly visible at the recent 133rd AES Convention in San Francisco. In addition to participating in the SRO Platinum Producers/Engineers Panel with super hit makers Jack Douglas (John Lennon, Guns N’ Roses) and Narada Michael Walden (Aretha Franklin, Whitney Houston), he also made an impressive presentation at the Convention’s highly successful Project Studio Expo.

A prolific producer/engineer/A&R wizard, Young Guru has amassed credits for more than a dozen Platinum hip hop classics including Jay-Z’s The Black Album, Life & Times of S. Carter, and The Blueprint; Kanye West’s The College Dropout; Ghostface Killah’s FishScale; Nellyville, Drake’s Thank Me Later and Beyonce’s Crazy In Love. In 2011 he was a Grammy nominee for his work on the Alicia Keys/Jay-Z Empire State of Mind smash hit.

A highlight clip of Young Guru’s AES Convention experience may be viewed at:

http://www.aes.org/blog/2013/2/young-guru

With over a decade of Grammy-winning projects for Roc-A-Fella and Def Jam Recordings, Young Guru is committed to sharing his knowledge, and experience. He lectures extensively, and has established the Young Guru Scholarship Fund for students pursuing careers in Communications, Audio Engineering, Music Education and Music Business.

Photo: Young Guru at 133rd AES Convention

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About Young Guru Revered as “The Sound of New York,” Young Guru has over a decade of experience in sound engineering, production, and A&R for the acclaimed Roc-A-Fella Records and Def Jam Recordings. Most recognized for shaping some of the biggest talent in hip hop, he has mixed 10 of Jay-Z’s 11 albums, and officially became Jay-Z’s tour DJ in 2010. For more information on Young Guru visit: www.djyoungguru.com

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Lady Gaga’s Born This Way Ball Delivers With DiGiCo

The perennially touring Lady Gaga is at it again. The five-time Grammy winner is in the midst of the Born This Way Ball tour, a seemingly endless succession of dates that will hit virtually every corner of the globe for more than a year—or longer. The elaborately gothic-inspired production was birthed in Seoul, Korea, in April of 2012 and has received glowing reviews (“the best live show you will see this year,” per the UK Sun newspaper) and was honored as Major Tour of the Year at the Pollstar Concert Industry Awards.

Eighth Day Sound is again at the helm of the production, coordinating multiple universal stadium systems that at times are air-freighted with the stage set, leapfrogging across several continents to meet the tour.

“Each tour system is comprised of two DiGiCo SD7 Mach III systems at FOH outfitted with Waves and two Waves servers, with one running on a UPS for redundancy,” explains Eighth Day Chief Technology Officer Jason Kirschnick. “A 192kHz DiGiCo SD Rack at FOH is loaded with 32 analog ins/32 analog outs, as well as 24 AES ins/outs for local I/O. At the stage end for FOH are two more 192 SD racks loaded with 48 analog ins, eight AES ins, eight AES and eight analog outs. We are deploying an Optocore switcher so there are three fiber loops for FOH—one loop of all three racks for FOH is connected to a Route 66 Optocore fiber router device. The primary console is in a loop with the two respective engines to the Route 66 as well as the second SD7 at FOH in a loop with the Route 66. This enables us with a push of one button to move the entire rack loop between the two FOH consoles for support acts and dual redundancy. At the monitor end is another SD7 running two Waves 9 servers (with one running on a UPS). There are two more 192kHz SD Racks at monitors loaded with 48 analog, eight digital inputs, 40 analog and eight digital outputs each.”

The PA system is d&b audiotechnik, comprised of 96 d&B J Series made up of a combination of J8 and J12s (4 x hangs; 24 boxes deep), 32 d&B Flow J subs (4 x hangs of 8 deep), 48 d&B B2 subs on the ground (stacked on each side of the stage and along the front of the stage), 12 d&B Q7 front fills (spread across the front of the stage), with a stadium delay system consisting of 4 x hangs of 12 d&B V8 and V12s. [pictured: Chris Rabold FOH with Eighth Day Sound Chief Technology Officer/Project Manager, Jason Kirschnick]

“The system is all-digital at 96kHz,” adds Kirschnick, “with a complete analog backup comprised of Dolby Lakes and LM44s with wireless control of the complete system. The d&B amplifiers are all monitored and controlled remotely through the entire system as well.”

The five-piece band consists of bass, two guitars, a sizable drum kit and a lot of stereo bass and keyboard elements, plus a programmer who supplies various stems. There are 70-some inputs at FOH, including talkbacks and audience mics and Lady Gaga’s various headset and handheld mics.

“I came onboard between legs of the tour,” explains Chris Rabold, whose previous gigs include stints with Beyoncé, The Fray and Widespread Panic. “I knew I’d only have a couple days of rehearsal before the first show so I went ahead and put a plan into effect that would ensure that I’d be as close to show-ready as I could be once we hit Bulgaria, the site of the first show on the second leg of the tour. I spec’d an SD7 for me at FOH above all else for its sonic quality. It has a million and one great features but at the end of the day, it’s the sound of the desk and the sound of my mixes through the desk that matter the most. The DiGiCo consoles simply sound better than anything else out there. There are several strong platforms in the digital console realm, but this is the one. Period. [pictured: FOH Tech/Recording Engineer Wayne Bacon; FOH Engineer, Chris Rabold; Systems Engineer, Mike "Stacker" Hackman]

“I built the console offline on my computer and sent the file to the guys at Eighth Day, who prepped the desk. From there I was able to get on the console in Los Angeles for a few days, where I worked with the tour programmer on some tracks. The desk then bounced back to the Eighth Day shop in Cleveland where I worked some more on it, concentrating on some of the finer details with routing, system integration, etc. By the time we made it to load-in, I had a basic gain structure in hand, my EQs were at a decent starting point, I had a good idea of what dynamic processing I needed, snapshots written for each song, effects laid out… Basically every last detail was in place before I even saw the band—and this was on a show with a pretty sizable number of inputs. All of the work I was able to do beforehand was absolutely invaluable.”

Rabold cites the flexibility of the snapshot section as one of the main features of the desk that aids in his daily workflow. “With a big pop show like this that is scripted very carefully, the goal is consistency and more or less perfection every single night. I don’t think we’ll ever get the perfection part of that equation down, but we can sure get the consistency through the use of snapshots. The SD7 is so much more configurable than other platforms. You can tweak it snapshot by snapshot, not just globally across all snapshots because automation is and isn’t recall safe. This is tremendously helpful and keeps you from being tied to an all-or-nothing kind of mindset. For example, if I know I want to handle a bass guitar input in the traditional sense and just EQ on the fly for a few numbers, I can do that. But if I also know that by snapshot 17 I want it to have a very specific sort of treatment, I can have it where the recall safe feature comes off and suddenly that input is recalling precisely what had been written previously. It really allows you to be flexible when you need to be and by-the-book-exact when you want to go that route, all on a per-song basis.”

Asked about outboard gear, he says he’s using a combination of outboard and onboard plug-ins. “I basically use some of the same analog things I’ve used on and off for years on certain inputs just because I know they work for me. Lead vocal and drums see the outboard devices. I use the console’s onboard complements of EQ, effects and dynamics for the real nuts-and-bolts work. The overwhelming majority of the inputs see nothing but onboard processing. As far as plug-ins go, I try to use the Waves server more as an effects device. I pull a lot of delays and specialty things from there and it’s definitely a crucial part of the mix structure. I use C6s on the playback stems. A lot of times tracks can be overly bright or overly boomy for what really works live. These allow me to reshape certain frequency ranges yet keep the overall feel and intent of the tracks in place. These are my go-to problem solvers for playback stems in the live pop world. I use the Super Tap delays and H Delays as well. They sound great and can be synced to a song’s BPM. Both of these are very flexible with how you can color them and how you can manipulate individual left and right sides of a stereo delay. Very cool. I use an L2 limiter on the output of a two-track mix as well. This is very handy when I know a board mix might be taken from the night and then played back by the artist right next to fully mastered album mixes. I want my mixes to sound competitively loud with anything they might be referenced to. You never know. Little stuff like that can go a long way toward keeping everyone happy.”

Rabold says he multitracks nightly, mainly just for virtual soundchecking and to tweak his mixes during downtime. “When time permits, I can play back a show and tweak things in the mix. I do rely on this ability and have for several years now. Soundchecking in an empty room can be pointless. Listening to a mix with nearfields or headphones that have a response that you’re familiar with can be way more helpful when it comes to listening critically and judging what’s needed in a mix. We go standard MADI out of the desk and convert that to optical MADI via an RME MADI Bridge. From there the signal goes into SSL Delta-Links, where it is converted to HD so that we can record to Pro Tools. Pro Tools 9 is running on a MacPro with a ridiculous amount of memory due to the staggering track count. Because there are so many tracks and because we’re recording at 96kHz, we split the audio files across three SSD drives.”

Ramon Morales, who’s mixed monitors previously for Beyoncé as well as other A-list artists including Destiny’s Child, Mariah Carey, Mary J Blige and Pitbull, handles monitors for the band members, all of whom are on Sennheiser 2000 series IEM systems (with JH Audio JH16 custom in-ears), as well as the audio techs. He oversees a total of 12 stereo mixes, flown side fills, bass and drum subs, two mono mixes (for drum subs and thumpers on bass and drums) and several stereo FX sends. [pictured: Monitor Engineer, Ramon Morales; Audio Crew, Lee-Fox-Furnel; Audio Crew Chief/Monitor, Tech Klocker]

“Everything about the console is great,” he enthuses. “Sonically, it’s one of the best consoles out there and definitely my favorite. I can have as many ins and outs as I need or want, and having the backup console mirrored—as well as all the other features it has—what else would you want? I’ve found the Macro feature to be very useful. We’ve set many of them up to do specific things for the show and no matter where I am on the console, I can access what I need on the macro section without having to scroll through aux sends or layers and banks. Our show intercom system is also routed through the monitor console, so the techs that need show comms in their mix can have it and plenty of talkback mics using the macros.

“I’m also using many of the built-in effects including Waves to add different colors to the mix. My favorite has to be the SSL channel and the C4, which I mainly use for my vocal inputs, since the console itself sounds great. I just use them to enhance what is already there. The only outboard gear we’re using is a TC Electronics 6000 reverb system for a vocal verb. It’s a Gold Plate and one of my favorites for vocals; it’s very smooth and cuts through just enough to hear it and not overpower anything else going on in the mix. I also use it for a drum verb.”

The console’s ability to receive a video feed aids both Morales and Rabold in managing the spontaneous stage antics of the mercurial artist. “This is crucial when mixing monitors from under the stage,” says Morales, “and having limited sightlines. Having a program feed straight into the console really helps.”

“I barely even look at the stage now,” adds Rabold. “This especially comes in handy when I have to watch for the moments where she yanks off her headset mic and goes for the handheld. There’s no cue for that and being able to see it on a screen two feet in front of my face sure beats trying to see what she’s doing 150 feet away across a sea of fans!”

A great deal of time and planning was invested prior to launching the multiple systems in the field, to ensure the production ran as smoothly as possible with no margin of error. “I personally spent weeks researching and testing the fiber loops and to failsafe the redundancy on as many things as possible,” Kirschnick reflects. “I did this research and testing at our shop in Cleveland, and a great deal of time was spent making sure everything was running smoothly weeks before the tour embarked on its first show last spring. And now, with over six months of time logged with the systems in the field, the band and crew think the console and sound system sound incredible and unmatched.”

Eighth Day tour crew:
Chris Rabold: Foh Engineer
Ramon Morales: Monitor Engineer
Dan Klocker: Audio Crew Chief / Monitor Tech
Wayne Bacon: Audio Crew
Christopher Bellamy: Audio Crew
Bill Flugan: RF Tech
Lee Fox-Furnell: Audio Crew
Mike “Stacker” Hackman: Systems Engineer
James La Marca: Show Coms / Audio Tech
Matt Strakis: Audio Crew

AVnu Alliance Opens Bridge Certification; Adds 50th member

AVnu Alliance Opens Bridge Certification; Adds 50th member

Beaverton, Ore. – February 12, 2013 – AVnu Alliance, an industry forum that certifies Audio Video Bridging (AVB) products for interoperability, has announced the opening of its certification testing for AVB-enabled networking bridges at its appointed testing house, the University of New Hampshire InterOperability Laboratory (UNH-IOL). AVnu Certification is available to Alliance member companies.

The announcement is an important milestone in AVnu Alliance’s mission to bring high-quality open-standard audio and video networking to professional AV, automotive, and consumer electronics segments. Several manufacturers have submitted AVB-enabled devices for AVnu Alliance’s exhaustive interoperability and conformance testing, with more AVnu Alliance members expected to follow suit in the coming months. Products that complete the testing program successfully will receive an official logo of certification, the global seal of interoperability for devices that implement the IEEE AVB standards.

“The commencement of bridge certification confirms that the AVnu vision of truly interoperable open standard networking is becoming a reality,” says Rick Kreifeldt, AVnu Alliance President and VP of Research & Innovation, Harman. AVnu Alliance’s rigorous testing procedures will guarantee that only wholly compliant products receive the official stamp of approval.”

Simultaneously, the global reach of AVnu Alliance continues to grow with the confirmation of the group’s 50th member, Symphony Teleca Corporation (STC). Headquartered in Palo Alto, California, STC helps customers worldwide manage the convergence of software, the cloud and connected devices.

Dean Miles, senior vice-president automotive BU at Symphony Teleca, comments: “STC considers the AVnu Alliance to be the place where theory of IEEE specifications meets the real world. The alliance provides application interoperability and certification testing which is critical to STC’s business as we deploy Ethernet AVB in the automotive and consumer electronics marketplace. AVnu is the perfect alliance for STC to prove our technology and support the deployment and evolution of interoperable AVB products.”

 About AVnu Alliance

AVnu Alliance is an industry forum dedicated to the advancement of professional-quality audio and video by promoting the adoption of the IEEE 802.1 Audio Video Bridging (AVB) standards. The organization creates compliance test procedures and processes that ensure interoperability of networked AV devices, helping to provide the highest quality streaming AV experience. The Alliance is focused on applications of these technologies in the automotive, consumer electronics and professional AV markets. More information can be found on the AVnu Alliance website at www.AVnu.org.

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Draper Introduces Video Conferencing Accessories

For effective video conferencing in today’s multi-use conference rooms and other venues, you need the required technology precisely where you need it, when you need it—but out of sight when you don’t. Draper has introduced several new products designed to do just that.

Draper’s Video Conferencing Camera Lift-Ceiling allows the placement of a video conferencing camera directly behind a motorized projection screen; the camera raises and lowers with the screen.

The Video Conferencing Camera Lift–Credenza hides your camera in virtually any conference room furnishing, ready to be raised at any time by simple remote operation.

Draper’s Video Conferencing Camera Adapter Bracket allows a video conferencing camera to be mounted in a Draper ceiling recessed projector lift. The bracket is available with three Draper lift models; choose the lift based on how far down out of the ceiling the camera needs to travel.

Draper also offers three unique types of backgrounds to bring your video conferencing to life, help you communicate more effectively and set your content apart. Draper’s neutral backgrounds come in six muted earth tones, and eliminate distractions, help prevent unwanted interference, control room lighting and ensure a consistent corporate image. Custom printed backgrounds can contain custom artwork, photographs, corporate logos and more. Chroma Key Backgrounds, typically referred to as “blue screen” or “green screen” technology, make it easy to change background images or show live action video footage.

For more information on Draper’s new telepresence line, visit www.draperinc.com/VideoConferencing/index.asp.

ELAN® g! Puts Celebrity Baker Buddy Valastro in Total Control of an Expanding Retail Empire!

The world’s favorite celebrity baker, Buddy Valastro, is expanding his baking empire with the recent grand opening of the second Carlo’s Bakery location in Ridgewood, NJ, and he’s using the ELAN® g! system to provide simple and efficient A/V control. Working with custom integrator 360 Media Innovations, Valastro now has three ELAN g! Entertainment and Control systems — one at his New Jersey home, one at the Carlo’s Bakery Lackawanna Cake Factory in Jersey City, NJ and one at the brand new Carlo’s Bakery location in Ridgewood, NJ.

“I use ELAN g! every day at home and at the Cake Factory,” Valastro said, “so I knew it was the perfect choice to give my employees and managers total control of the audio and video at the new Carlo’s Bakery in Ridgewood. Technology is changing the way retail businesses operate, from the new ShopKeep app that allowed us to replace traditional POS systems with two iPads to the instant audio and video control the ELAN g! provides. As Carlo’s Bakery continues to grow I’ll need technologies that make it easier for me to manage operations at multiple locations, and one of the reasons I love the g! system is I can expand it later to provide remote access to security and surveillance.”

With plans to open several additional Carlo’s Bakery locations by the end of 2014, Valastro will benefit from the remote capabilities of the advanced ELAN g! system and be able to quickly check in on multiple locations right from his iPhone. With the move to two iPads as POSes in the Ridgewood location, it’s clear that technology will play an increasingly important role in the bakery’s continued success. It’s now possible for employees to take the cash register with them to take orders from anywhere in the store, and a simple four-finger swipe takes them right to the ELAN g!Mobile app where they can adjust settings for the store’s TVs and audio zones. That means they can take an order, swipe to the A/V controls and swipe back to take another order in under 15 seconds.

According to 360 Media Innovations co-owner Abiose Gale, the technology at the new Carlo’s Bakery isn’t just the wave of the future, but the reality of the present that can make managing retail locations easier and even provide financial savings over the long term. “The ELAN g! system is a perfect solution for retail stores because its so easy to use there’s no learning curve and it can integrate everything from TVs to lighting to electronic door locks. And as businesses continue to use apps for business purposes like the ShopKeep POS app, the ability to instantly switch to the ELAN g! app means they can avoid having all sorts of different remotes to control everything. It’s pretty incredible that the whole store can be operated from a single iPad.”

Carlo’s Bakery Ridgewood has two main areas — the storefront that features a Cake Building Station where customers can watch the baking artisans decorate their cakes and a Party Room for hosting birthday parties and special events. Each area has its own audio zone and video zone, and the Party Room has HDMI presentation capabilities so guests can use their own media devices to display content on the two 47” LG TVs during their parties.

360 Media Innovations installed a total of six 47” LG LCD TV’s and 13 in-ceiling speakers throughout the store which play content from an iPort IW20 in-wall iPod dock, a Fusion media server, two Cablevision cableboxes and a BrightSign XD230 digital signage player. An ELAN HC6 is the brains of the control system, with an ELAN S86, SnapAV B300 4×4 matrix and Crown CDi 1000 amplifier providing distribution and power for the store’s speakers. The store uses two WAPs to provide uniterrupted Wi-Fi which is vital for consistent operation of the iPads as POSes.

Photo 1 — Buddy Valastro cuts the ribbon at the grand opening ceremony at Carlo’s Bakery Ridgewood.

Photo 2 — Abiose Gale, co-owner of 360 Media Innovations, and Buddy Valastro at the grand opening of Carlo’s Bakery Ridgewood.

Photo 3 — Carlo’s Bakery Ridgewood uses two iPads as POS terminals and to run the ELAN g!Mobile app, allowing for quick and simple control of the store’s AV system.

Photo credit: Joe Polillio

About ELAN Home Systems:
Founded in 1990, ELAN® Home Systems is an industry leading manufacturer of innovative, award-winning whole-house entertainment and control systems that are distributed through a comprehensive channel of select dealers and distributors throughout the United States, Canada and more than 58 countries worldwide. To learn more, visit www.elanhomesystems.com.

ELAN is part of the CORE® Brands division of Nortek, Inc. CORE Brands combines the product and marketing strengths of ten iconic audio, power management and control brands into a single business unit that includes ATON®, BlueBOLT®, ELAN®, Furman®, Niles®, Panamax®, Proficient®, SpeakerCraft®, Sunfire® and Xantech® brands.

ELAN is a subsidiary of Nortek, Inc., a global, diversified company whose many market-leading brands deliver broad capabilities and a wide array of innovative, technology-driven products and solutions for lifestyle improvement at home and at work. Please visit www.nortekinc.com for more information.

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Alcorn McBride Digital Video Machines Support “Double Portrait” Exhibition at Philadelphia Museum of Art

A pair of Alcorn McBride DVM-8400HD Digital Video Machines have a key supporting role in “Double Portrait: Paula Scher and Seymour Chwast, Graphic Designers,” at the Philadelphia Museum of Art. The CBS television affiliate in Philadelphia named the show one of the top Museum Exhibitions to look forward to in 2013.

“Double Portrait,” which runs through mid-April, is the first joint exhibition by the husband and wife designers. It showcases Chwast’s iconic works, including his famed anti-Vietnam War poster “End Bad Breath,” and other work inspired by German Expressionist woodcuts, Victorian typography, children’s art, primitive and folk art, and comics. By contrast, Scher is best known for her reimagining of typography in the fields of graphic identity and environmental graphics; among her works in the show is the poster for the play “Bring in ‘da Noise, Bring in ‘da Funk,” whose typographic rhythms reflect the production’s dynamic dancing.

The Philiadelphia Museum of Art has quite a bit of Alcorn McBride gear running other exhibits so turning to Alcorn McBride for this project was a natural choice. Two Alcorn McBride’s DVM-8400HD’s run the slide shows which are at the heart of “Double Portrait.” “Paula Scher and Seymour Chwast have produced an immense and varied body of distinguished work over the years,” says Kathryn Bloom Hiesinger, Ph.D., The J.Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700 at the Philadelphia Museum of Art. “It is only through these slides that visitors to the exhibition can see and understand the full range of their work.”

Alcorn McBride’s Digital Video Machine is a studio quality MPEG-2 player with all the interfaces AV contractors need for professional installations. The DVM-8400HD stores video on CompactFlash cards, so playback is virtually instantaneous. Clips may be triggered via external contacts or pushbuttons, serial RS-232 messages, Ethernet, playlists or the built-in realtime scheduler. The unit can also simply loop continuously when powered.

Stephen A. Keever, manager of the museum’s Audio-Visual Production, calls the Alcorn McBride video players “excellent” and “tremendously reliable.” They “help the museum maintain the highest standards of presentation,” he reports.

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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Jünger Audio Shows Its *AP Family of Audio Processors At BVE 2013


At BVE 2013, dynamics specialist Jünger Audio will be showing M*AP – the latest addition to its Award-winning *AP family of audio loudness processors.

In conjunction with its UK distributor Aspen Media (Stand B20), Jünger Audio will demonstrate this ground-breaking processor that combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, M*AP can be used for live monitoring and also to ensure compliance with today’s standards and regulations (ITU 1770/1/2/3, ATSC A85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons of the X*AP remote panel.

Alongside loudness measurements, M*AP also offers functionality for acoustical QA. It has an option for up to eight speaker outputs that allow for monitoring of the audio mix and A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

Peter Pörs, Managing Director of Jünger Audio, says: “By incorporating 3G, HD and SD auto detection, M*AP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means that you can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further de-embedded programs to M*AP’s AES outputs to feed a third party instrument for analyzing and/or display.”

For no extra cost, the M*AP’s SDI board acts as an embedder as well and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms. M*AP also features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

Optional Dolby Metadata emulation will be introduced in the second quarter of 2013, giving producers a unit capable of simulating the results of different types of Dolby encoding, and a successor capable of performing many of the tasks previously undertaken by Dolby’s DP570 unit.

Jünger Audio will also be showing the Award-winning T*AP TV Audio Processor and Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. This innovation is critical as all broadcasters now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness.

If you would like more information about these products please visit Junger Audio’s distributor Aspen Media at Stand B20 for a demo.

-ends-

About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

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HARMAN’s Lexicon PCM Total Bundle Inspires Smooth Jazz Artist Jonathan Fritzén

SALT LAKE CITY, Utah – In just a few short years jazz pianist, multi-instrumentalist and composer Jonathan Fritzén has vaulted to the top of the smooth jazz charts. His latest release, Magical, has reached Number One on every major smooth jazz airplay chart. At turns easy-grooving, romantic, vibrant and always melodic, Fritzén’s music has captured the imagination of listeners worldwide. One of the most effective musical colors in Fritzén’s palette is the HARMAN’s Lexicon PCM Total Bundle, which includes 14 hallmark Lexicon Vintage Plate, Room, Concert Hall and other reverbs, and effects that run the gamut from Pitch Shift, Chorus and Dual Delay to unique sounds like Resonant Chords, which allows multiple delay voices to resonate on specific notes.

“I first became interested in Lexicon for a very important reason – the sound! As countless of my favorite records had Lexicon products as part of their sound, I wanted to find a way to incorporate them into my own recordings,” Fritzén said. “When the PCM Total Bundle became available it looked like the answer to my needs and I had to try it out.”
Fritzén finds that the Lexicon plug-ins offer musical capabilities available nowhere else. “They sound incredible – actually, I would say that these are the best-sounding reverb and delay plug-ins I’ve either used or heard, without competition. But more importantly, I also really like how creative I’ve been feeling in using them.”
“The flexibility and functions that the PCM Total Bundle provide inspire my artistic directions. The various plug-ins really feel like instruments in themselves, compared to other plug-ins that just feel like ‘plug-ins’ and don’t have the musical character that I prize in Lexicon.”
“In fact, in my experience the Lexicon reverbs and effects are inspirational in themselves,” Fritzén concluded. “This is something very rare when it comes to plug-ins.”

“We are very excited to be working with a musician of Jonathon’s caliber and to be an integral part of his sound,” added Noel Larson, Market Manager, Portable PA, Tour and Recording at HARMAN Signal Processing.

The Lexicon PCM Total Bundle is designed to work with popular DAWs like Pro Tools and Logic, as well as with any other VST®, Audio Unit™ or RTAS®-compatible platform. Compatible with Windows® Vista, XP and 7 and Macintosh® computers, it offers 14 unique Lexicon reverbs and effects, and hundreds of finely crafted studio presets. Its intuitive user interface provides control of key parameters with a graphical real-time full-color display and flexible sonic customization capabilities.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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Deserving of a Distinguished Service Medal: HARMAN’s Crown Retires Its D Series Power Amplifiers

ELKHART, Indiana — HARMAN’s Crown Audio today announced that after 37 years of continuous production the company is discontinuing its D Series power amplifiers. In a run that’s unprecedented in the history of professional audio amplifiers, the Crown D Series became ubiquitous worldwide for its outstanding sound and unshakable reliability, and as the D Series era draws to a close, its legacy is embodied in every current Crown product.

“Little did the 1977 engineering development team know that the new D75 would turn out to be the longest running product of the company. During its lifetime over 100,000 were produced. Generations of dedicated assembly personnel have touched the D75 and contributed to its long life. It epitomizes the focus we have to do our best and satisfy our customers,” stated Tom Szerencse, Manufacturing Engineer, HARMAN Professional Amplifier Business Unit.

The Crown D Series evolved from modest beginnings. “In 1977 we developed the D Series from the Crown SA20-20, a one-rack-space 20 watt per channel solid-state stereo power amp that was an accessory to the Crown tape recorders of the time,” said Gerald Stanley, Director of Research, HARMAN Professional Amplifier Business Unit. “However, when mounted in a rack the tape recorders and their electronics left little room for accessories, which shaped the compact form factor of the D Series and the rack-mount-ability of Crown amplifiers ever after.”

The Crown D Series soon became ever-present. After 37 years these amps are everywhere, in the studio, on stage, in broadcast facilities, in fixed installations and even in homes. The odds are almost everyone has heard one. Models like the moderate-power D-75A and D-45 were ideal for applications like recording and broadcast studio near-field monitoring and small paging systems, and with more than 25 years of continual production, the DC-300 has attained legendary status.

“If any amplifier line should receive a lifetime achievement award, it’s the D Series, Stanley concluded.” The Crown D Series has outlived most amplifier companies, let alone most amplifier families.”

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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RSI Rete Tre Bolsters Inventory with HARMAN Studer OnAir 3000 Console

LUGANO, Switzerland — RSI Rete Tre is the third Italian-language radio station from Radiotelevisione svizzera di lingua italiana (RSI), based in Lugano, Switzerland. Set up in 1988, it is aimed at younger viewers, broadcasting solely in Italian and featuring popular and alternative music. With its 25th anniversary approaching, the studio decided it was a perfect time to overhaul and upgrade its main studio and specified a HARMAN Studer OnAir 3000 digital broadcast console.

Although they had considered other options, the OnAir 3000 became their de facto choice to add to their many other Studer desks. It was supplied by Studer’s Swiss distributor, Dr. W.A. Guenther and is configured with 18 faders, multiple CAB system support, DJ and editorial monitoring, along with two master bus, recording bus, four aux bus and 16 N1 (mix-minus) bus.

The station’s principal criteria were ease of use, since their DJs need to manage multiple tasks when on air (such as computers and phone calls)—and integration with the existing Studer DigiMedia playout system.

Marco Strigl, Rete Tre’s Technical Support, said, “We already have several mixers from Studer, including OnAir 5000, OnAir 1000, OnAir 1500, OnAir 2500, Vista 7 and Vista 8, and past experience has shown us that they are very reliable—particularly the OnAir 3000.”

I/O on the desk include eight Mic/Line Inputs; eight Line Inputs; 24 AES/EBU Inputs; 64 MADI Optical Inputs; 16 ADAT Optical Inputs (for monitoring), eight Line Outputs; 24 AES/EBU Outputs; 64 MADI Optical Outputs; and 16 ADAT Optical Outputs (for monitoring).

“The Studer platform offers a very easy-to-understand user Interface, and for me the whole Configuration Tool is very flexible and powerful,” Strigl continued. “The fact that our DJs and technicians already know the philosophy behind these mixers makes it very easy to specify Studer products.”

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 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

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