A virtual press conference from Sound & Video Contractor

Archive for May, 2013

SYMETRIX PROMOTES HOCK THANG TO REGIONAL SALES MANAGER ASIA/PACIFIC

SEATTLE, WASHINGTON – MAY 2013: Spurred by Symetrix’ increasing global presence and the rise of a robust Asian market, former Symetrix Technical Sales Engineer Hock Thang has been promoted to the newly-created position of Regional Sales Manager – Asia / Pacific. Based in Singapore, Thang’s mastery of the Symetrix product line – including Jupiter app based turn-key DSP, Solus standalone fixed I/O DSP, as well as Edge and Radius Dante network audio DSP – has been winning Symetrix converts throughout the region.

“Since 2006, Hock has been an invaluable resource for Symetrix in Asia,” said Mark Ullrich, Symetrix international sales manager. “From his home base in Singapore, Hock has been providing trainings and superior support to the Asia-Pacific Symetrix distributor network. He will continue with this fully but will now also add new focus on strategic sales activities, territory management, and increased connection and support for our distribution partners.”

“I’m privileged to work with such a great team at Symetrix,” said Hock Thang. “Together with our extremely committed distribution partners I look forward to growing Symetrix further in my new role. As our products evolve and become more sophisticated and competitive, we must have the presence and sales infrastructure in place to support it. With the recent release of SymNet Radius AEC Dante network audio DSP, for example, I’ll be focusing heavily on growing the awareness of our full range of conferencing solutions. I look forward to working even more closely with distributors, consultants, and end-users alike, to continue to install superior Symetrix DSP products in the Asia-Pacific region.”

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

STAGE 48 PULSATES TO THE SOUND OF D.A.S. AUDIO

**** Photo: Carlos Duran (left) and Pedro Zamora (right), Stage 48 owner ****

New York, NY – May 2013 … Located in Hell’s Kitchen, Stage 48 is a four floor, multi-use venue that hosts concerts, a wide range of nightlife activities, and private/corporate events. Originally built in the 1950’s as a horse stable, the venue has been completely remodeled utilizing the beauty of the old industrial architecture while incorporating modern design cues that create an ambience that is unique compared to any other NYC venue. With a wide range of musical artists including Canada’s Coeur De Pirate and hip-hop artists Mobb Deep to DJ Q-Tip and more, Stage 48 is at the forefront of live musical entertainment in New York—and throughout the facility, the music is strong and vibrant, thanks to a cutting-edge sound reinforcement system drawn from the catalog of Valencia, Spain-based D.A.S. Audio. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Audio, InfoComm, Loudspeakers, News |

JAY RUSTON, AN ESTABLISHED CHANNELSTRIP USER, ADDS METRIC HALO’S PRODUCTION BUNDLE PLUG-IN COLLECTION TO HIS UPDATED RIG

SAFETY HARBOR, FLORIDA – MAY 2013: Apart from being a seriously nice guy, veteran engineer and producer Jay Ruston is a monster talent behind a mixing console, be it physical or virtual. He’s been at it for twenty years and recently leveraged his seasoned perspective and sonic-smashing tricks to mix Anthrax’s return-to-form masterpiece Worship Music and Steel Panther’s much-lauded mocurockery Balls Out. Ruston took to Metric Halo’s ChannelStrip plug-in for those efforts, citing its musical sound and useful presets as part of what made those works so effective.

Even more recently, Ruston relented to the rising tide of incoming Pro Tools sessions that were incompatible with his “if-it-ain’t-broke-don’t-fix-it version” 7.4 and upgraded to 10. Associated with that giant leap and given Pro Tools 10’s move to AAX, he had to reconsider his plug-in pallet. “I was pleased with the results I was getting with Metric Halo’s ChannelStrip, and I saw that the company was now selling a Production Bundle of plug-ins,” he said. “I needed a de-esser, a multi-band compressor, an enhancer, and more. Coming from the same minds that made ChannelStrip, I figured the Production Bundle would be a good bet.” As it turns out, it was.

The upgrade to Pro Tools 10 was happening just as Ruston was finishing the mixes for the debut album from The Winery Dogs, a super group composed of Richie Kotzen (Mr. Big, Poison), Billy Sheehan (Mr. Big, David Lee Roth, Steve Vai), and Mike Portnoy (Dream Theater). He held on to the 7.4 mixes in order to give them one more tweak with the new system and the new Metric Halo plug-ins. “The vocals were critical, and after doing some basic equalization and compression with ChannelStrip, I used the Production Bundle’s Multiband Dynamics to smooth out the top end and upper midrange,” he said. “I’ve always used multiband compressors, and Metric Halo’s version is very effective. In addition, I cleaned up some sibilance with Metric Halo’s Precision DeEsser, and I’ve since found that it works just as well with female vocalists.”

Ruston used Metric Halo’s HaloVerb on Portnoy’s otherworldly drum tracks. “All of these Metric Halo plug-ins are so easy to use,” he said. “HaloVerb has only a handful of well-labeled knobs, and it immediately sounds good using any of the presets. I dialed in the sound using the presets as a starting point.” Those statements about HaloVerb generalized: “The Production Bundle is simple to look at and understand. The parameters are sensibly labeled with meaningful descriptions like ‘release’, ‘attack’, ‘Q’, and so on; none of those weird parameter names I find in other manufacturers’ plug-ins.” Despite the fact that The Winery Dogs recorded the album in Kotzen’s house, Ruston couldn’t be happier with the way the final mixes sound.

Of course, well-labeled parameters would only be appreciated on a plug-in that sounded fantastic, and Ruston described the Production Bundle by way of ChannelStrip. “ChannelStrip is so useable because it sounds so musical and pleasant,” he said. “I can slide the EQ curves around and it all sounds good. It’s just a matter of finding the most effective position given the track and everything else that’s happening in the mix. It can go from extremely broad and smooth to extremely tight and clinical, depending on what I need. All of the Metric Halo plug-ins share that same sonic quality – smooth, musical, and yet precise. They do what they’re supposed to do, like a piece of high-quality analog equipment. In that way, they’re also speedy, which is important because I like to work as quickly as possible.”

Ruston also used Multiband Dynamics, Precision DeEsser, HaloVerb, and, of course, ChannelStrip for the drums and vocals on Steel Panther’s follow-up to Balls Out. In addition, he’s had a chance to try out some of the other goodies in the Production Bundle. “The Character plug-in is versatile and sounds, to me, like tape emulation,” he said. “I can use it on bass, which adds some nice grind and really lets it tear. That’s especially useful with Steel Panther because they don’t always lay a rhythm guitar underneath a solo. Another trick I found was putting the snare and kick on a separate bus, compressing with ChannelStrip, and adding Character for drive. Then I mix that back in with the clean tracks to get a really punchy sound.” In addition, Ruston uses TransientControl to dial in percussive attack where needed.

“I know that a lot of mix engineers are anti-preset,” said Ruston. “Not me. I want the maker to show me what a plug-in was designed to do. I want to learn all the secret weapons and tricks that they built into it. The Metric Halo presets are totally usable. I can use the presets for a particular task or I can fire through them and listen for something that catches my ear. Either way, I usually dial things in from there.”

Ruston is excited to use the new Metric Halo Production Bundle on a live DVD for Anthrax that was recorded in Santiago, Chile. Previously, he had to rent rooms to do surround work, but now his system is set up for surround. “For the first time, I’ll be able to use all of my own stuff on a surround recording,” he said. “It’s gonna be great!”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

IABM Calls for Nominations for 2013 IABM Awards for Design and Innovation

GLOUCESTERSHIRE, U.K. — May 30, 2013 — The IABM (International Association of Broadcasting Manufacturers) is now accepting nominations for the 2013 IABM Awards for Design and Innovation, which recognize products that offer significant solutions or new opportunities to the broadcast supply industry. Winners will be named and showcased at the IBC2013 exhibition in Amsterdam, and each will receive an IABM Award for Excellence, with the prestigious IABM Peter Wayne Award going to the top entry.

“The IABM Peter Wayne Award for Design and Innovation was inaugurated by the IABM in 1990 in memory of a former deputy chairman of the association,” said IABM Director General Peter White. “Attracting entries from around the world and judged by a panel of renowned specialists, the award has become highly coveted as recognition of outstanding achievement in design and innovation.”

The review process for the IABM Awards for Design and Innovation is rigorous, and every single entry is examined in detail. All judges on the international panel are independent and are not affiliated with a vendor company or similar operation.

The deadline for awards submissions is Friday, June 28. The top candidates will be notified of their status on Monday, Aug. 5, and the top 10 finalists will be announced on Tuesday, Aug. 27. Finalists will be asked to demonstrate their products to judges during IBC2013, and winners will be presented with their awards at a special evening reception on Saturday, Sept. 14, at the RAI in Amsterdam.

More information, complete rules, and the submission form are available at www.theiabm.org/designawards. Information about the IABM is available at www.theiabm.org.

# # #

About the IABM
The IABM, the International Association of Broadcasting Manufacturers, is the authoritative voice of the broadcast and media technology supply industry worldwide. Its wide range of services to members encompasses market research and intelligence, training, expert representation at standards bodies and broadcasting unions, executive networking opportunities, and preferential purchasing. A presence at every major broadcast tradeshow, the IABM also provides a valuable channel for communication among broadcast manufacturers, government, and regulatory bodies. Additional IABM activities include awards programs for innovation and scholarships designed to stimulate the development of the broadcast and electronic media industries on an international basis. For more information, please visit www.theiabm.org.

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

Photo Link: www.wallstcom.com/IABM/DesignInnovationAwards.zip

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Kodak Goes Behind-the-Scenes With Acclaimed Cinematographers at Cine Gear Expo

Eric Alan Edwards, Giles Nuttgens and Rachel Morrison Headline Panels

LOS ANGELES, CA – Kodak will host two discussions with acclaimed cinematographers at this year’s Cine Gear Expo on the Paramount Lot in Los Angeles. On Friday, May 31, at 5:15 p.m., Kodak will sit down with award-winning cinematographer Giles Nuttgens, BSC for a conversation in the Paramount Theater. On Saturday, June 1, at 11:45 a.m., the “Sundance in Summer” panel will feature Eric Alan Edwards (Lovelace) and Rachel Morrison (Fruitvale Station) in The Sherry Lansing Theater.

In a candid conversation, Nuttgens will reveal the thinking behind his extensive body of work — including the imagery, technology, career choices, and his collaborations. The seminar will offer a glimpse into the mind of one of today’s more innovative artists.

Nuttgens shot the recently released What Maisie Knew with the directing team Scott McGehee and David Siegel, and Midnight’s Children, based on the best-selling Salman Rushdie novel. Nuttgens’ extensive feature resume also includes Mehta’s elemental trilogy Fire, Earth and Water, which received a 2007 Oscar(r) nomination for Best Foreign Language Film and earned Nuttgens the 2006 GENIE Award for Best Cinematography. Nuttgens first worked with McGehee and Siegel on The Deep End, a film which earned him the 2001 Sundance Film Festival Award for Best Cinematography, and a nomination in the same category at the 2002 Independent Spirit Awards. His next films include the upcoming features Young Ones and God Help the Girl.

Both Edwards and Morrison recently had movies that were stand outs at the Sundance Film Festival. This panel conversation will delve into their creative and budgetary considerations made prior to and during production. The cinematographers will also give the audience behind-the-scenes insight on the collaborations with their directors – Ryan Coogler who took his first turn at the helm on Fruitvale Station; and the dual visionary team on Lovelace comprised of Oscar(r)-winning director Rob Epstein and Emmy(r)-nominated Jeffrey Friedman, both with documentary backgrounds.

Edwards’ film Lovelace is the story of adult film legend Linda Lovelace, who starred in the 1972 film Deep Throat. The film will hit cinema screens in August. Edwards received an Indie Spirit Award nomination for My Own Private Idaho, and has an eclectic list of credits including Gus Van Sant’s Even Cowgirls Get the Blues, Judd Apatow’s Knocked Up, David Dobkin’s The Change-Up, and the upcoming Delivery Man from director Ken Scott.

Morrison lensed Fruitvale Station, which was the winner of both the Audience Award and Grand Jury Prize at the 2013 Sundance Film Festival. Based on real events, the film follows Oscar Grant on the final day of 2008, and his untimely death New Year’s Day at the hands of a transit police officer in Oakland, Calif. The film will be released by The Weinstein Co. on July 26. Morrison’s credits include Palo Alto, CA; and the upcoming thriller The Harvest, among others. Morrison will receive the Kodak Vision Award at the 2013 Women in Film Crystal + Lucy Awards(r) on June 12.
The panel is free with admission to Cine Gear Expo. Advanced registration for the Expo can be done at www.cinegearexpo.com. The website also includes directions and additional information.

To learn more about Kodak, visit www.kodak.com/go/motion, or follow Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm and Twitter (@Kodak_ShootFilm).

(Participants subject to availability.)

#

About Kodak’s Entertainment Imaging Business
Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm).

Media Contacts:
Sally Christgau / Lisa Muldowney
ignite strategic communications
415.238.2254 / 760.212.4130
sally@ignite.bz / lisa@ignite.bz

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News, Tradeshows / Events |

RAI Uses Riedel Fiber Network for Flexible, Reliable Audio and Video Transport Throughout Giro d’Italia Coverage

WUPPERTAL, Germany — May 30, 2013 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today announced that Italian broadcaster RAI used Riedel MediorNet and RockNet networks to enable real-time distribution of audio, video, and communications signals throughout its coverage of the 2013 Giro d’Italia cycling race May 4-26. During the 96th Giro d’Italia, which began in Naples and concluded 3,405 kilometers later in Brescia, the Riedel gear provided host broadcaster RAI with a flexible fiber network linking the announce booth, finish line, and remote production areas.

Each year, the Giro d’Italia is the first of Europe’s three Grand Tours, with the Tour de France and Vuelta a España following in July and August, respectively. Every day, the tour moves to a new city along the race route. RAI engineers started early in the morning, rigging and testing the fiber network, and then spent the day supporting production of the actual broadcast event. In the evening, they took down the network and moved their OB vans on to the next city to prepare for the next race stage.

During each race day, the RAI team produced coverage from multiple sites situated up to five kilometers from one another. A fully redundant set-up comprising 10 MediorNet Modular frames and five MediorNet Compact frames ensured reliable signal transport between the day’s broadcast booth, finish line, and a separate TV compound in which the RAI OB vans supported production. A Riedel RockNet real-time audio network enabled reliable audio signal transport throughout the TV compound.

The modular design of Riedel’s MediorNet allows frames to be configured and reconfigured quickly according to the demands of the production. Because the Riedel system supports both routing and transport, every signal is available at every node and can be made available via network management software. By using Riedel’s fiber network, RAI not only reduced the volume, weight, and complexity of cabling, but also gained the flexibility to locate its OB vans at remote locations — a common requirement during cycling tour coverage — without risking signal degradation or loss. As a result, the host broadcaster was able to stay confident in the quality of the feeds it produced.

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

# # #

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/RAI_OB.zip

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Location Sound Corp. Relaunches Website For All Pro Audio Needs

Location Sound Corp. Relaunches Website

Established pro audio dealer takes customer service to a new level

North Hollywood, CA (May 30, 2013) - Location Sound Corp., a leading pro audio retailer, continues their commitment to excellence in customer service by re-launching a newly designed, easy-to-navigate website featuring products for professional audio needs, at http://www.locationsound.com.

The mobile and tablet optimized website features

  • a clean and uncluttered look with “predictive search” technology that allows users to get to the page they want quickly and efficiently by typing only the first letters or model number of the item they’re looking for
  • protection by Norton Secured Seal, the most trusted and secure choice for website protection, and Extended Validation (EV), the green address bar in high security browsers that ensures confidential information will be protected from malicious activity
  • an inventory status that is updated 3x per day to reflect the most current stock availability
  • easy and streamlined one-page checkout
  • same-day shipping of in-stock items ordered by 2 pm (PST)
  • free shipping (UPS Ground only) with $50 purchase limit thru July 31. Must use code: FREESHIP. Other limits apply.
  • “Used Gear Wish List” to enable customers to send information on the used gear item they are shopping for. If their desired gear comes into the store, they are immediately contacted about its availability even before it gets posted online.
  • one-click re-order ability for items a customer has ordered before

The redesigned website is another step to improve the customer’s experience. The North Hollywood-based store has been the go-to, one-stop shop for all things pro audio. President & CEO, David Panfili, has lead Location Sound through the growth wave during the rise of reality TV (early to mid 2000), which drove the sales of wireless microphone systems and portable field recorders. The company weathered runaway productions, various strikes, and a difficult recession. The ongoing success is partly based on the company’s sound financial stability that allows it to carry an amazingly deep inventory with hundreds of well-known brands in the pro audio industry such as Lectrosonics, Sound Devices, Shure, Sennheiser, Schoeps, Sanken, PSC, Rycote, and more.

“The professional audio industry is in a constant state of change to meet the demand for better ways to capture sound. When recording gear technology changes, so must our inventory; therefore, you’ll always have access to the latest and widest selection of audio gear at LSC,” says Panfili.

By providing outstanding customer service, Location Sound Corp. has earned the trust of film sound mixers and production companies, law enforcement and private security firms, houses of worship, government entities, radio stations, event organizers, broadcast companies, and for anyone who needs professional recording equipment to capture audio. Location Sound Corp.’s 24/7/365 Emergency Phone Support has the fastest response time in the industry. The staff in sales, rental and service, is highly experienced, and the fact that Location Sound Corp. is employee-owned ensures the full and ongoing commitment of each employee.

Angelica Dewlow, Location Sound’s Marketing Director, says:

“As employee-owners, we each have a personal stake in ensuring the success of our company. The average years of service by our sales, rental, and service employee is more than 14 years, quite a few of them having actual field experience. Not only do they know what gear you need (or don’t need), they also know how to troubleshoot. Experience also allows them to advise you on more efficient ways to capture sound.”

Location Sound Corp. is a gem in the industry, a company that truly values its customers and continuously strives to improve their experience – proven again at the new www.locationsound.com.

About Location Sound Corporation
Location Sound opened its doors in January of 1977 with a mission to be the one-stop facility for production sound mixers for all their sales, rental, and equipment service needs. More than 36 years later, the client roster now also includes production companies, broadcast companies, law enforcement and private security firms, universities, houses of worship, government agencies, and more. Location Sound is known for its excellent customer service and unparalleled depth of inventory: No matter the industry, Location Sound will get anyone the sound equipment for their critical sound recording needs, while providing unmatched support services before and after the sale.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

VMP Talks Building Information Modeling (BIM) at 2013 InfoComm

STEVENSVILLE, Md., May 30, 2013 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the commercial, residential, security, and pro audio/video markets, is proud to announce that they have teamed with Autodesk to provide Building Information Modeling (BIM) content for many of its most popular products. VMP will feature its BIM program at InfoComm 2013, held in Orlando, Fla. from June 12-14 at the Orange County Convention Center, booth 5052.

“BIM technology and acceptance has grown significantly over the past several years,” says Keith Fulmer, President of Video Mount Products. “The addition of BIM content to the AutoDesk Seek repository is not just another tool in the toolbox, but a viable solution supporting the architectural, engineering, contracting, and integration communities in the commercial, residential, security, and pro audio/video markets.”

In addition to being hosted on AutoDesk Seek, the content will also be available for download through InfoComm iQ as well as from the videomount.com website. More than 30 BIM models are currently available for VMP products, including models for flat panel mounts, equipment racks, projector mounts, and non-penetrating roof mounts.

Traditional building design has been largely reliant upon two-dimensional drawings (i.e. plans, elevations, etc.) whereas Building Information Modeling extends this beyond 3D to a virtual “5D” platform by enhancing the three primary spatial dimensions (width, height, and depth) with time as the fourth dimension and cost as the fifth, making the use of BIM a crucial factor for design, implementation, and sustainability with equal importance placed upon manpower and profitability.

“BIM allows all the necessary elements to be integrated into a project during its initial planning stages and flow through to proposed future development, before a hammer or nail are ever used in the project,” Fulmer continued. “By utilizing VMP’s BIM models, all the knowledge necessary to make for a successful end-result via the sharing of electronic data between all parties is at the users’ fingertips. This results in more efficient and cost-effective planning and preemptive problem solving in real-time ‘5D’.”

For more information or to access VMP’s BIM models, visit AutoDesk Seek, InfoComm iQ, the Video Mount Products website, www.videomount.com, or call 877-281-2169.

If you need help choosing the right mount for your application, try the Video Mount Finder at www.chooseamount.com.

About Video Mount Products
Born in 1994, Video Mount Products (VMP) is a leading provider of mounting solutions for the A/V, communication and security industries. VMP products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to grow by adding mounting systems to address the increasing abundance of flat panel technology, both LCD and Plasma, as well as other growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of the business.

# # #

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Tightrope Media Systems Optimizes Video Streaming for Digital Signage Via Interoperability With VSI Encoders

Tightrope Media Systems’ Carousel(R) Digital Signage Platform Now Supports Visionary Solutions’ AVN Encoders, Guaranteeing Superior HD Video Quality more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Corporate AV, Digital Signage, News |

Rock & Roll’s Top Artists & Icons Get Amped With Firehouse & DiGiCo

The Rock and Roll Hall of Fame Ceremony returned to the West Coast for the first time in 20 years this April, to induct a new class of musicians and industry icons in a nearly 5-hour evening of music and merriment at Los Angeles’ Nokia Theatre. The class of 2013—Public Enemy, Rush, Heart, Randy Newman, Donna Summer, Albert King, Quincy Jones and Lou Adler—were honored by a who’s who of music past and present. For the 13th year, Firehouse Productions handled the audio portion of the show, with Mark Dittmar spearheading the onsite crew comprised of Production Mixer Barry Warrick, Music Mixer Ron Reaves (on a DiGiCo SD7) and Mike Parker handling monitors (SD7).

The show has grown exponentially over the years into what Dittmar calls ‘fast and stupid.’ “And I don’t mean that in a derogatory way,” he laughs. “It’s just that this is the sort of show that keeps growing and giving and growing and giving, and they will never get smaller. There’s so much more desire for content, and there’s a lot more figuring it out on-site. Ten years ago you would spend a huge amount of prep time. Now you fly in and the producer’s like, “Oh, I just added a band.’ Last year they added Green Day, literally two days before the show and we’d already loaded in. We don’t get to say, ‘I’m sorry you didn’t tell us that three weeks ago, we can’t do it.’ You say, ‘OK, we have an hour to set them up.’ You look at what we do routinely now, and if you had asked us to do it 10 years ago, we would have freaked out. We simply didn’t have the tools or the technology to accomplish it. Two years ago we outgrew our Yamaha PM1Ds at FOH and in monitor world because the show kept adding inputs to the point that our only choice in inventory were the DiGiCo SD7s, and it was a logical move for doing these shows. The pace has become very, very fast and we have a great team and great tools in place now that can get the job done easily.”

The show’s drive system is all on fiber optics now with the SD7s and a trio of SD racks networked via Optocore. “Everything is digital, front to back,” Dittmar adds. “The signal path from the input of the SD7 into the amplifier is digital the entire way. You couldn’t easily accomplish that 10 years ago; we would’ve run out of horsepower with the consoles. Several yeas ago, we thought that we’d probably never fill a 96-input desk, and then we filled a 96-input desk… and more. Now that these things can do hundreds of inputs, the question is, ‘how much can a guy like Ron mix?’ You know, where does your brain give out and say, ‘I can’t find the fifteenth snare drum?!’ We’re doing things very powerful and very fast now, and a key component is the SD7, which allows us to do these shows. The SD7 is powerful and you can put a lot of inputs and outputs into it. Once you’re into an SD7, you no longer need to think about the layout. We just go very, very large with the splits, we give the mixers everything instead of having to repatch in the middle of the show. Parker and Ron don’t have to have a conversation about what they want to see where. We simply send everything to everyone and it’s very easy for them to deal with.”

“The challenge for me on a show like this, where I have a house band and artists walking on and off—as compared to one that’s a bit more ordered like the Grammys, where you have 20 separate bands and 20 different snapshots—is that you have to be a bit more flexible here because it’s all going to change… sometimes multiple times. This is an outstanding band, with some of the top session players, who’ve played on tons of hit records: drummers Steve Ferrone and Jim Keltner, bassist Will Lee, guitarists Waddy Wachtel and Ray Parker Junior, Greg Phillinganes on keys under the direction of Paul Shaffer… it sounds amazing! But for example, on day one of rehearsals, we were on version 10 of our input list. And it changed even more before we took the stage.”

“I’m using my basic Grammy template file because it’s a good starting point for music,” Reaves continues, “and I can just switch the inputs around from there. I’m landing about 112 inputs for the music performance. I do a lot of pre-dialing and I use a lot of presets on this desk, which enables us to go very fast, which is very important for doing TV. And as long as I have plenty of faders, I’m good. And that’s the beauty of the SD7. I can make it as big as I need it to be and can have 256 faders if I need them. I can put everything in the entire show in the console and have it there all night long. And no matter what anyone calls for at the last minute, it’s there. That’s why this is the perfect tool for jobs like this. You can build yourself a giant console so to speak, in terms of layers, and have everything right at your fingertips. These shows keep getting bigger and bigger because we keep pulling it off, but it would never have fitted on the consoles we were using previously. This is the perfect example of how the hardware helped fix the problem.”

At monitor world, it was only Mike Parker’s second time on an SD7, although he’d mixed numerous times on SD10 for events ranging from the Grammys to the Video Music Awards. He found the console’s updated software features exceptionally powerful in managing approximately 130 inputs and 84 outputs for the show.

“The DiGiCo platform is so versatile you can layout any show they throw at you and it can handle it,” he offers. “Not only does it sound good, but it’s probably the most advanced live mixing console in use today. I love the functionality and how you can route things… its quick, easy and very helpful. It enables me to sketch out the console in rehearsals and start dialing up the EQ.

“Monitors are in a critical place for shows like this,” Parker adds. “If the artist is happy with their monitors, chances are you’re gonna get a better performance. But it requires everyone: that means the house mix is good, the crowd reacts and the artist reacts off the crowd… it’s a loop. It creates a great energy that is not seen, but felt. When the monitors and house couple together it’s called a ‘lock’—when everything locks together. I’ve witnessed it several times and it’s magic.”

“This is one of my favorite shows,” Dittmar muses. “I’ve been doing this show longer than anything else in my career and it’s a night of amazing talent. The house band is incredible and you’re getting to hear your favorite bands growing up. Go on YouTube and watch Prince doing “While My Guitar Gently Weeps” from the ceremony several years ago… everyone’s jaw was just on the floor, including Eric Clapton’s!

“When we do large shows like this, I like having the cool tools like the DiGiCos. I like pushing the technological barriers and having the slick setup. But we also like when they work and the SD7s have been flawless for us. We also had a pair of them on the Tony Awards and not only do you have an immensely powerful platform, but you also have the reliability and that makes them very viable. They’re certainly the most popular desk right now, too!”

Pictured LtoR: Production Mixer Barry Warrick, FOH Tech Michael Bove, Music Mixer Ron Reaves and Production manager Mark Dittmar.

About

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.

Calendar

May 2013
M T W T F S S
« Apr   Jun »
 12345
6789101112
13141516171819
20212223242526
2728293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication