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Archive for May, 2013

iZotope Licenses Audio Technology for Inclusion in Adobe® Premiere® Pro CC

Cambridge, MA – (May 9, 2013) – iZotope, Inc, a research-driven audio technology company, has licensed multiple audio processing technologies for inclusion in the new Adobe® Premiere® Pro CC, the video production component of Adobe Creative Cloud. The industry-leading, cross-platform video editor now features a suite of audio effects including convolution reverb, vocal enhancer, mastering tools, single and multiband compressors, and other audio technologies.

“We’re happy to continue our long-standing relationship with Adobe by making this collection of iZotope tools, currently available within Adobe Audition®, available to Adobe Premiere Pro CC users as well, ” says Scott Simon, Business Development Manager for iZotope. “We’re excited to help even more members of the creative media community enhance their audio.”

“We’re pleased to announce the inclusion of iZotope technology in the new version of Adobe Premier Pro. Adobe Premiere Pro CC offers incredible performance and features for video professionals,” says Simon Williams, Director of Strategic Relations at Adobe. “iZotope’s audio processing is a perfect fit for the growing video market and will enable Adobe Premiere Pro users to use a range of audio tools directly within their post production workflow.”

For more information about iZotope technologies for licensing, visit www.izotope.com/tech.

About Adobe Creative Cloud
Adobe Creative Cloud is a simple monthly membership that provides the entire collection of Adobe tools. Members get access to every new feature upgrade as soon as it is available – at no additional cost. Membership offers ongoing access to all of the Adobe creative desktop applications, including new features as they become available, plus online services for file sharing, publishing, and more. To learn more about Creative Cloud for Video Pros, visit http://www.adobe.com/products/creativecloud/video.html.

About iZotope
iZotope is a research-driven audio software company based in Boston, Massachusetts. Its products and audio technology are used by millions of people in over 50 countries, from hobbyist musicians to GRAMMY® Award winners. iZotope focuses on developing innovative audio technology for professional and consumer applications. This core technology is presented to customers in its award-winning product line and through its extensive licensing program. For more information on iZotope products, visit www.izotope.com.

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Riedel Products at InfoComm 2013:

MediorNet MN-C-OPT-HDMI and MN-HDO-4IO Universal Video Cards
Riedel Communications has released a new universal video I/O card for the company’s MediorNet Modular real-time network. Supporting a variety of small form-factor pluggable (SFP) optical transceivers, the MediorNet MN-C-OPT-HDMI and MN-HDO-4IO universal video cards enable the flexible configuration of MediorNet systems for bidirectional transport of analog composite video, HDMI, DVI, and optical or coaxial SDI signals.

Ideal for environments including theaters, house of worship, hotels, convention centers, and stadiums, the MediorNet bidirectional video card brings added flexibility to Riedel’s MediorNet Modular system. Depending on the SFP transceivers installed, the card can provide a combination of either four HD (1.5G) or two 1080p (3G) bidirectional video signals or analog video, HDMI, DVI, or optical SDI video I/O. HDMI I/Os employ self-locking mini HDMI connectors.

Photo Link: www.wallstcom.com/Riedel/MN-HDO-4IOUniversalCard3x4.zip
Photo Caption: MediorNet MN-C-OPT-HDMI and MN-HDO-4IO Universal Video Cards
Photo Description: The Riedel MediorNet MN-C-OPT-HDMI and MN-HDO-4IO universal video cards make installations even more flexible.

Connect AVB
Riedel Communications has extended its line of AVB-capable products with the release of two new Connect AVB (Audio Video Bridging) interfaces, which enable the reliable real-time transport of analog or AES3/EBU digital audio over AVB-capable local area networks (LANs) with guaranteed quality of service.

The Connect AVB supports the transport of audio signals from equipment such as the Riedel Performer and Artist digital intercom systems on existing network infrastructures.

The Connect AVB modules can be used as throw-downs or with a Riedel Smart Rack system. The Connect AVB C8 offers eight AES connections on BNC. The device supports both bidirectional AES for intercom panels and unidirectional transport for broadcast AES. The Connect AVB A8 provides eight analog inputs and outputs on RJ45 connectors.

Photo Link: www.wallstcom.com/Riedel/ConnectAVBC85x2.zip
Photo Caption: Connect AVB
Photo Description: The Riedel Connect AVB interfaces allow for easy AVB integration into Artist Digital Matrix Intercom infrastructure.

New Version 1.14 of MediorWorks Software
Riedel Communications has announced version 1.14 of its MediorWorks configuration, control, and monitoring software, which has been refined to enable even tighter integration between the company’s real-time MediorNet and RockNet networks. This latest MediorWorks release will give users convenient access to all software configuration and control tools for both systems within a single application and window.

MediorWorks 1.14 not only consolidates control and configuration for Riedel real-time networks into a single interface, but also enables extended SNMP monitoring — all while streamlining network setup and reducing cabling requirements. The software release also supports new capabilities such as audio de-embedding for Grass Valley(TM) camera signals, making it simpler for users to manage a greater range of functions and have greater control over signal flow.

Other Products on Display:
-RockNet Yamaha Console Interface
-RockNet Soundcraft Studer Interface Card
-RockNet Soundcraft SI Interface Card
-RockNet MADI Interface
-RockNet Fiber-Optic Converters

Company Quote:
“InfoComm is the premier show in North America for seeing systems integrators and customers in the pro A/V and entertainment markets. With our powerful communications and signal transport/distribution product lines, we are providing the fully integrated solutions that our customers demand.”
– Patti Gunnell, Riedel Entertainment Solutions Manager, North America

Company Profile:

Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

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And the Emmy Goes to … Red Bull Stratos

Riedel Earns Sports Emmy Award as Part of Team Behind First-of-a-Kind Broadcast Event

WUPPERTAL, Germany — May 8, 2013 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, has been awarded a prestigious Sports Emmy(R) Award in the category of “Outstanding New Approaches Sports Event Coverage” for the production of the Red Bull Stratos project. As a contributor to the project, Riedel received the famous award from the National Academy of Television Arts and Science at the 34th Annual Sports Emmy Awards, held May 7 in New York City.

The Sports Emmy Award recognizes excellence in American sports television programming. In a first-of-a-kind sports production from the edge of space, the Red Bull Stratos project captured aviation pioneer Felix Baumgartner’s ascent to 128,100 feet in a stratospheric capsule and balloon and his subsequent freefall jump, rushing toward earth at supersonic speeds, and parachute landing.

For the production, Riedel furnished the fiber-based video and signal distribution systems, as well as the wireless video links from the capsule’s onboard cameras, enabling the stunning pictures delivered from the Red Bull Stratos capsule. In fact, Riedel provided the entire communications solution for this record-breaking project, integrating both wireless and wired digital intercom systems. More about Riedel’s involvement with the Red Bull Stratos project is available online at the company’s multimedia press page: http://www.riedel.net/Company/News/PressReleases/PressArticle/tabid/121/Article/1856/language/en-US/Default.aspx.

Further information about Riedel and the company’s products is available at www.riedel.net.

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About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

Photo Link: www.wallstcom.com/Riedel/StratosEmmy.zip
Photo Caption: Karin Bock-Leitert, Scott Gillies, Matthias Leister, Jay Nemeth, Scott Bradfield, Jacqueline Voss, Phil Olsman, Thomas Riedel, Werner Eksler, Charlie Rosene (from left to right)

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IABM Supports Launch of New Educational Foundation for Broadcasting and Media Technology

GLOUCESTERSHIRE, U.K. — May 8, 2013 — The IABM (International Association of Broadcasting Manufacturers) today announced that, in accordance with the objectives of its Lifelong Learning Manifesto, the association has supported the establishment of the IABM Educational Foundation. The foundation is registered as a charity in the U.K. and operates globally, independent of the IABM. Its mission is to deliver a broadcast and media technology skills certification scheme along with other initiatives that support technical education, skills, and career development in the sector.

“More than 100 companies and organizations supported our Lifelong Learning Manifesto, which commits us to fostering not only the development of educational resources, such as courses offered by the IABM Training Academy, but also the means of testing and recognizing delegates’ educational achievement,” said IABM Director General Peter White. “We’re now in a position to proceed with the latter work, and the IABM Educational Foundation is the right vehicle through which to do it.”

Over the past two years, the IABM Training Academy has overseen the delivery of broadcast and media technology courses to hundreds of delegates from around the world. Until now, there has been no effective recognition of the resulting attainment. Once pilot assessments are completed, the foundation will provide a suite of examinations, delivered online and open to all, that will lead to the award of a Certified Broadcast and Media Technologist qualification. This qualification will enable engineers and technologists to prove their personal achievement and it will be complemented by a scheme for recognizing continuing occupational and professional development. This will put the onus on the individual to maintain the certification throughout their careers.

“We are developing our certification scheme to help broadcast professionals secure international accreditation to ISO:IEC 17024, which is the conformity standard for bodies certifying individuals,” explained Roger Crumpton, a founding director and trustee of the IABM Educational Foundation. “We have secured initial funding for three years and have already been able to make funds available for training bursaries and for financial awards to students.”

Governance of the IABM Educational Foundation is independent of the IABM. Further information about the foundation and its certification scheme is available online at www.theiabm.org/foundation. Information about the IABM Training Academy and its course offering is available at www.iabmacademy.org.

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About the IABM Educational Foundation
Established as an independent educational charity in 2012, the IABM Educational Foundation works to support technical education, career development, and access to employment within the broadcast and media technology sector worldwide. The foundation’s first priority is the development and delivery of an international certification program that will recognise the attainment of individual engineers and technologists and provide a framework for valuing occupational and professional engagement as Continuing Professional Development (CPD). The IABM Educational Foundation also is committed to providing educational bursaries and travel awards that enable young people to attend training courses and key industry events that otherwise would be beyond their reach. For more information, please visit www.theiabm.org/foundation.

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

Photo Link: www.wallstcom.com/IABM/PeterWhite.zip
Photo Link: www.wallstcom.com/IABM/RogerCrumpton.zip

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NUGEN Audio Inks Distributor Deal in U.S. With Maine-Based Independent Audio

LEEDS, U.K. — May 8, 2013 — NUGEN Audio, creator of intuitive tools for audio professionals, has signed a distribution agreement with U.S. distributor Independent Audio. Based in Portland, Maine, Independent Audio will distribute NUGEN Audio’s entire line of audio analysis, loudness metering, mixing/mastering, and tracking tools to customers across the U.S.

“We’re very glad to be working with NUGEN Audio because they develop and deliver extremely good post audio tools,” said Fraser Jones, president of Independent Audio. “We serve a great many customers on the post-production side of the business who have been struggling with how to mix creatively for the new CALM legislation. The NUGEN loudness products will address that issue and be a strong complement to our existing range of post products.”

Independent Audio exclusively distributes brands such as CEDAR Audio, Coles microphones, Merging Technologies, and Sonifex. Representing the NUGEN Audio brand fits with its business model of importing and distributing professional audio products from Europe with concentration on the United Kingdom.

“Independent Audio’s roster of post-production customers is the ideal market for our products, which are well-suited to the post process because they help sound engineers focus on creativity rather than compliance,” said Jon Schorah, NUGEN Audio creative director. “Our partnership with Independent Audio will make it easier to serve post customers in the U.S., and our loudness analysis and correction tools help fill a niche in Independent Audio’s product lineup.”

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About Independent Audio
Independent Audio was founded in 1993 by Brit Fraser Jones, who saw an opportunity to launch cutting-edge European manufactured professional audio products that previously had no exposure in the U.S. marketplace. Jones established a network of premier pro audio dealers throughout the U.S. and introduced them to some very fine audio products. Independent Audio’s business philosophy is to first take care of the customer by providing second-to-none service by providing demo equipment, loan equipment when customer equipment fails, training to provide customer with the best use of products, and unlimited technical support.

About NUGEN Audio
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. For more information, visit www.nugenaudio.com.

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NEP’s Trio Video Launches Busy 2013 Music Festival Season With Lollapalooza Chile, Follows With Coachella and Stagecoach Festivals

PITTSBURGH — May 7, 2013 — NEP’s Trio Video has just wrapped up a busy and successful April, providing engineering support at the Lollapalooza Chile music festival as well as extensive facilities for the Coachella and Stagecoach Festivals, both in California. Trio Video’s support at Lollapalooza Chile demonstrates NEP’s growth and global capabilities as a premier provider of mobile video production facilities and services for high-profile events around the world.

“The size and number of music festivals is continuing to grow worldwide, and Trio Video is growing alongside them. Lollapalooza Chile is a great example of how we’re helping a popular brand expand into new markets and launch popular festivals in other countries,” said Peter Kimball, senior account manager, NEP Trio Video. “We’re able to provide a level of expertise and experience that might not be available in remote locations and help our clients produce shows that match the quality levels of the U.S. version.”

As one of South America’s most successful music festivals, Lollapalooza Chile took place in Santiago, Chile, the first weekend in April. Trio Video supplied technical support, design, and equipment coordination for Springboard Productions and promoter C3 Presents for the two-day, six-stage festival. Next year, Trio Video hopes to provide two HD production trucks at Lollapalooza Chile, in addition to the rest of its services, utilizing the two new HD units deployed in Brazil by NEP this spring.

Promoted by AEG/Goldenvoice on two consecutive April weekends, with video produced by Springboard Productions, the 2013 Coachella Music Festival marked Trio Video’s seventh year as the show’s sole provider of mobile video production facilities and services. Trio Video’s production trucks Rhythm and Blues supported 18 cameras providing three simultaneous channels of HD video that was webcast live on the festival’s YouTube” channel, as well as a private festival network that delivered HD video to VIP areas and to large-format screens supplied and operated by Trio Video’s sister organization, NEP Screenworks.

Trio Video ran a similar operation for the Stagecoach festival, held the last weekend in April at the Coachella venue and billed as “California’s Country Music Festival.” The Trio Video mobile units contributed to the production for cable channel AXS-TV, which broadcast more than a dozen live performances.

Lollapalooza Chile, Coachella, and Stagecoach kicked off a busy 2013 music festival season for Trio Video, which will be providing turnkey production services for the Bottle Rock Festival in Napa, Calif., May 9-12; Hang Out Festival in Gulf Shores, Ala., May 17-19; the Bonnaroo Music Festival in Manchester, Tenn., June 13-16; the Lollapalooza Music Festival (U.S. version) in Chicago Aug. 2-4; the Outside Lands Music Festival in San Francisco Aug. 9-11; and the Austin City Limits Music Festival in Austin, Texas, Oct. 4-6 and 11-13.

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About NEP
With the world’s most advanced equipment, largest fleet of mobile units and global production studios to suit every genre, NEP enables its clients to execute, deliver, and display exceptional productions on any platform around the world. For more than 30 years, NEP has ensured its clients’ success by delivering superior service and building lasting relationships with a passion for continuous innovation. NEP’s talented staff is committed to acting with integrity and working as a team to deliver comprehensive solutions for remote production, studio production, video display, webcasting, and power generation that set the global industry standard. For more information, visit www.nepinc.com.

Photo Link: www.wallstcom.com/NEP/TrioFestivals.zip

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Hillsong Church Builds Communications for Central London Services on Riedel Digital Intercom Installation

WUPPERTAL, Germany — May 7, 2013 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today announced that Hillsong Church, the Pentecostal megachurch with worship sites located around the globe, is using a Riedel intercom solution to support weekly services at the Dominion Theatre in Central London. A fully integrated system incorporating Riedel’s Performer digital partyline intercom and Acrobat digital wireless intercom enables seamless communications among the technical crew members of the London Hillsong team.

“Our services are run by a great team of volunteers who need to be able to communicate effectively, and we need to be sure all areas of production can hear each other without distractions,” said Luke Makepeace, Hillsong U.K.’s technical director. “Good communication among all 10 members of our volunteer technical crew is vital. The digital clarity, flexibility, ease of setup, and overall integration of the Riedel system have made it a great asset for our team.”

Hillsong holds four back-to-back services each Sunday at the Dominion Theatre, with each service seeing a full-house congregation of around 2,000 people. Additional events are held at major venues such as the O2 and Wembley Arena.

“Hillsong’s ‘sell-out’ services are as impressive and demanding as any theatrical production or rock concert,” said Nick Williams, U.K. and Ireland sales manager for Riedel Communications. “We’re delighted that one of the world’s major megachurches has chosen Riedel.”

The intercom system Hillsong’s technical crew uses is built on Riedel’s Performer 32 mainframe, which is populated with coax and analog I/O client cards for connection to a mix of seven rackmount and desktop Artist control panels. A C44-plus interface supports conversion of up to four two-channel Artist matrix ports to four powered beltpack lines and, in turn, the wired C3 beltpacks.

Acrobat, Riedel’s license-free, DECT-based wireless beltpack system, is configured with the CC-8 controller and six WB-2 wireless beltpacks via two CA-6 antennae. A selection of single- or double-muff light-, medium-, and heavy-duty Riedel headsets suit the individual needs and preferences of each operator. Hillsong staffers program the whole system using the Performer Director software.

Further information about Riedel and the company’s products is available at www.riedel.net.

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About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

Photo Link: www.wallstcom.com/Riedel/HillsongChurch.zip
Photo Caption: Hillsong Church services in London

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ARC Sound Works Its Magic As Shakespeare’s Globe Takes Full Production For First Time Ever with HARMAN’s Soundcraft Vi Consoles

LONDON, England – Over the years, London based live production company ARC Sound has produced many corporate functions in the Underglobe, the events space situated beneath London’s famous Shakespeare’s Globe Theatre. But since the reconstruction in wood of the original Elizabethan playhouse on the Thames South Bank, a full production set up has never been allowed, or indeed attempted, in the main theatre space itself.

However, all that has now changed. To celebrate the Bard’s birthday this month, a concert audio production set-up was allowed into the 1500-capacity space for the first time. As James Dougill’s company has a long standing contractor relationship with the venue, they were asked to plan and produce a working solution which would meet both the technical requirements of the performances, whilst also being sympathetic to the unique nature of the building.

Billed as ‘an evening of music and magic’ ARC Sound dipped into their extensive inventory, and deployed a JBL VerTec line source array loudspeaker system and Soundcraft Vi series digital mixing consoles as the key sound reinforcement components.

“This production was unique, as The Globe hasn’t allowed anything this ambitious to take place previously,” confirmed Dougill. “I am certain eyebrows were raised initially when all these flight cases started appearing in a venue made entirely out of wood. But the fact we were able to achieve this without creating any noise pollution was down to the detailed pre-production planning we undertook before the event.”

They also ensured that the main loudspeaker system complied with the maximum weight load of no more than a ¼-tonne to the oak beams in the theatre’s ceiling.

Headlining were The Magic Numbers, supported by singer songwriter Johnny Flynn, along with magicians Barry and Stuart, Piff The Magic Dragon and Chris Cox. With the exception of the Magic Numbers all other performances took place on an oval thrust, which was in front of the main loudspeaker array hangs.

For the main PA, ARC Sound suspended two symmetrical hangs of six JBL VERTEC® VT4887A compact line array elements, with two pairs of JBL VT4880A subs recessed under the stage apron. Each driver was individually addressed to provide alignment delay in a mini-cardioid configuration. Added to this were two fill clusters, each comprising three JBL VRX928LA Constant Curvature loudspeakers.

The ARC Sound director explained the rationale behind the design. “Although the throw distance was quite small, the coverage we required was steep—and since we were unable to suspend any further weight from the theatre ceiling, we opted for sharply angling back the VRX clusters. The key criteria here was the vertical coverage required to distribute sound evenly from the downstage edge right up to the third tiered balcony.”

The system was set up using a combination of the VERTEC LAC2 (JBL’s dedicated line array calculator) and Smaart field analysis, coupled with the company’s own extensive experience of deploying and using the products.

With a thatched open roof, James Dougill was mindful of the potential hazards of sound spill encroaching onto the Thames. “I wanted to get the boxes up into the air, focussed downwards, rather than on the ground pointing up,” he said. “Monitoring the volume during the show was more a question of using common sense than the SPL metering and LAeq measurement equipment we’d set up.”

At front of house ARC Sound fielded their Soundcraft Vi4, with 64-channel software upgrade, while down at the stage Raghav Narula was responsible for all of the onstage monitor mixes (also operating at near 64-channel capacity on one of the company’s Soundcraft Vi1 consoles).

James Dougill mixed the house sound, before creating a generic FOH set up (and an external rack of FX) for The Magic Numbers’ sound engineer Max Bisgrove — but instead, Max preferred to use all the desk’s internal reverbs and FX.

Summing up, Dougill said the quality of the amplified sound could hardly have been better. “The full range of VERTEC and VRX loudspeakers we stock gives us a very broad tool set to work with, and can be consistently relied upon to deliver. Their profile was ideally suited to this application, and if the glowing comments we’ve received about the sound quality are anything to go by, we got it right.

“It was a huge privilege to have been involved in this project — and The Globe were so delighted they are already talking about the next event.”

JBL and Soundcraft products were originally supplied to ARC Sound by HARMAN’s UK distributor, Sound Technology Ltd.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

FOH Luiz Mazzei Chooses Waves Live Tools for Brazilian Rock Veterans Capital Inicial

— Mazzei was an early adopter of Waves’ SoundGrid® platform in the live realm —

TEL AVIV, ISRAEL, May 8, 2013 — Waves Audio is pleased to see its tools used by the likes of Luiz Mazzei, a talented engineer both in the studio and at front-of-house. Currently, Mazzei is using Waves SoundGrid® platform and an assortment of Waves plugins as FOH engineer for Brazilian rock veterans Capital Inicial.

Luiz Mazzei has been a user of Waves plugins in the studio since 2001. As Waves has moved deeper into the realm of live sound in recent years with the introduction of SoundGrid and other products, Mazzei was able to do what he had always envisioned: “I always felt like I was missing out by not using Waves plugins in Live,” he recalls.

After attending a workshop with FOH engineer Greg Price (Ozzy Osbourne) in Sao Paulo, Brazil, Luiz became even more interested in using Waves plugins at FOH, and he has not worked without them since. He notes, “Nowadays, as an FOH for the band Capital Inicial, I travel with an Allen & Heath iLive 112 console, M-Waves card and a Waves SoundGrid Impact Server, and the Waves SoundGrid Essentials bundle, plus the C6 Multiband Compressor, H-EQ Hybrid Equalizer, LoAir Subharmonic Generator, MaxxVolume and NLS plugins and many more”

He continues, “As I have been working as a producer in studios for more than 20 years, I am constantly concerned with getting a live mix that is similar to a studio mix. I record all the shows and do a virtual sound check utilizing the Recording and Playback capabilities of Waves SoundGrid before every show, striving to recreate the album sound. I manage to do this due to SoundGrid, which enables me to work safely and ensure the quality of my work. My favorite Waves plugin, which I use the most, is the C6 Multiband Compressor, and I use it on almost all my channels. On the master, I use the C6 and the Waves NLS Non-Linear Summer, which brings analog qualities to the mix. I’m extremely happy with the results that I am having with WavesLive Processing and Virtual sound-check capabilities in my shows. Waves is great!”

Luiz Mazzei is part of the growing trend among live sound professionals who are making the move to the next-generation workflow with Waves plugins and WavesLive SoundGrid. Visit www.waves.com and www.waveslive.com for more information.

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Clay Paky Sharpy Washes and grandMA2 Join Fleetwood Mac on Tour

Fleetwood Mac is back on the road and Clay Paky Sharpy Wash 330 fixtures and a grandMA2 console have joined the iconic band on the Fleetwood Mac Live 2013 World Tour. A.C.T Lighting is the exclusive distributor of Clay Paky and MA Lighting in North America.

The new tour, which began in Columbus on April 4 and will wrap in Australia in December, marks the first for the band since 2009′s sold-out Unleashed tour. This year is also the 35th anniversary of their “Rumours” album, one of the most successful in recording history with sales in excess of 40 copies. It remained on top of the pop charts for more than 31 weeks and produced four Top Ten singles.

Lighting designer Paul “Arlo” Guthrie of Minneapolis-based Toss Film + Design is Fleetwood Mac’s long-time lighting designer. “I have to cater to four different personalities (Mick Fleetwood, John McVie, Lindsey Buckingham and Stevie Nicks) and bring them together as one team,” he explains. “For this show we have four big soft box panels and 32 Sharpy Washes on curved lighting pipes, some of them on the floor, some on the rigs and some in pods that come out. They hang on weird angles and move during the show – some are on 45, 90 and 120º angles. They’re well featured – the main workhorse washlight of the rig.”

Clay Paky’s Sharpy Wash 330 is a compact, lightweight 330W washlight, with the luminous efficiency, graphic and optical performance of a 1000W fixture. It is extremely silent and quick and is fitted with a complete CMY color system, special colors, 6.5°-48° zoom, mechanical dimmer, beam shaping filter and motorized top-hat. It is an eco-friendly light, allowing considerable running and consumption cost savings.

Guthrie says that he “tried to design a rig that moves and has dynamic elements so I can change the look throughout the show. I chose the Sharpy Washes because I needed something small and bright. I was curious to see if I could use them as a beam effect without any haze – the band doesn’t like to work with haze.”

He discovered that “the beam reads really well in just the atmosphere. With their great wash capability they’re equally good as a toning light that adds to the theatricality of the show.”

According to Guthrie the Sharpy washes are “working great – exactly as promised. They’re just fantastic. George Masek at A.C.T Lighting was awesome with his support.”

The lighting designer brought his own grandMA2 console on tour to run “the whole show” and reports that “it’s working as good as it always has. It’s super comfortable; it’s like hanging out with an old friend each day. My grandMA is more than capable of running everything, including the video where three M-boxes are in charge of video playback and a Vista Spyder handles routing.”

George Masek, A.C.T Lighting’s Vice President, Automated Lighting, adds, “We always enjoy providing Arlo with new equipment choices, as his designs are always creative and interesting. The small size and large output of the Sharpy Wash fits perfectly into what he was trying to do and he’s always been a brave early adopter and embraces taking new technology on the road! It’s an honor to be associated with Fleetwood Mac and we’re very proud that their show represents the touring debut of the Sharpy Wash 330 in the US.”"

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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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