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Archive for March 21st, 2013

SAMMY HAGAR’S RED ROCKER STUDIO CONTINUES TO ROLL OUT THE PROJECTS WITH ITS API 1608

JESSUP, MARYLAND – MARCH 2013: The original plan was simply to upgrade Sammy Hagar’s project studio – Red Rocker – so that he and his super group Chickenfoot could deliver decent-sounding demos, but in consultation with his engineer, John Cuniberti (Stevie Wonder, Dead Kennedys, Joe Satriani), Hagar ended up purchasing a 16-channel API 1608 analog console. They recorded Chickenfoot’s first demo on the 1608 several years ago, and, owing to the magic of a few takes and the sonic integrity imparted by the 1608, several of those demo recordings made it to the album. Inspired by what they could accomplish at Red Rocker, they did the entire recording for the ironically-named follow-up album, Chickenfoot III on the 1608. Currently, Hagar is tracking on the 1608 for an as-yet unnamed solo project.

“We’re an old school bunch, it’s true, and we wanted the feel and sound of an analog console for Red Rocker,” said Cuniberti. “We weren’t going to go so far as to roll in a two-inch tape machine – we’re not that old school! We appreciate the virtues of digital recording and editing when it’s handled properly. But a nice analog console would tie things together with a workflow and a sound that we were all comfortable with.”

Cuniberti has spent over three decades behind vintage consoles of all stripes. “They have their charms, of course, but they’re also a pain in the ass,” he said. “You really need full-time maintenance. I didn’t want to burden Sammy or myself with that level of investment. We wanted something new, and I was therefore happy that API released the 1608. API is one of my favorite console manufacturers of all time, but I don’t think we could have justified the jump to one of their large-format consoles. It turns out that the 1608 was an excellent choice. In four years, we’ve never had a single issue with it – not even a burned out light! Having spent so many years dealing with unreliable vintage consoles, it’s nice to know that when I show up to the studio, everything will be working.”

Cuniberti finds the sound of the API 1608 meets the high expectations he had from his previous work on other large API consoles. “It’s classic API,” he said. “It has clarity and punch, and it’s very pleasant sounding. I don’t want to say it’s transparent; I just want to say that it has a great sound. It passes signal like nothing I’ve ever heard. It has tons of headroom. You can abuse it and it still sounds great.”

The 1608’s architecture allows Cuniberti to maximize his productivity with just sixteen channels. “API worked hard to optimize the flexibility of the 1608’s signal path,” he said. Its modular design allows one to swap 500-series processors to suit the needs of a project, and Cuniberti replaced the four stock API 560 graphic EQs with four API 550b four-band sweepable EQs. Because it’s been such a pleasure to work on, Hagar and Cuniberti are currently contemplating adding a 16-channel expansion unit for their 1608 to bring Red Rocker up to 32 channels.

ABOUT API (AUTOMATED PROCESSES, INC.)
Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Shotoku’s NAB 2013 Exhibition Plans Target Sports, Studio, VR & Field Production Applications

Visit Shotoku at NAB Booth # C9032

Torrance, CA • Shotoku Broadcast Systems, a well-established leader in manual and robotic camera support, and virtual reality tracking, has announced plans to exhibit a mix of new and established products that target sports, studio, virtual reality, and field production applications at NAB 2013 in Booth C9032. The Company, known for technologically advanced and sturdy pan & tilt heads, will highlight its latest models, including a VR Tracking EFP head, and a new X-Y Tracking VR Dolly Crane System for Virtual Studios.

SX-300 Pan & Tilt Head
Shotoku’s ergonomically designed SX-300 is a robust state-of-the-art pan & tilt fluid head perfectly suited for field production, OB and studio use. The unit’s high capacity 38kg (83 lbs) payload and wide-balance capability supports a vast variety of cameras, lenses and accessories. The 300 head will accommodate flat base or 150mm ball. Operators can expect top class performance and reliability from the SX300’s VISCAM technology for smooth and adjustable pan & tilt drag with reinforced torque.

SG-900 Pan & Tilt Head

Shotoku’s SG-900 manual pan & tilt head offers vibration-free speed in an ergonomically designed sturdy package. Ideal for OB and studio production with Teleprompters or box type lenses, the SG900 supports 90 kg (198 lbs), and features single knob balance adjustment. The unit incorporates the VISCAM ultimate fluid drag system to control smooth pan & tilt movement and REULAUX perfect balance system for maintaining the camera’s center of gravity. The SG-900 is suitable for various pedestals including Shotoku’s TP-200 lightweight, 2-stage pneumatic pedestal and both the TP-80 and TP-90 studio models.

SX-300VR Virtual Tracking EFP Head
For VR studio applications, Shotoku’s new SX-300VR offers precise tracking and uncompromised operation. Drawing on decades of extensive VR experience, the ergonomic design features a robust, reliable platform for a wide range of camera and lens configurations. The SX-300VR provides high-accuracy, real-time data output with absolutely no loss in manual performance. Like all Shotoku VR systems, the unit combines with the Serial Position Interface (SPI) for frame-synchronized high-resolution data tracking, compatible with all leading VR graphics systems. The VISCAM Fluid-Leaf Drag System supplies smooth continuously adjustable pan & tilt drag with enhanced torque and unparalleled levels of operator control. Capable of supporting payloads up to 38kg (83 lbs.) and available in 4-Bolt, M70 Mitchell, or 150m-ball mount, the SX300VR is an extremely flexible option for a range of studio configurations. The head may be simply mounted on a tripod, or for real-time full 3D tracking, one of Shotoku’s VR pedestals such as the TP-90.

TK-53LVRII / TK-53VRII VR Dolly Crane Systems for Virtual Studio
Shotoku, the world’s only manufacturer of a X-Y tracking base for virtual reality cranes, will present its leading model VR crane to the American market for the first time at NAB 2013.

A unique set of VR features coupled with a sturdy twin arm structure provides vibration-free, high performance with a single operator. The VR Dolly Crane System allows any studio to be easily transformed into a virtual environment without the need for targets on the ceiling, floors, or walls, or infrared sensors. Reliable, accurate and immediate VR data, including pan/tilt, zoom, focus and X/Y camera date is sent to the graphic computer via RS422 cable. A Pan Bar control unit maximizes optimal pan & tilt operation.
The TK-53VRII also features Shotoku’s unique SPi-Touch 2 point calibration system for quick set-up.

Click on harriet@desertmooncomm.com to schedule an NAB booth visit with Shotoku!

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.tv
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Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / info@shotoku.co.uk

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / Harriet@DesertMoonComm.com

Stephen Webber To Keynote AES 134th Convention In Rome

Internationally Recognized Professor of Music Production/Engineering & Star DJ

ROME: Stephen Webber, internationally recognized author, professor of music production & engineering, and star hip-hop DJ, will present the Keynote address at the 134th AES Convention. Scheduled for May 4-7 at the Fontana di Trevi Center in Rome, the Convention promises a rich program of educational Workshops and tutorials, research papers, standards and technical committee deliberations, and an incomparable environment for networking with the world’s audio elite. In making the announcement AES Executive Director Bob Moses remarked, “Stephen Webber personifies today’s AES membership. He combines a deep commitment to education with a high profile career as a creative DJ. An accomplished author and lecturer, Webber’s Keynote will provide a insightful bridge between the future and our legacy.”

Author of such successful books as Turntable Technique: The Art of the DJ, Stephen Webber is an international clinician who presents workshops, master classes and performance seminars on Production, Mixing Techniques, and Songwriting. An Emmy-winning composer who’s works include the Stylus Symphony, Webber was recently appointed Director of Music Technology Innovation at Berklee’s new campus in Valencia Spain. He addressed the Berklee Graduating Class of 2012, and has performed and lectured extensively in the US, China, Australia, Central America, and Europe. Webber is also an accomplished studio designer whose clients include actors Jack Black and Ben Stiller, and a producer/engineer who’s worked with NAS, Mark O’Connor, and DJ Premier.
Entitled “Inventing the Album of 2025,” Webber’s AES Keynote will seek to consider what is technologically, economically, and artistically possible, to decipher what the record album should look, sound, and feel like come 2025.

“We have high expectations for the 134th AES Convention,” Bob Moses concludes. “Attendees will find many opportunities to listen, learn and… connect with each other.”

Photo: AES 134th Convention Keynote Speaker, Stephen Webber

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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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Snell Launches Luna Series of High-Density Router Control Panels

New Panels Feature Ultra-Shallow Mount Depth and Flexible Power Options for OB Installations

READING, U.K. — March 21, 2013 — Snell today announced the launch of the Luna Series of 1RU router control panels, including four LED models and two LCD models. Featuring an ultra-shallow rack mount depth of less than 2 inches (50 mm), the Luna panels can be powered from an external +12V DC supply — making them ideal for OB trucks or other installations where space and power are at a premium.

“At a quarter of the depth of similar systems and with the industry’s most flexible power options, the new Luna Series is an important addition to Snell’s versatile family of control panels,” said Kim Francis, senior product manager at Snell. “Like our other panels, the Luna Series is designed to meet the exacting requirements for hardware control panels in simple or complex routing systems.”

Compatible with all current Snell routers and soft panels, the Luna Series offers maximum flexibility for broadcast operations and users. The LED panels in the Luna Series include a high-density version with 78 button keys, 72 of which can be configured as source or destination keys for increased flexibility. The LCD panels include a rotary encoder control knob for user-friendly “paging.”

With all Luna panels, users have the freedom to configure each keypad layout to match a specific application exactly, and each button can be color-coded to identify easily groups of buttons or specific functions — driving greater efficiency while saving both time and money.

Each panel in the Luna Series can be powered in one of three ways: mains power via a 12V DC external converter, direct from a 12V DC supply such as a battery, or POE (Power Over Ethernet), which is becoming more widely adopted because it reduces the number of cables required for the installation.

More information about the Luna Series and Snell’s full Broadcast Infrastructure product line is available online at www.snellgroup.com.

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About Snell:
Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions for creating, managing, and streamlining the distribution of content for today’s multi-screen world. Specializing in TV Everywhere and Live TV applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to 4K UHDTV, file-based, and 3Gbps operations, while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, post facilities, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at www.snellgroup.com.

All trademarks mentioned herein are acknowledged as property of their respective owners.

Photo Link: www.wallstcom.com/snell/lunapanels.zip

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New Version of Minnetonka Audio’s AudioTools Server Raises the Bar for Automated Loudness Control

MINNETONKA, Minn. — March 21, 2013 — Minnetonka Audio Software, Inc. (MASI) today announced the release of AudioTools(TM) Server (ATS) 2.5, the latest version of its flagship product designed to automate even the most sophisticated audio tasks. Along with complete standards-compliant loudness control, the new version adds features including load balancing, workflow failover, and support for additional codecs. It is the first system of its kind to include Dialogue Intelligence(TM) for dialog-anchored loudness correction, which employs Minnetonka Audio’s proprietary “purPath” algorithms for digital signal processing. ATS 2.5 is also first in offering improved short-term and momentary limiting with purPath loudness control.

ATS 2.5 is an enterprise software system for automated audio processing in file-based workflows. The system conforms to the CALM Act, ATSC A/85, EBU R 128, ITU-R BS.1770, ARIB TR-B32, and OP-59, providing specialized workflows that apply loudness control optimized for different targets and platforms. Unlike existing digital or media asset management (DAM or MAM) systems, ATS 2.5 thoroughly addresses loudness control problems and automatically handles the audio essence without compromise. The result is easier administration, reduced manual loudness management, and greater peace of mind for engineers and executives during postproduction.

“Before ATS, engineers relied on a combination of cumbersome stand-alone software tools and video-centric asset processing that provided only a simplistic or incomplete audio approach,” said Markus Hintz, Minnetonka Audio’s director of global sales and business development. “ATS eliminates all of that and provides a universal automation platform addressing enterprise requirements for scalability, adaptability, interoperability, and redundancy. Version 2.5 makes that platform even more robust. ATS drops right into existing infrastructures and adds exceptional capabilities without ‘forklift’ upgrades or the need to rework existing workflows.”

As the first product in the industry to offer Dialogue Intelligence for dialog-anchored purPath loudness correction, ATS 2.5 works in conjunction with the ATS WFC workflow control module to enable nonlinear, smart loudness correction based on the actual percentage of dialog in the material. Also new to version 2.5 is support for MPEG audio and AAC, critical for hybrid and mobile TV, as well as radio applications.

Another industry first is ATS 2.5′s improved short-term and momentary limiting with purPath loudness control. Recent research has led to a new methodology being added to the purPath algorithm for handling material that contains extreme dynamic range. This content-independent processing preserves the subjective dynamics of a mix — the artistic intent — without impacting dialogue levels or intelligibility. This novel approach for unattended automated loudness control is gaining traction in the European Broadcasting Union as a new recommended practice for loudness control.

Via SOAP and XML, ATS seamlessly integrates audio expertise into existing video infrastructures and interoperates with Aveco automation, Avid(R) Interplay(R) MAM, Grass Valley automation, IBM AREMA, Sony(R) Media Backbone(TM), Viz Ardome, and other DAM/MAM systems. The system is also a complete solution for managing and processing Dolby(R) E, Dolby Digital(R), Dolby Digital Plus, MP2, MP3, AAC, and linear PCM content, as well as the audio essence within MXF and QuickTime(R) containers.

With enhanced loudness control workflows, new business continuity features, and support for a wider range of codecs, ATS 2.5 is positioned to tackle new enterprise challenges. More information about ATS and other Minnetonka Audio products is available at www.minnetonkaaudio.com.

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About Minnetonka Audio Software
An award-winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for the world’s top media professionals. Its revolutionary AudioTools Server is the file-based software alternative to hardware program optimizers, bringing expert audio automation to existing media production infrastructures. The AudioTools Server, SurCode, and discWelder product lines support the full array of audio codecs, file types, and standards for CD, DVD, Blu-ray(TM), broadcast, and digital television. The company is the leading provider of professional OEM audio solutions as well as file-based QC and loudness control. Spanning more than two decades of operation, the Minnetonka, Minn.-based company has a subsidiary in Germany and an international network of distributors and channel partners who share its commitment to quality and service. More information is available at www.minnetonkaaudio.com.

The Minnetonka Audio Software logo is a trademark of Minnetonka Audio Software, Inc. All other company and product names are trademarks of their respective owners.

Photo Link: www.wallstcom.com/Minnetonka/ATS2.5.zip
Photo Caption: AudioTools(TM) Server (ATS) 2.5 Queue Control Screen

Photo Link: www.wallstcom.com/Minnetonka/ATSLogoBlack.zip
Photo Caption: AudioTools(TM) Server (ATS) Logo

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iStreamPlanet Announces Investment Agreement by Juniper Networks to Drive Growth and Innovation in Live Video Streaming

Juniper Networks’ Junos Innovation Fund Joins Intel Capital, Turner Broadcasting, and Interxion in Series A Funding

LAS VEGAS — March 21, 2013 — iStreamPlanet, the leader in live streaming video solutions, announced today that Juniper Networks has completed a strategic investment in iStreamPlanet’s Series A funding, which was led by Intel(R) Capital. The investment will be funded by Juniper Networks’ Junos(R) Innovation Fund. iStreamPlanet plans to use the proceeds from its Series A financing to accelerate the development of its live video streaming solutions, including Aventus(R), a cloud-based, live video workflow platform designed to address the challenges of streaming live events and live linear channels online to multiple platforms and devices. One of the key advantages of Aventus is its ability to move the live video workflow from today’s hardware-dependent infrastructure to a software- and cloud-based infrastructure.

The relationship combines iStreamPlanet’s innovations and experience in providing scalable and cost-effective live video workflow solutions with Juniper’s industry-leading networking and caching technology to provide a reliable, secure, and high-performance platform for content providers. The two companies have worked closely in the past to deliver complex, live video workflows for major live events, including the 2012 London Games.

“We are developing and bringing to market a next-generation automated video workflow platform, which will help content holders and distributors keep pace with the growing demand for live streaming video and accelerate new business opportunities for broadcasters of all sizes,” said Mio Babic, CEO of iStreamPlanet. “Juniper Networks’ commitment to innovation in networking and caching in the cloud closely aligns with our vision and customer demand, and we are excited to be working with them and leveraging their expertise in this area.”

“Live streaming media is one of the most demanding networking and caching scenarios, and one of the fastest areas of growth and opportunity,” said Robert Krohn, vice president and general manager, Edge Software Business Unit, Juniper Networks. “Keeping up with customer demand will require solutions with new levels of scalability and automation, and iStreamPlanet and Juniper Networks are now on a fast track to bring this type of solution to market.”

The Junos Innovation Fund is a venture capital fund, launched in 2010 and backed solely by Juniper Networks, that invests in leading early- and growth-stage technology companies that expand and enhance the Junos ecosystem.

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About iStreamPlanet
iStreamPlanet is a premier, multiplatform video-workflow solutions provider committed to bringing high-quality streaming video experiences to connected audiences around the world. With more than a decade of live streaming video experience, iStreamPlanet has built a comprehensive offering of cloud-based video-workflow products and services for live event and live linear streaming channels. iStreamPlanet’s innovative approach has been chosen by the world’s leading sports, entertainment, and technology brands including NBC, Turner Broadcasting, Notre Dame Athletics, AT&T, Pac-12 and Microsoft. Founded in 2000, the privately held company is headquartered in Las Vegas with offices in Redmond, Wash., and London. More information can be found at www.istreamplanet.com.

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

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PACIFIC TELEVISION CENTER UNPLUGS AND GOES WIRELESS FOR THE 2013 AWARDS SEASON

LOS ANGELES, MARCH 21, 2013 – Pacific Television Center (PacTV), a Los Angeles-based independent global transmission and production company, recently equipped its mobile microwave truck with a Vislink wireless camera system, providing its clients with instantaneous live video from the various red carpets during the 2013 awards season. The Canadian Broadcasting Channel (CBC) and Channel 7 Australia were among the broadcasters that used the PacTV service to transmit live red-carpet interviews during the major U.S. film awards that took place in Los Angeles last month.
“What’s nice about using the Vislink wireless camera system with our ENG truck is that it increases our geographical coverage and allows us to perform a single encode throughout our network,” says George Lopez, vice president of operations, PacTV. “Even if a client covering the red carpet action doesn’t have cabling access to our truck, the new camera system allows them to shoot wirelessly and send an ASI feed to Canada, Australia, the Asia-Pacific region or anywhere else. We are excited to offer our clients this upgrade in service.”
The dual band Vislink L1500 is a 5.8-/6.4-Ghz wireless camera system that provides SD/HD with MPEG-2 encoding and offers ultra-low latency with selectable DVB-T and LMS-T digital modulation. PacTV has successfully tested and used the transmitter to reach distances, more than a quarter mile without a drop in signal. A crew can certainly be confident that they will achieve a wireless connection to PacTV’s mobile microwave truck.
“We were thrilled to have PacTV utilize the Vislink system for its awards season coverage,” says Kevin Dennis, regional sales manager, Vislink. “The combination of the diversity receive system and untethered wireless camera operation provided the team with the reliability it needed to capture live events as they unfolded, without interference. By combining the technical strengths of PacTV and Vislink, both companies have been able to come together to offer quality services to clients.”

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Sonnet Expands xMac mini Server Lineup; New Model Supports Two Half-Length, Full-Height PCI Express Cards

xMac mini Server 2H is Sonnet’s Second Thunderbolt-to-PCIe Expansion System and 1U Rack Enclosure for Mac mini With Thunderbolt Port

IRVINE, Calif. — March 21, 2013 — Sonnet today introduced the xMac(TM) mini Server 2H, a second model of the company’s xMac mini Server Thunderbolt-to-PCI Express(R) (PCIe(R)) expansion system and 1U rackmount enclosure for a Mac(R) mini with a Thunderbolt(TM) port. The new xMac mini Server 2H enables the use of two half-length, full-height PCIe cards, allowing users to select from and install the majority of Thunderbolt-compatible cards into either slot. The original xMac mini Server accommodates one full-length, full-height PCIe card and one half-length, half-height (low-profile) card.

“We value our customers’ feedback, especially when it leads us to improve an already successful product,” said Greg LaPorte, vice president of sales and marketing for Sonnet Technologies. “By adapting the original xMac mini Server’s design to create a new model that enables the installation of two full-height PCIe cards, we’ve provided an ideal solution for other workflow configurations that require two full-height PCIe cards but have no need for a full-length card. The xMac mini Server 2H features additional design improvements such as shortening the chassis’ length to 16 inches, which allows it to be deployed in a wider range of popular mobile racks, carts, and rack-bags.”

The xMac mini Server 2H and xMac mini Server transform a Mac mini computer into a full-fledged expandable rackmount server. This enables users to harness the power of PCIe cards such as full-size pro video capture and processing, digital audio interface, DSP accelerator, FireWire(R), RAID controller, 10 Gigabit Ethernet, eSATA, and other PCIe cards. Both Sonnet expansion systems mount the Mac mini inside a specially designed 1U rackmount enclosure containing a Thunderbolt-to-PCIe expansion system with two PCIe 2.0 slots that connect to the computer’s Thunderbolt port via an included Thunderbolt cable. This allows the Mac mini to use expansion cards normally usable only in the Mac Pro(R), and makes it a smaller, lighter, and quieter stand-in for the now-discontinued Xserve(R).

The expansion systems include a 100W power supply and employ variable-speed fans to cool the cards and computer; a new ultra-quiet fan kit option for cool-operating cards is now available. The Mac mini’s Gigabit Ethernet, USB 3.0, and HDMI(R) interfaces are extended to panel-mounted connectors on the back of the unit, and a USB 3.0 interface and power switch are mounted on the front. The xMac mini Server’s second Thunderbolt port enables the daisy-chain connection of additional Thunderbolt peripherals. These features make xMac mini Servers ideal for use in many fixed and mobile applications, from video ingest and editing station to pro audio recording rig, and from metadata controller to back-office RAID server.

The xMac mini Server 2H and xMac mini Server, like Sonnet’s line of Echo Express PCIe-to-Thunderbolt expansion chassis, require the use of Thunderbolt-compatible PCIe expansion cards. Compatible cards fall into numerous categories including pro audio, Ethernet, Fibre Channel, SAS/SATA RAID controllers, video capture, and editing. A complete list of compatible cards is available on Sonnet’s website, with the list continually expanding as more cards are tested and certified.

The xMac Mini Server 2H (part number XMAC-MS-2H) will be available in late April at a suggested retail price of $1,295. The original xMac Mini Server (part number XMAC-MS) is available now at a suggested retail price of $1,295. The xMac mini Server Quiet Fan Kit (part number XMFAN-Q) is available now at a suggested retail price of $79.95. More information on the products and compatible PCIe expansion cards is available at www.sonnettech.com/product/xmacminiserver.html.

More information on Sonnet and its other products is available at www.sonnettech.com.

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About Sonnet Technologies
Sonnet Technologies Inc. is a leading provider of storage systems, Thunderbolt(TM) technology PCIe(R) expansion products, interface cards, and media readers for professional users in the audio, video, and broadcast industries. Sonnet’s Thunderbolt expansion products enable the use of pro audio I/O and DSP cards, pro video capture and transcoding cards, interface cards, and other high-performance PCIe cards with mini, portable, and all-in-one computers. The company’s product line features a range of high-performance, cost-effective, and reliable portable, desktop, and rackmount RAID storage solutions. For more than 25 years Sonnet has pioneered and brought to market numerous innovative and award-winning products that enhance the performance and connectivity of Mac(R), Windows(R), and other industry-standard computers. More information is available at www.sonnettech.com.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/sonnet/xmac_mini_server_2h_lid_open.zip

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Front Porch Digital Integrates Data Expedition’s ExpeDat WAN Accelerator Into DIVArchive V7.1

LOUISVILLE, Colo. — March 20, 2013 — Front Porch Digital, the global leader in cloud-based content storage management (CSM) solutions, today announced an agreement with file-transfer software company Data Expedition, Inc.(R) to integrate its ExpeDat(TM) WAN acceleration product into Front Porch Digital’s DIVArchive(R) V7.1 CSM system. The integration gives DIVArchive users a WAN acceleration option that is fully managed and supported by Front Porch Digital, and is the first direct integration of a WAN acceleration protocol directly into a CSM cloud-based solution.

“Part of Front Porch Digital’s mission is, literally, to partner with the world’s best technology companies to make the content management process smoother, simpler, and more efficient — particularly for multisite operations. Adding Data Expedition’s ExpeDat to the process is one more way we fulfill on that mission,” said Andy Hurt, vice president, product management at Front Porch Digital. “Having direct access to ExpeDat will speed file transfers for our customers who use DIVAnet and the cloud-based LYNX service, both of which rely on WANs for getting data back and forth.”

ExpeDat file transfer software is a high-performance alternative to legacy technologies such as FTP, SFTP, HTTP, and CIFS. It eliminates TCP vulnerabilities with the only pure-UDP file-transfer solution available. ExpeDat uses 100 percent of available bandwidth to achieve WAN file transfers that have proven to be as much as seven times faster than with other technologies. The self-contained clients require no installers or admin rights and have no dependence on Java or plug-ins.

“We are extremely pleased that Front Porch Digital has integrated Data Expedition’s accelerated file-transfer solution, ExpeDat, into its DIVArchive system,” said Seth Noble, Data Expedition president and founder. “With Front Porch Digital’s best-in-class media workflow and Data Expedition’s laser-like focus on UDP-based transport technology, this partnership was a natural fit for both companies.”

Front Porch Digital specializes in video archive, migration, and online video publishing, supplying solutions that are at the heart of file-based workflows within the world’s best known media brands. Now, with the introduction of the LYNXSM platform, these solutions are moving to the cloud, enabling greater access, better availability, lower costs, and the highest possible security. In addition, DIVAnet(R) supports any number of fully independent DIVArchive CSM systems connected together across any type of wide area network (WAN) to form a globally distributed content storage repository.

More information about Front Porch Digital products is available at fpdigital.com.

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About Data Expedition Inc.(R)
Data Expedition Inc.(R) (DEI(R)) is the creator of the world’s first and only high-performance file transfer software that is completely free of legacy transport bottlenecks and vulnerabilities. Since 2000, DEI has been providing high-performance data transport solutions to the world’s largest companies across nearly every industry and continent, including media and entertainment, legal, and oil and gas. The company’s patented MTP(TM)/IP technology uses unique flow-control and error recovery algorithms to achieve high network efficiency across all IP networks. Companies using Data Expedition’s solutions achieve the fastest, most reliable, and most secure data transport available. More information is available at www.dataexpedition.com.

About Front Porch Digital
Front Porch Digital is the global leader in solutions for migrating, managing, and monetizing media content. Operating on site and in the cloud, the company’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Solutions delivered by Front Porch Digital appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security. More information is available at fpdigital.com.

Photo Link: www.wallstcom.com/FrontPorch/DIVArchive_CMYK.zip

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MASQUE SOUND STEPS UP WITH CUSTOM AUDIO EQUIPMENT PACKAGE FOR BROADWAY’S NEWEST MUSICAL, KINKY BOOTS

NEW YORK, MARCH 21, 2013—When Broadway’s newest musical, Kinky Boots, strutted into the Hirschfeld Theatre earlier this month, it earned rave reviews from preview audiences. To bring the show’s music-and-dance-filled score to life for audiences, Sound Designer John Shivers, along with his long-time associate and collaborator, David Patridge, turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, for a custom audio equipment package.

Kinky Boots enjoyed its pre-Broadway world premiere this past October at Chicago’s Bank of America Theatre. Based on the 2005 film and inspired by a true story, Kinky Boots follows Charlie Price, an aspiring young businessman forced to give up his dreams of living in London in order to save his late father’s shoe factory in Northern England. Charlie finds inspiration in Lola, a fabulous entertainer in need of sturdy stilettos. As the unlikely pair works to turn the factory around, they find they have more in common than they thought. Their story, directed and choreographed by the Tony award-winning Jerry Mitchell, is brought to life by music and lyrics from Grammy award-winner Cyndi Lauper and a book by Tony-winner Harvey Fierstein.

When Shivers designed the audio system for Kinky Boots, he wanted to ensure the sound was evenly distributed to every seat in the theater. To do so, he worked with Masque Sound, which provided him with a custom equipment package, including a DiGiCo SD7-T digital mixing console, Sennheiser 5212 transmitters, d&b speakers for surrounds, L-Acoustics 108Ps for the foldback and TC Electronics 6000 for reverb. He also utilized Meyer M’elodie and Mina ultracompact high-power curvilinear array loudspeakers for left, right and center systems and 500 and 700HP- subwoofers.

Shivers, who has worked with Masque Sound since the early 1990s, collaborated with the company for Kinky Boots’ Chicago run, so moving the show to Broadway was a comfortable transition, though not without its challenges. “The box seats in the Hirschfeld Theatre pretty much tuck right up against the proscenium, so the seats running along the sides of the orchestra seating section are very much shaded from the side arrays, says Shivers. “The team at Masque was able to provide additional speakers to make sure those seats were covered, so we were able to overcome that obstacle.”

Since Kinky Boots is a pop-music show, Shivers wanted to make sure he had a fair amount of control over the musical instruments. “When working with pop music, if you can achieve good isolation between instruments, you can really get a lot of clarity from them,” says Shivers. “For Kinky Boots, we are quite isolated. In fact, the drummer is up on the fifth floor, completely isolated from the rest of the band. We provided monitoring for him so he can hear and see what is going on, along with a video camera allowing the conductor to see him. He still feels like part of the band because they are connected musically. We achieved isolation and clarity quite nicely with this system.”

Also important to the production was a streamlined equipment setup, ensuring the proscenium was kept as clean as possible for the audience. “We did everything we could to keep the speakers as unobtrusive as possible on the proscenium, so we tucked them as far off and up stage as possible to keep them out of sightlines and the visual picture in general,” he notes.

“I’ve had a long working relationship with Masque Sound, and in that time, have built a lot of trust and familiarity with its team,” concludes Shivers. “Gary Stocker is truly a genius in all things audio and Scott Kalata and Dennis Short always stays on top of managing logistics. In addition, the company provides customized gear and fabrication for any sort of unusual rigging components that we might need, it’s really a full-service shop. The entire team provides excellent service. For this show, once again, Masque Sound did a great job.”

Kinky Boots is currently in previews at Broadway’s Al Hirschfeld Theatre. The production’s opening night is slated for April 4.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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