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Archive for March 5th, 2013

55th Annual GRAMMY Awards® Audio Technical Team Collaborates for Live Broadcast

The 55th Annual GRAMMY Awards® on Sunday, Feb. 10, 2013, showcased an amazing collection of musical performances and tributes and utilized the latest in technology to provide television viewers worldwide with a cutting-edge, high-definition/5.1 surround sound event.

The GRAMMY Awards’ technical staff consists of audio pioneers who continually strive to employ the latest in HDTV and 5.1 technology to enhance the show. The Recording Academy® Producers & Engineers Wing® member Hank Neuberger again supervised the broadcast audio, while fellow P&E Wing member Leslie Ann Jones supervised the house audio.

Caption: Only minutes before the start of the 55th Annual GRAMMY Awards, several members of the 2013 audio team gathered for a photo. Pictured L-R: top row: Audio Coordinator Michael Abbott, System Designer Jeff Peterson of ATK Audiotek; second row from top: Monitor Engineer Mike Parker, System Engineer Andrew Fletcher, FOH Music Mixer Ron Reaves; second row from bottom: Academy Consulting Engineer Doug Mountain, GRAMMY Award Telecast Sound Supervisor Hank Neuberger, Co-Broadcast Music Mixer John Harris, FOH Production Mixer Mikael Stewart; bottom row: P&E Wing Senior Executive Director Maureen Droney, Co-Broadcast Music Mixer Eric Schilling, GRAMMY Award Telecast Sound Supervisor Leslie Ann Jones, and Recording Academy Secretary/Treasurer Glenn Lorbecki. Photograph courtesy of The Recording Academy®/Wireimage.com/Kevin Winter. © 2013. Photograph by Kevin Winter.

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M3 (Music Mix Mobile) Chooses Genelec DSP Monitors for 2013 GRAMMY® Awards Show Live Broadcast

— M3’s “Eclipse” and “Horizon” remote recording trucks handle the 5.1 surround audio broadcast, utilizing Genelec DSP Active Monitors —

— Genelec 5.1 Surround System also employed in P&E Wing listening trailer —

M3 (Music Mix Mobile), a New Jersey/California-based remote facilities company combining the talents of award-winning production professionals and state-of-the-art audio solutions, is a collective consisting of industry veterans John Harris, Jay Vicari, Joel Singer, Mitch Maketansky and West Coast-based partners Bob Wartinbee and Mark Linett. On Sunday, February 10, 2013, M3 was commissioned to capture and mix the music audio for the 55th annual GRAMMY® Awards, broadcast live in 5.1 surround sound on CBS-TV from the Staples Center in Los Angeles. In the company’s dual “Eclipse” and “Horizon” trucks, the GRAMMY Award Show Broadcast Music Mixers John Harris and Eric Schilling, along with M3 Engineer-in-Charge Joel Singer, were on site to ensure the audio would be of the highest quality, and they chose Genelec 8200 Series Active DSP Monitoring Systems. Genelec DSP systems consisting of 8250A Bi-Amplified Active DSP Monitors (in an L-C-R array) and 8240A Bi-Amplified Active DSP Monitors (L-R rear), along with 7260A Active DSP Subwoofers, were used in M3’s Eclipse truck for the live music mix, as well as in the identical mirrored system in the Horizon offline remix truck. All three of these products reflect Genelec’s recently introduced Smart Active Monitor™ (SAM™) concept, which allows monitors to be controlled with digital networking to enable the building of highly flexible computer-controlled systems of monitors. Additionally, the same Genelec 5.1 surround system was employed in the newly added Recording Academy® Producers & Engineers Wing listening trailer, which was located upstairs and adjacent to the M3 trucks outside the Staples Center.

The team responsible for the audio at this year’s GRAMMYs again included a who’s who of broadcast audio. The broadcast music mix was handled by M3’s Harris and Schilling and was supervised by Hank Neuberger, a prominent member of The Recording Academy® Producers & Engineers Wing®, while Tom Holmes was responsible for the overall broadcast mix. Michael Abbott returned as Audio Coordinator, and M3’s Singer served as Engineer-in-Charge for the Eclipse broadcast mix truck, while M3’s Linett served as Engineer-in-Charge in the offline Horizon remix truck. ATK/Audiotek provided the sound system with FOH (front-of-house) Engineers Ron Reaves and Mikael Stewart.

In the days leading up to the awards ceremony and broadcast, the night’s performers rehearsed their segments live on the stage, with Schilling and Harris developing the mixes in real time in the Eclipse truck and then going over those performances offline while playing them back for artist managers and the artists themselves in the Horizon truck. Together, they prepared for the live broadcast mix, so it was vital that both trucks had a world-class, consistent monitoring environment.

Genelec Inc. Marketing Director Will Eggleston stated, “M3 has always been a loyal Genelec user and supporter, and it is an honor to once again see them choose Genelecs as the monitors of choice for consistent playback for this year’s GRAMMY broadcast. Additionally, it was great for me to be on-site during rehearsals and the show and to spend time in the P&E Wing playback trailer, where our monitors mirrored the listening environment in Eclipse and Horizon.”

The Genelec 8200 Series Bi-Amplified Active Monitors employ the company’s proprietary SAM (Smart Active Monitoring) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow. This, combined with M3’s long-time use of Genelec active monitors, made the Genelec DSP monitors an easy decision.

For more information, please visit www.genelecusa.com/.

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Electrosonic Helps National Building Museum Showcase What Makes an American “House & Home”

Photo Credit: Local Projects

Photo Credit: Local Projects

Washington, D.C.’s National Building Museum is hosting a major new exhibition, “House & Home,” with galleries featuring equipment supplied and installed by Electrosonic. Running through spring 2017, “House & Home” presents an array of photos, objects, models and films that show visitors the remarkable changes in domestic life over the centuries and what it means to be at home in America.

Located just four blocks from the National Mall, the National Building Museum is housed in its own landmark structure, the former US Pension Bureau headquarters, whose Italianate Great Hall features soaring 75-foot tall Corinthian columns and a magnificent terra cotta frieze. “House & Home,” designed by Ralph Appelbaum Associates, occupies seven second-floor galleries in the museum’s northwest corner.

“The big challenge for us was working in a landmark building,” notes Electrosonic engineering project manager, Randy Sherwood. “The museum is such a cool space, and we had to work with the existing fabric of the building. We used existing lighting tracks to hang speakers in Galleries 5 and 7 because they wanted to avoid new penetrations in the red brick structure that was completed in 1887. In order to avoid acoustic issues, it was imperative to keep the audio localized and at low levels because all the ceilings are domed.”

Electrosonic designed, fabricated, programmed and installed equipment for selected galleries and trained the museum staff to operate and troubleshoot the installation.

The company provided a total of six continuous-play video kiosks to three of the Living at Home galleries. These galleries display hundreds of household goods used over the past several centuries from a butter churn and hand-painted screen door to a must-have fondue set and Farrah Fawcett poster. Each kiosk features a portrait-mounted 32-inch, open-frame i-Tech LCD monitor. The video interface, video player and an Ethernet-controlled power bar are mounted under the floor at the base of the kiosk and are accessible via a security cover. An Ethernet cable leads from the floor to the equipment rack located behind the screens in Gallery 5.

Gallery 5 showcases Experience the Dwelling, a mini-theater with bench seating, where visitors watch “Welcome Home,” a film projected onto two 16×9-foot screens configured in a V-shape. Electrosonic furnished two Christie DHD670-E single-chip DLP projectors mounted from the ceiling at a height and angle designed to clear the seated audience. Audio is delivered by four overhead-mounted JBL loudspeakers and controlled by a programmable DSP, which feeds a 4-channel amplifier that connects to the speakers. Video playback is from an Extron JMP 9600 2K, which connects to the projectors via UTP interfaces. Source equipment is rack mounted and housed behind the screens through an access-controlled door. It also houses a computer with a purpose programmed control screen from which changes to the playback routines can be effected.

The last gallery focuses on House and Community with developers, contractors, residents and real-estate agents giving visitors a look at six different communities. Electrosonic supplied three 42-inch i-Tech LCD monitors and overhead-mounted Panphonics speakers, which present two video programs on a continuous loop. A BrightSign media player, the PSU for the speakers and an Ethernet-controlled power bar are mounted within the wall at the monitoring room and accessible via a security cover. A line level signal cable and PSU cable connect the overhead loudspeaker to the equipment within the wall. The focused Panphonics speaker includes a built-in amplifier. An Ethernet cable leads from within the wall to the equipment rack located behind the screens in Gallery 5.

About Electrosonic

Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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The British Library Invests In Prism Sound ADA-8XR Converters to Digitise Its Multitrack Collection

Prism Sound ADA-8XR multichannel audio converters are being used to help the British Library digitise its collection of multitrack audio tapes in order to ensure the future of these valuable and historic recordings.

To tackle this project the British Library has acquired two more ADA-8XR converters, bringing the total number of units in its sound facilities to seven. It has also acquired a Prism Sound Orpheus interface.

Nigel Bewley, the British Library’s Operations Manager Sound & Vision, says: “We have a relatively small collection of 200 multitrack tapes and we think it will take about 20 weeks to complete this project, including the preparation of the resultant files, metadata compilation etc. We will also be using a third Prism Sound ADA-8XR converter, which we already own, to digitise 24 track tapes and to ingest all tracks simultaneously.”

Bewley adds that it is much more cost effective for the British Library to undertake this project in-house, rather than to out-house it. Also, by carrying out the work in-house, the British Library’s curators and content specialists can readily advise on the project.

“We use multiple ingest techniques with other analogue carriers such as tape and cassette,” Bewley explains. “The Prism Sound ADA-8XR units allow us to input 4 stereo channels or 8 mono channels (or any permutation) simultaneously. We use Prism Sound ADA-8XR converters because of their high audio quality. Furthermore they are 8 channel so support our multiple ingest workflows. Another important reason is that the Prism Sound ADA-8XR supports a wide range of sample rates including 32kHz. Once this project is completed, the new units will be used on other projects throughout our sound facilities.”

Multitrack tapes are notorious for their ability to degrade over time. In cases where the oxide is shedding they have to be ‘baked’ to return them to a stable condition so that they can be transferred onto a more secure medium.

“We do bake tapes when required and some of the multitrack tapes we are currently dealing with may need baking,” Bewley says. “The multitrack project is a preservation project – we want to preserve the individual tracks. Researchers may want to listen to just one track to hear a bass guitar part, for example, isolated from the mix. Many of the multitracks will have been mixed and made available as published CDs, LPs etc, but some have not, in which case we will need to work out how we are going to do a mixdown (if at all) for access purposes.”

The Sound Archive at the British Library is a resource with enormous national and historical importance. Its history can be traced back to 1905, when it was first suggested that the British Museum should have a collection of audio recordings of poets and statesmen. The Gramophone Company started donating metal masters of audio recordings, among them recordings by Nellie Melba, Adelina Patti, Caruso, Lev Tolstoy, Ernest Shackleton and Herbert Beerbohm Tree.
However, the British Museum was not maintaining a comprehensive archive and this worried Patrick Saul who, in 1955, started the British Institute of Recorded Sound. A public appeal was launched and thousands of shellac discs were donated, which started off the collection.

In 1983, the British Institute of Recorded Sound became part of the British Library, which had split off from the British Museum. Later renamed the British Library Sound Archive, it eventually acquired the metal masters originally collected by the British Museum when these were transferred to the Archive in 1992.
Situated near London’s Kings Cross, The British Library has 10 transfer studios and one recording studio, which is designed for speech recording. The audio suites are named after pioneers in audio technology and techniques from across the years and include Emile Berliner (1851-1929), Alan Blumlein (1903-1942), Thomas Edison (1847-1931), Fred Gaisberg (1873-1951), Michael Gerzon (1945-1996), George Gouraud (1841-1912), Arthur Haddy (1906-1989), Martin Hannett (1948-1991), Jean Jenkins (1922-1990), Joe Meek (1929-1967) and Alec Reeves (1902-1971).

All of the transfer studios are equipped with Digital Audio Workstations running SADiE or Wavelab and most also have Prism Sound ADA-8XR converters. The majority of these transfer suites are used for archival transfers but the rooms are also designed for more complicated transfer work, combined with restoration and editing, which is carried out by specialist audio engineers. The facilities have been used to train archivists from other organisations in audio archiving methodology and techniques.

“The larger studios have analogue kit to deal with a variety of formats,” Bewley explains. “We also have an Artefact Collection representing the history of recorded sound. We often ‘raid’ this collection to deal with obscure formats such as short-lived dictation formats, wire recordings, dictabelts and others. We also have a custom made cylinder player and we can deal with a wide range of legacy analogue formats, but we do have a wide range of digital kit, too.”

The British Library’s recording studio is used for podcasts, oral history interviews and audiobook recording for the British Library’s CD publication programme. Alongside its fixed facilities, the British Library has a busy location recording programme that takes in theatres, poetry and literary events, soundscape recording, wildlife, sound effect recording, oral history interviews in the interviewee’s home, workshops and seminars, music concerts and performances.

With such a wealth of recorded material in the archive, Nigel Bewley says real gems can be discovered when material is being transferred from one format to another.

“We recently discovered a collection of recordings made by the Swiss psychotherapist and psychiatrist Carl Jung that were made on wire during the 1960s,” he says. “Obviously it is very exciting when we unearth recordings like that – and it’s surprising how often it happens.”

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

DPA Brings d:facto™ II Vocal Mic to Frankfurt Prolight + Sound 2013

With the launch of the new d:facto II Vocal Microphone, which will be on show for the first time in Europe at Prolight + Sound 2013 (Booth 8.B60), DPA Microphones has now broadened its range of products for the live stage by introducing a high quality vocal microphone that gives users unlimited possibilities for their performance.

This eagerly awaited addition to the DPA condenser microphone range brings true studio sound to the live stage by offering an extraordinarily natural sound, superior gain before feedback and extreme SPL handling. In addition to use with the new wired DPA handle, the d:facto II provides singers and engineers with the added benefit of a state-of-the-art adapter system that allows for seamless integration with many professional wireless systems.

“The launch of the d:facto II Vocal Microphone is a major step for DPA as it means that we now have a microphone for every acoustic miking situation, whether you are amplifying or recording,” says DPA’s CEO Christian Poulsen. “Our highly regarded Reference Standard microphones have long delivered superb audio quality to musicians who want to use a microphone on a stand, while our innovative d:vote™ 4099 Instrument Microphones and our range of miniature microphones are ideal for those who prefer to have their microphone mounted on their instrument. With d:facto II we can now offer the same renowned DPA sound to vocalists who can choose the wired d:facto II or the wireless d:facto II if they prefer the freedom of movement that a wireless microphone delivers. And, of course, for an even more mobile solution we have the lightweight, easy to wear d:fine™ headset microphones that are so popular with theatre and musical productions and is demanded for more and more live concerts where the singers require superior sound while dancing and performing.”

The new d:facto II guarantees users exceptional DPA sound with popular existing wireless systems such as Sony, Lectrosonics, Shure, Wisycom and Sennheiser. To achieve such a high level of audio quality, DPA had tothink differently.

“These systems deliver very limited power to drive our high-end microphone capsule, so we had to be creative and put a huge amount of work and thought into the electronic circuit of the adapter solution,” Christian Poulsen adds. “We are extremely proud to have developed an ingenious adapter range that brings the acclaimed DPA sound out of a wireless system. We wanted to be completely true to the input of the vocalist, and with d:facto II we have reached this goal.”

Equally at home in sound reinforcement and recording applications, the d:facto II is the vocal microphone that the music industry has been waiting for. Its simple plug-and-play features allow it to reproduce an extraordinary natural sound, which reaches the extreme sound level handling of 160 dB. As with all DPA mics, the d:facto II is superbly linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy reproduces a singer’s voice effortlessly. It also sets new standards its robust three-stage pop protection grid that ensures the removal of unwanted noise.

At Prosound + Light 2013, folk pop band SHEL will be performing on the DPA booth using the new d:facto II vocal microphones in several wireless configurations. Already fans of DPA’s d:vote 4099 Instrument Mics which they use on their violin and djembe drums, SHEL recently took the d:facto II Vocal Microphone on the road for concerts in Denver, Salt Lake City and Los Angeles where they performed at the NAMM show.

Alongside the new d:facto II, DPA will also be showing new solutions for its Reference Standard range of microphones, including a new and unobtrusive gooseneck cable that is available in several lengths. Furthermore, DPA will show the supercardioid d:vote 4099 instrument microphone mounted in an elegant gooseneck – perfect for capturing the sound of drums and other static instruments.

Visitors to the DPA booth will have the opportunity to win a DPA microphone by having their badge scanned and entering a free draw.

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Editors information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Tecom Updates Universal Projector Control Panel

The TCD-100 controller from Tecom Electronics is a compact and easy to use projector control system. It allows the teacher or presenter in a classroom to control a projector or flat-panel through a colorful remote with giant push buttons, rather than the remote that ships with all projectors (usually with more than 15 small buttons).

The TCD-100 only has five buttons and includes a built-in IR learner for easy setup and learning of IR MACRO commands.

The revised design of the product was recently introduced at ISE 2013. This simple and creative product concept from Tecom simplifies the use of AV equipment in a room by offering presenters an easy to use interface.

Aviv Brosilovski, Tecom CEO, presents the new control system at ISE 2013:

www.tecpodium.com

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Visual Unity Appoints Gabriel Dusil as Vice President of Corporate Strategy

In a move that significantly strengthens it management structure, leading broadcast and multiscreen systems integrator Visual Unity has appointed Gabriel Dusil to the position of Vice President of Corporate Strategy.

Dusil brings a wealth of experience to Visual Unity, having held several regional management roles across EMEA with large multi-nationals such as Motorola and VeriSign. His background also includes VP level sales and marketing roles, with strengths in Cloud-based solution selling and partnership management.

Tomas Petru, President of Visual Unity, says: “Gabriel’s appointment comes at a time when Visual Unity is expanding its product portfolio with the launch of vuEasy™ – a next generation Cloud-based Online Video Platform that allows companies to manage and monetize their audio, video and image libraries. Gabriel’s experience in sales and marketing, combined with his knowledge of video standards, storage solutions and end-to-end IP video services, will considerably help Visual Unity expand its product strategy, global marketing initiatives and international sales and business development.”

Dusil’s role at Visual Unity includes identifying and developing opportunities for the company in international markets. To this end he has already led the team in negotiating and signing a strategic partnership agreement the UAE’s integrated telecom service provider du.

Visual Unity has over 20 years’ experience and expertise in the design and delivery of linear broadcast and multiscreen solutions. Its vuMedia™ integrated content management and delivery platform recently won the ConnectedWorld.tv 2012 Award for the Best Use of Online Video by a Non-Broadcaster, and was also shortlisted for a CSI Award in the Best Content On Demand category.

Developed to help broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment, vuMedia™ delivers a cutting-edge viewing experience on any screen or connected device. Among the many national and regional broadcasters and media companies that have adopted vuMedia™ are Al Aan in the Middle East, TV Nova, Czech TV and TopFun.

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About Visual Unity

Visual Unity is an international Systems Integrator bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD Outside Broadcast vehicles and major playout facilities to live internet streaming and Video on Demand services.
Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai. For further information, please visit www.visualunity.com
Visual Unity: Na hrebenech II 1718/8, Prague 4, 147 00, Czech Republic
T: +420 271 742 111 F: +420 271 742 112 E: info@visualunity.com

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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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