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Archive for March, 2013

Auralex® Now Shipping Carl Tatz Signature Series™

— Since its introduction in 2012, the series has already been employed by such venues as Middle Tennessee State University Studios D and E control rooms, Grammy® winner Bob Bullock’s personal mix room in Nashville, Avid training center GO Media and 2012 TEC Award™-nominated MontAnna Mix Room —

Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary, is now shipping products from its Carl Tatz Signature Series™, developed with Carl Tatz, the award-winning studio designer/acoustician and owner of Carl Tatz Design. Working closely with Carl Tatz, Auralex now offers audio professionals a turnkey acoustical treatment system that emulates the look and performance of Tatz’s custom-designed control rooms.

Tatz and Auralex’s R&D department co-developed the series, which is a collection of fabric-wrapped fiberglass acoustic panels hand-selected by Tatz. Designed for the high-end personal or commercial control room, the new series consists of six custom-built panels available in 32 color options and combines Tatz’s expertise with Auralex’s well-established manufacturing and distribution chains to bring this new line to the masses. Tatz, a Nashville, Tennessee-based acoustician and former recording studio owner who received a Grammy® nomination for his production of Jack Jones’ Tribute to Tony Bennett LP, is a renowned figure in the audio industry with extensive experience in studio design and acoustics.

The series has proven to be a hit since its introduction in 2012. Tatz recently helped design Multi-Platinum, Grammy Award–winning engineer/producer Bob Bullock’s new personal mix room in Nashville, featuring a Carl Tatz Design PhantomFocus™ System monitor tuning protocol, as well as Auralex Carl Tatz Signature Series acoustical treatment. The series has also recently been employed for the renovation of Middle Tennessee State University (MTSU) Studios D and E control rooms, as well as GO Media in Olympia, Washington, Avid’s premiere Pacific Northwest Pro School Training Center and most recently, a 2012 TEC Award™ nomination for his studio design of the MontAnna Mix Room.

“We have been honored to work with Carl Tatz, one of the top studio designers in the industry, on this exciting Auralex offering,” says Eric Smith, founder and president of Auralex Acoustics. “This series is the perfect combination of Carl’s design experience with Auralex’s expertise and commitment to providing high-quality and innovative acoustical products. Now virtually any room can benefit from the same aesthetic and sound control enjoyed by top hit makers worldwide.”

“I am excited to have had the opportunity to partner with Auralex on this series of high-end acoustical products,” says Tatz. “When you think of acoustical treatment, you think of Auralex, and I am glad we are able to offer the market a turnkey solution that can improve any acoustic environment.”

These custom-built panels are available in 32 rich fabrics to complement any decor or to create a completely unique look. Auralex’s Carl Tatz Signature Series includes:

♦ CTD Attenuation Cloud™ – Consists of two or more 2’x4’x2” decorative, fabric-wrapped Class A absorptive fiberglass CTD ProPanels™ mounted together. The Cloud is specifically designed to be hung over the mix position for an improved soundstage and can be configured in 4’x4’, 4’x6’, 4’x8’ and 6’x8’ sizes depending upon room size and application.

♦ CTD Corner Trap™ – 2’x4’x2” CTD ProPanels™ with beveled edges and proprietary mounting hardware are used to bridge across the corners of the room to provide low-frequency control.

♦ CTD Acoustic Lens™ – Designed for side-wall applications, the 5’x4”x8” or 5’x2”x8” lens columns feature both absorptive and redirective facets that provide low- and mid-band frequency absorption, enhancing aural spatiality while controlling reflections to the right and left sides of the mix position.

♦ CTD Soffit Trap™ – 2”x4’x2’ CTD ProPanels™ with beveled edges and proprietary mounting hardware are used to bridge across the ceiling/wall corners of the room to provide low-frequency control, complementing the Acoustic Lens™ and achieving a harmonized aesthetic with the system’s panel design.

♦ CTD ProPanel™ – This 2’x4’x2” fabric-wrapped Class A absorptive fiberglass ProPanel™ is effective at controlling critical mid- and high-band frequencies, but with optional mounting methodology can also offer increased low-frequency control. Useful for both walls and ceilings.

♦ CTD Rear Wall ProPanel™ – This extra-thick 4’x2’x4” panel is installed on the rear wall
to improve low-frequency absorption throughout the room and to control front-to-back
axial mode anomalies that would otherwise degrade accuracy at the mix position.

For more information, please visit www.auralex.com.

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Stampede’s 2013 Big Book of AV Tour Rolls On In Columbus, Ohio On March 8th!

North America’s largest ProAV dealer tour continues bringing together the best manufacturers and ProAV dealers when Stampede Presentation Products, Inc. brings its Spring 2013 Big Book of AV Tour to Columbus, Ohio, on March 8, 2013. This stop will be held at the Columbus Airport Marriott, from 9:00AM through 1:30 PM.

“With just two stops so far in 2013, our BBOAV Tour is already shaping up to be one of the best, as we are consistently delivering on our promise to bring the best manufacturers directly to our dealers in their home markets,” Stampede President & COO Kevin Kelly declared today. “In Columbus, we’re allowing our dealers to experience and interact with even more new products, offering timely product training sessions, and extending more incentives for them to make the time to come out and see what’s new from our exhibiting manufacturers.”

According to Kelly, all attendees at the Columbus stop will receive a $50 AMEX gift card. In addition, attendees will receive a $100 Restaurant.com gift card for every CTS Certified training session they attend! Additionally, all attendees will receive one $500 Stampede Credit that can be applied to any order over $5,000 that is placed with Stampede before April 12, 2013.

Stampede will provide complimentary continental breakfast from 9:00AM – 11:00AM, and a lunch buffet from 11:45AM – 1:30PM.

Two CTS Certified trainings, each worth .5 CTS RU, are scheduled to take place from Hitachi and Sony Unified Communications. Edgar Jimenez, Hitachi Western Zone Manager, will present a training session focused on WHDI and new switchers and doc cameras from Hitachi that allow for wireless content delivery. Sony Video Conferencing Director of Engineering, Paul Dragos, will present a session that includes demonstrations of Sony Video Conferencing products, MediaPointe streaming, Automated Workflow process for content management, and Radvision United Communications. These sessions will take place from 9:30AM – 10:15AM, and 12:00PM – 12:45PM, respectively.

Dealer registration is open now at www.bigbookofavtour.com, where they can also find directions and participating manufacturer information. The Columbus event will be open from 9 a.m. to 1:30 p.m. EST.

Remaining stops on the Spring 2013 Tour include:
April 10, 2013 New York, NY
May 16, 2013 Charlotte, NC

About Stampede
Known for its value-added distribution, Amherst, New York-based Stampede is the leading distributor of presentation equipment including LCD/DLP projectors and flat panel displays. Stampede provides a complete range of brand name presentation equipment to a variety of audio/video, computer, and home theater resellers and integrators in the United States, Canada and Latin America. These resellers rely on Stampede for value-added services in distribution, marketing and solution- based sales. Stampede annually produces the “Big Book of AV,” a 1000-page catalog and companion website (www.BigBookofAV.com) providing hundreds of sales, installation and spec tips for Stampede’s dealers in addition to product details on more than 5,000 SKUs. For more information on Stampede, log onto www.stampedeglobal.com.

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Auralex® Now Shipping Next-Generation SubDude-HT™ Subwoofer Isolator

— SubDude-HT™ decouples a subwoofer from the floor, improving the low-end frequency response in critical listening applications —

Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary, is now shipping its next-generation SubDude system, the SubDude-HT™ Subwoofer Isolator. A larger lower-profile version of Auralex’s acclaimed SubDude, the SubDude-HT is a highly effective device that floats a subwoofer, yielding improved acoustical isolation.

Ideal for home theater installations, the new SubDude-HT is designed to work with most home theater subwoofers and features a three-quarter-inch velour-covered MDF with a one-inch base of Auralex PlatFoam™ as an isolation boundary to decouple the subwoofer from the floor. This type of isolation allows the sound to emanate directly from the subwoofer, reducing coloration/”muddy” sound, thereby creating a clearer, more accurate low frequency response with diminished structural vibrations. The SubDude-HT measures 22″W x 17″D x 1.75″H.

For more information, please visit www.auralex.com.

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Sixth Annual Recording Academy® Producers & Engineers Wing® GRAMMY® Week Event Honors Quincy Jones and Al Schmitt

The event, “An Evening of Jazz,” took place at The Village Recording Studios in West Los Angeles

To kick off GRAMMY® Week, The Recording Academy® Producers & Engineers Wing® traditionally holds an event the night before rehearsals begin, and this year was no exception. This year’s event, held on Feb. 6, 2013, at the Village Recording Studios in West Los Angeles, honored two people whose creative and engineering contributions to the music industry are among its greatest. Titled “An Evening of Jazz,” the event saw Academy President/CEO Neil Portnow bestow the prestigious President’s Merit Award on GRAMMY winners Quincy Jones and Al Schmitt. P&E Wing Senior Executive Director Maureen Droney and the Village CEO Jeff Greenberg served as the evening’s emcees.

Jones’ discography is nearly without peer in the history of the music industry and includes albums with Ray Charles, Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, Michael Jackson, Peggy Lee, Frank Sinatra, Sarah Vaughan, and Dinah Washington, among others, as well as turns as a film, TV and Broadway producer and label executive. Schmitt has engineered a decades-long string of classic recordings and hits for artists such as Natalie Cole, Cal Tjader, Ike and Tina Turner, Diana Krall, Paul McCartney, Frank Sinatra, and Barbra Streisand, among others, as well as producing albums for Jefferson Airplane, Jackson Browne, Sam Cooke, Neil Young and others. Both Jones and Schmitt continue to make meaningful new works of art. Schmitt’s recent collaborations include projects with Gloria Estefan and McCartney, a nearly finished “duets” album with Paul Anka; and a new LP he’s about to start with Robbie Williams. At the event, Jones introduced two new artists he is working with: 11-year-old piano virtuoso Emily Bear and Blush, an all-female pan-Asian group he is producing and promoting.

Presenters onstage included Portnow, as well as producer and Recording Academy Chair Emeritus Jimmy Jam along with producers/engineers Ed Cherney (a GRAMMY winner), Mike Clink and James McKinney. Among the estimated 700 attendees were Mindi Abair, GRAMMY winners Patti Austin, Anita Baker and George Benson, master bassist Nathan East, GRAMMY winner Siedah Garrett, GRAMMY nominee Ledisi, GRAMMY winners Shelby Lynne and Marcus Miller, GRAMMY winner Arturo Sandoval, GRAMMY winner will.i.am, Recording Academy Chair George J. Flanigen IV and many members of the Producers & Engineers Wing, along with artists, producers, and other prominent music industry figures.

Jones, in his acceptance speech, said, “You have blown me away tonight,” and urged music professionals to travel and experience the world, and to incorporate those experiences into their work to make music a truly global art.

Schmitt was introduced by Portnow as someone “whose character is as stellar as his engineering, and that speaks to the longevity of his career. Giving back to our community is simply part of who Al is.” Schmitt recalled how producer/engineer and P&E Wing Steering Committee member Cherney asked him to be the first to sign on to the nascent Music Producers Guild of America more than a decade ago, the organization that eventually became the foundation of today’s P&E Wing. “I was so honored that Ed would ask me to be the first,” Schmitt said.

The event covered other aspects of the P&E Wing’s mission, including advocacy for the proper crediting of recording professionals. Clink also pointed out the recent establishment of www.qualitysoundmatters.com, a joint effort by the P&E Wing and the Consumer Electronics Association to promote appreciation among consumers for higher sonic quality, and reminded the gathering of the other advocacy work that P&E Wing members have collaborated on, including appearances before sessions of Congress.

“The annual P&E Wing event continues to be the signature moment of the year for the professionals who set the stage for music artists.” said Droney. “It’s meant to honor the incredible work and talent of audio professionals and, with the launch of the new Quality Sound Matters initiative, to act as a guiding light for the direction of the quality of sound.”

Premiere sponsors of the event included Astell & Kern, Avid, DTS, HARMAN® Professional brands (AKG® Acoustics, JBL® Professional and Lexicon®), Iron Mountain Entertainment Services, Louisiana Entertainment Commission, Music Marketing, PMC Ltd., PreSonus, Shure Incorporated and Ultimate Ears by Logitech, with additional participation by a wide array of other leading audio brands.

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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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