A virtual press conference from Sound & Video Contractor

Archive for July, 2013

Sennheiser Brings Exclusive Listening Experience to the Newport Folk Festival® with Live Recording Sessions at ‘Sennheiser Sound Lounge at the Paste Ruins’

Newport, RI – July 22, 2013 – Audio specialist Sennheiser will be a major supporter of The Newport Folk Festival® for the second year in a row, partnering with Paste Magazine to host live recording sessions with today’s most authentic and trailblazing music artists. Between Friday, July 26th and Sunday, July 28th, the Sennheiser Sound Lounge at the Paste Ruins will be in full swing, capturing live recordings sessions by dozens of creative and prolific musicians.

Last year, the ruins proved to be an enormous draw at the festival, as fans listened to intimate recording sets by artists such as Of Monsters and Men, Blitzen Trapper, Deer Tick, Rodriguez and many others, using Sennheiser’s premium wireless headphone technology. The performances, which occured inside a centuries-old grotto within the fortress that graces the Fort Adams State Park, were captured using Sennheiser and Neumann microphones and broadcast to each fan using Sennheiser’s industry renowned RF technology.

This year, in addition to the Sennheiser Sound Lounge at the Paste Ruins, Sennheiser will also provide its wireless headphone technology at the Museum Stage, one of Newport’s more intimate venues. Those waiting outside the small-capacity venue will still be able to listen to intimate artist performances by wearing Sennheiser wireless headphones.

Newport and Sennheiser: Carrying on a Spirit of Heritage and Innovation

The Newport Folk Festival® is utterly unique in its legacy among American music festivals. It is where Bob Dylan changed the course of rock ‘n’ roll when he plugged in and ‘went electric’ on July 25, 1965, and is where Johnny Cash introduced Kris Kristofferson to the world stage. It is also where The Pixies — creators of the blueprint for alternative rock — went acoustic in 2005. Today’s Newport Folk Festival® is more relevant to music fans than ever. In the last four years alone, the average age of attending fans has dropped by 8.5 years among its nearly 30,000 annual attendees, and this year’s festival sold out in just five days.

“It is not difficult to draw parallels between Sennheiser and The Newport Folk Festival®,” commented Stefanie Reichert strategic marketing communication, Sennheiser. “These are two brands that have been around for decades, yet both remain at the top of their games and find themselves at the pinnacle of reinvention. Sennheiser has stayed true to its rich heritage in audio technology without becoming distracted by short-term fashion trends, while Newport continues to reinvent itself for legions of incoming generations of music fans.”

With musical content and back to back recording sessions curated by Paste Magazine, Sennheiser will once again post entire artist performances on the Sennheiser website for fans to watch in the days and weeks following the festival.

“Newport has always followed its own path and carved its own identity,” commented Jay Sweet, producer of The Newport Folk Festival®. “We have an extremely loyal fanbase of tastemakers who crave both authenticity and ‘off-the-beaten-path’ cultural experiences. At today’s festival, it would not be unusual to see My Morning Jacket’s Jim James woodshedding with John Prine, Andrew Bird sitting in for an impromptu set with Emmylou Harris, or even Beck rubbing shoulders with Ramblin’ Jack Elliott. It is a place where the new and old become reacquainted and reinvented for the incoming generations.”

Both Newport and Sennheiser cater to a growing audience of consumers who seek substance and authenticity. Indeed, Sennheiser has chosen The Newport Folk Festival® as the location to launch one of its highly anticipated new consumer products, introducing premium sound quality to many thousands of music fans.

About Sennheiser

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

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Sound Devices Demonstrates 788T with Latest Firmware and Production Capabilities at SMPTE Australia 2013

SYDNEY, JULY 22, 2013 — Sound Devices, specialists in portable audio and video products for field production, will be on-site at The Society of Motion Picture and Television Engineers biennial conference and exhibition, SMPTE13, demonstrating its latest solutions for content creators in the motion-imaging, sound and broadcast industries (John Barry Sales, Stand C29). The company will exhibit its flagship 788T and 788T-SSD digital audio recorders with the latest firmware update, Version 3.0.

With the influx of multi-tracking in the field and on set, the 788T has become the next-generation digital audio recorder for advanced sound mixers who require additional isolated tracks. It boasts eight full-featured inputs and records to up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in a compact package. Routing flexibility allows each input to be routed to left/right mixed tracks, isolated tracks or aux tracks.

Further positioning the 788T as one of the foremost solutions for today’s evolving production standards, Version 3.0 is a free download for all existing and new 788T users offering a 192-kHz sampling rate for up to four tracks (L through B) recording to one drive. It provides for scene, take, notes, false takes, circle and track name metadata to be synched between C-Linked 788Ts. Version 3 firmware also features digital input limiters for AES3 and AES42 inputs, perfect for digital microphones. Additional enhancements include a left/right tone identification mode with a shortcut to toggle the mode on or off, added user-customizable CL-9 encoder adjustments, which affect trim gain and EQ frequency, and the option to decode MS into LR MIX only and leave ISO tracks as un-decoded MS.

In addition, Version 3.0 offers a new timecode mode, “Free Run – Auto Output Mute.” This is the same as the “Free” run mode, but mutes the “Lemo” timecode output when stopped and can be used to roll external devices when the “Rec-Run” timecode is not suitable. In addition to overall faster drive formatting, the latest firmware features an upgraded external low-voltage threshold, now 11.3V, along with various overall system improvements and optimizations.

“SMPTE is a leading technical society for the industry and we look forward to attending the conference once again this year,” says Ed Capp, Global Director of Sales for Sound Devices. “We believe attendees will be pleased to learn more about the new upgrades to the 788T and how the product can continue to be a mainstay in their production rigs, especially as audio production techniques continue to evolve.”

788T/788T-SSD users can download Version 3.0, by visiting: http://www.sounddevices.com/download/788t-firmware/download/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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AES Holds 50th International Conference with Focus on Audio Education

— The Audio Engineering Society’s first conference dedicated specifically to audio education will focus on teaching methods, instructional resources, learning outcomes, technical operations, industry relations, and related topics impacting all aspects of professional audio education —

— Event will be held July 25-27, 2013, at Middle Tennessee State University in Murfreesboro, Tennessee —

New York, NY, July 18, 2013 — The Audio Engineering Society (AES) is holding its 50th International Conference, dedicated specifically to audio education, July 25-27, 2013, at Middle Tennessee State University (MTSU) in Murfreesboro, Tennessee. The three-day conference will focus on teaching methods, instructional resources, learning outcomes, technical operations, industry relations and related topics that impact the theoretical and practical aspects of professional audio education. The conference will bring together leading educators and professional audio industry representatives to exchange ideas and knowledge that will contribute to improving quality and effectiveness for students and faculty alike. The event will also for the first time include a significant focus on live sound as a component of a pro audio education curriculum, a fact underscored by the event’s keynote address delivered by Bob McCarthy, Director of System Optimization at Meyer Sound.

In recent decades, audio education has expanded significantly worldwide, with many colleges and universities, career institutes, high schools and manufacturers now offering a wide range of courses and training in professional audio. There are practical questions that administrators and faculty face managing audio as a discipline within educational institutions. For example, what skill sets should students develop and what career options can they pursue? What are the practical and financial implications of acquiring, installing and maintaining necessary equipment and infrastructure? How does the popularity of distance learning affect audio education? What role can audio education play in local artistic and economic initiatives and community development?

More than 120 educators and industry representatives from around the world will address these and other questions through a focused series of presentations, papers, workshops, case studies and discussions. The conference results will include a collection of over 30 formal papers, historical documents, survey instruments and potential recommendations for educational resource management and development. In addition, eight workshops and tutorials will focus on topics including pedagogy, curriculum design and instructional resources; internships, employment and career counseling; partnerships with industry and professional organizations, learning outcomes and academic standards, accreditation and program administration. Full program details are posted here.

“AES members who are in academia and industry share a similar passion for strengthening the range and quality of educational resources associated with audio engineering,” states Bill Crabtree, Conference Co-Chair and Associate Professor in the Department of Recording Industry at MTSU. “We expect that this conference will have a lasting and positive effect on pro audio education programs at all types of schools going forward.”

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TNDV Provides Broadcast Audio and Video Support for Toby Keith’s Oklahoma Twister Relief Concert

First gig for TNDV’s new audio truck Vibration is to mix and record country music festival for High Five Entertainment

NASHVILLE, July 22, 2013TNDV, a Nashville-based mobile television production company, provided broadcast audio mixing and recording, as well as video gear and expertise, to High Five Entertainment for its HD production of country music Superstar Toby Keith’s Oklahoma Twister Relief Concert.

The all-day festival—held July 6 at the University of Oklahoma’s Gaylord Family-Oklahoma Memorial Stadium in Norman, OK—featured non-stop performances by a stellar lineup that included Toby Keith, Garth Brooks, Trisha Yearwood, Willie Nelson, Carrie Underwood, Sammy Hager, Ronnie Dunn and Mel Tillis.

At the request of long-time client High Five Entertainment, an Emmy Award-winning video production company in Nashville, TNDV provided its new audio truck Vibration for audio multi-tracking and music mixing, along with technical management expertise. TNDV donated its talent, time, and equipment to the cause of helping victims of the May 2013 tornadoes that struck the Moore, Oklahoma area.

“It was an honor and pleasure to be associated with this momentous benefit concert,” said Nic Dugger, TNDV’s owner. “This was also the first project of significance for Vibration and it performed exceptionally well under very demanding circumstances. Since the eight-hour concert came together in a relatively short time, our crew had to make swift creative and technical decisions and respond on-the-fly as the fast-paced production unfolded.”

The TNDV crew included Nic Dugger, who served as on-site technical manager; Adam Ellis, TNDV engineer-in-charge of Vibration; and Mills Logan, a freelance audio mixer and recording engineer who has worked closely with Toby Keith on all his records and two movie soundtracks since 2005. The crew devoted four days, including set-up and show days, to support their High Five Entertainment clients. Representing High Five on-site were Executive Producers Edie Lynn Hoback and Martin Fischer; and Production Coordinators Ashlee Locke and Catherine Melvin.

High Five Entertainment captured the performances and excitement of the day—culminating in a spectacular fireworks display—in HD video and surround sound for post-production. Considered one of the largest music concerts in Oklahoma history, High Five documented the event in anticipation of a network TV special and/or DVD distribution deal, to be determined.

Good Vibrations
Designed for audio mixing and recording of broadcast television and digital film productions, Vibration is a 53-foot semi-trailer that houses a Studer Vista 9 digital audio suite, machine room, and comfortable client lounge with custom furnishings and hardwood floors.

While the truck can handle over 256 inputs simultaneously, the concert required mixing 128 inputs delivered via single fiber cable that ran over 1000 feet from stage to truck. Using the video production’s video and timecode reference, audio signals were recorded onto Vibration’s ProTools recorders, with back-up recordings on four Joeco MADI recorders. TNDV’s Ellis and Logan also positioned 10 Audio Technica mics around the stadium—including six shotguns directed towards the upper decks and four condenser mics at the front of the stage—to pick up ambient/crowd sounds to add greater dimension to the audio mix.

While mixing all the sound sources on the Vista 9 console, Mills Logan watched the 1080i HD video program mix—produced by the University of Oklahoma’s in-house production center using 13 manned HD cameras—as well as ProTools Mix Window displays on the truck’s four large Samsung multiviewers. “The Studer Vista 9 console with ProTools recorders was a flawless combination,” said Logan, whose first hands-on experience with the console and truck was on set-up day.

“There was no time to do sound checks and there were only 20 minute breaks between performances. But the audio mixing and recording went very smoothly because the console was very intuitive, with lots of ergonomic, timesaving features, like the ability to pre-configure the board and instantly reset or recall memorized settings,” said Logan. Despite the enormity of the task, Logan said the console was a joy to work on and sounded fantastic.

According to Adam Ellis, who played a significant role in building the truck, “Vibration was designed to put freelancers at ease, even if they’ve never worked on a Studer Vista 9 before,” Ellis said. “Having a simple, streamlined workflow is everything, especially during a live event. The faster audio mixers get acclimated to the workflow, the sooner they can focus on being creative. And that’s what really matters.”

ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of many years of broadcast and live production for Nic Dugger, owner and president; and his staff of full time engineers. TNDV produces events from small single-camera productions all the way up to multi-million dollar international TV events, and takes pride in building custom solutions for challenging productions of any size, in any situation. Recent productions include the live concert productions at the NCAA Final Four, the 2013 Re/Max Long Drive Challenge on ESPN, and the inaugural season of Sing for Your Supper on PBS. Please call 615-585-6528 or visit www.tndv.com for more information.

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Circle Technology Helps Horenstein Law Group Deliver On Their Promise To Offer ‘Enhanced Communication’ To Clients

The team at Horenstein Law Group PLLC understands the importance of a productive meeting better than anyone. The Vancouver-based firm, which represents clients in real estate, business and government affairs, knows that every minute spent with a client is valuable, so when they started using Circle Technology’s portable, wireless, Internet-free presentation system solution in their conference room and off-site meetings, they soon realized that the technology provides them with a groundbreaking way to increase efficiency in client meetings.

“Time is money,” said Steve Horenstein, Managing Member at Horenstein Law Group. “When clients come to our office, we’re reviewing multiple documents while taking copious notes, and it’s crucial that important information doesn’t get lost in the process. With the Circle Technology system, we’re able to ensure that there is complete collaboration between the client and us. The system eliminates errors that might occur due to forgetfulness, and allows us to work with the client in real-time, with everyone looking at the same information all at once.”

Horenstein Law Group currently uses a deluxe Circle Technology system configuration that features, Circle Host Software, four Custom Circle Displays and Circle Display Stands, and a Circle Carrying Case, which allows the team at Horenstein Law Group to keep their displays charged at all times and provides easy transport to off-site meetings.

“We represent a number of businesses that often conduct shareholder meetings, and when you have a group of people gathered in a conference room, it’s imperative to make sure that everyone is able to follow the presentation at the same time,” added Mellissa Middleton, Paralegal at Horenstein Law Group. “The Circle Technology system allows us to do just that. One of the fundamentals at our firm is the idea of ‘enhanced communication,’ where we are connected to our clients in a way that conserves time and increases communication. Circle Technology’s system allows us to minimize the use of paper and maximize efficiency, and it has had a profoundly positive effect on our day-to-day client meetings.”

Circle Technology’s portable presentation system offers an on-the-go solution that allows a presenter to screen share any presentation or content, via the Circle Host Software, from their PC directly to the Circle Displays in the hands of their audience. The crystal clear 1280×800 HD resolution Circle Displays allow presentations to be put directly into the hands of the audience, without bulky, printed presentations or the seemingly endless distractions that could be found on their own devices. The Circle Host Software is compatible with Windows® 7 and 8, making it possible for the software to be downloaded to any PC that uses Microsoft OS.

What’s more, the Circle Host Software makes it possible to present without any connection to the Internet, thus eliminating any worries about faulty connections. The software also allows for up to 10 Circle Displays to be connected at once, giving presenters the opportunity to put their presentation into the hands of multiple people at the same time. The software works on a self-contained, encrypted WPA2 password protected network, powered by the standard wireless capabilities embedded in today’s PC’s, allowing for a secure and private connection between the presenter’s PC and the audience’s Circle Displays. The network can be adjusted on the go without the hassle of having to generate and distribute new passwords and user names, making the task as easy as possible for the presenter. Real-time sharing and collaboration is an integral element of all presentations, and the Circle Host Software allows the presenter to control the flow of their presentation.

Horenstein summarizes the firm’s experience with their Circle Technology system as, “Circle Technology provides the perfect personal presentation system for our conference room and for meetings at our clients’ sites. Having a high-tech presentation system for any meeting, regardless of location, has proved to be an invaluable professional tool.”

Circle Technology’s presentation system packages are available in a number of configurations all designed to meet a variety of presentation needs. For information on the best Circle Technology system package for your company’s needs, and to order Circle Technology’s presentation system, please call Stampede Presentation Products Inc., at 1-800-398-5652.

About Circle Technology
Circle Technology is a pioneering Vancouver, Washington-based company with a family of presentation system solutions. Our products allow you to present without the Internet, anywhere at any time. We bring a complete system to the presentation, providing the highest quality screen resolution from our Circle Displays. Our Circle Host Software allows you to screen share anything from your computer to the Circle Displays, giving you the opportunity to present anything that is viewable from your desktop. With Circle Technology, you can rely on one single solution, instead of a multitude of technologies having to somehow work together, just a simple click and you begin. For more information about Circle Technology, log onto www.TheCircleTech.com.

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HARMAN’s New Crown DriveCore™ Install Series Amplifiers Debut In Denmark’s First Dolby Atmos™ Movie Theater

STRUER, Denmark — The Cinema Apollon in the Danish town of Struer has long been associated with offering moviegoers the latest and best in cinema technology. In 2013 the Cinema Apollon continues its commitment to the cutting edge with the installation of the first Dolby Atmos surround-sound system, powered by the first of HARMAN’s Crown DriveCore Install (DCi) Series amplifiers in Denmark.

Dolby Atmos is a new surround-sound technology that employs overhead loudspeakers as well as traditional surround speakers to create a remarkably realistic and enveloping sonic environment. Dolby Atmos employs up to 64 loudspeakers to heighten the realism and impact of movie theater sound. The Cinema Apollon is the first to feature the CP850 Dolby Atmos Cinema Processor in one of its theaters.

Danish HARMAN Professional distributor LydRommet Denmark worked hand in hand with Danish theater design firm AVC Kino Digital and Dolby technical staff in London in designing and specifying the system for the 180-seat Dolby Atmos theater. The system had to meet specific Dolby Atmos criteria, including maximum SPL levels for every speaker in the installation. LydRommet Denmark supplied the Crown DCi analog amplifiers and JBL loudspeakers and subwoofers.

The Crown DCi analog amplifiers in the Cinema Apollon include DCi models 8|300, 4|600 and 4|300. The amplifiers power an extensive complement of JBL loudspeakers including JBL ScreenArray® 3732 main speakers and 4642A subwoofers, 42 model 8350 cinema surround speakers and two JBL 4645C subwoofers that provide additional low-frequency reinforcement at the rear of the theater.

The Crown DCi analog amps were specified for their ability to deliver clean, powerful sound from a compact design only 2U rack spaces high, noted Flemming Bjerke of LydRommet. “The Dolby Atmos specification requires 105dB peak SPL at the reference point in the theater, and one of the biggest challenges we had with the system was achieving this spec with enough headroom,” said Bjerke. “DCi is such a high-quality amplifier range that it is a perfect match for Dolby Atmos.”

Bjerke emphasized how exciting it was to work with the experts from AVC and Dolby in creating the first Dolby Atmos system in Denmark, stating, “listening to the final result is a real joy and the Dolby Atmos technology and concept definitely take the experience of going to movie theaters to a much higher level.”

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.

Harris Broadcast Digital Signage Technology Expands ClearVision TV Network to Four Airports

InfoCaster™ solution drives broadcast experience with local advertising content in airport terminals

DENVER, July 22, 2013ClearVision, the in-airport TV network developed by Clear Channel Airports, a division of Clear Channel Outdoor Holdings, Inc. (NYSE:CCO), and connectiVISION Digital Networks, is using Harris Broadcast digital signage technology to deliver an out-of-home broadcast experience to travelers in four airports. Powered by Harris Broadcast InfoCaster™ hardware and software, ClearVision delivers an engaging mix of network entertainment, in-house produced content, regional news and local advertising on uniquely branded channels for each airport.

connectiVISION gathers content from major broadcast and cable networks, produces supplementary media and graphics, and builds dayparting strategies for each channel based on 18-hour broadcast days. Those dayparting strategies incorporate advertising purchased by local businesses, which InfoCaster generates as interstitials, lower thirds and banners.

David Tetreault, chief operating officer at ClearVision/connectiVISION, notes that InfoCaster was the only solution of its kind that could handle the very specific program rotations and targeted content delivery ClearVision needs, along with the network-based scalability to support growth into more airports.

“We are broadcasters in the Away-From-Home arena and wanted to operate a program day that was scheduled hour by hour, minute by minute,” said Tetreault. “We run a program log that is dynamic and always changing. InfoCaster was the only system we evaluated that gave us the ability to plug in 12 minutes of advertising, three minutes of local branding per airport, and 45 minutes of entertainment content on an hourly basis for 18 hours each broadcast day. We can program many unique channels just as a TV station or cable company operates.”

To date, the company has launched broadcast services at major airports in Raleigh, Dallas, New Orleans, and soon Cleveland, with future major market launches in the works. Systems integration firm Keycode Media handles all airport installations, including InfoCaster media players, supporting infrastructure and screens in all terminals. Keycode Media also built ClearVision’s Burbank, California-based network operations center where all content is prepared, scheduled and distributed.

“ClearVision TV is quickly becoming a disruptive force in airport multimedia,” said Toby Sturek, executive vice president, specialty businesses, Clear Channel Outdoor. “Clear Channel Airport’s bold reinvention of the air travel experience through ClearVision is enabling local, regional and national brands to connect with, and entertain, millions of travelers annually in an even more meaningful way.”

Mike Cavanagh, president of Keycode Media, adds that InfoCaster allows ClearVision to clearly differentiate its services from other airport TV networks by creating and distributing unique content that is specific to each airport — as well as track any and all advertising placements across the entire network. “You can imagine how complex it is to track ad placements across multiple airports, all with their own unique broadcast channels,” said Cavanagh. “The InfoCaster software allows ClearVision to do it seamlessly and efficiently while creating an extremely attractive return on investment.”

Cavanagh adds that while airports will share network entertainment and some general content, the InfoCaster Network Manager tool makes it “easy to drag and drop the unique commercials and content for each city.”

Henry Mauriss, chief executive officer at ConnectiVISION, stated he expects the InfoCaster software will bring additional business benefits to the forefront of the operation, providing advertisers with proof of performance and opening last-minute windows into avails for up-to-the-minute ad scheduling. This strategy hammers home the point that ClearVision is a broadcast operation. InfoCaster is in fact part of a large Harris Broadcast family of graphics and channel branding products used by top network broadcasters.

“We looked at several players and chose Harris Broadcast because of its broadcast roots, and the ability of InfoCaster to provide more than the simple looping of content,” said Mauriss. “Between InfoCaster and our fully equipped studio, we have the tools to deliver the right mix of content designed for the way people consume media on the go. We are working to inform, entertain and educate viewers in the airports and beyond.”

About ClearVISION
ClearVISION is a transformative away-from-home television broadcaster delivering a top-tier entertainment, news and sport programming mix to airports throughout the U.S. ClearVISION is a partnership between Clear Channel Airports and ConnectiVISION Digital Networks and is headquartered in Burbank, CA. The company’s television content strategy provides Fortune 500 brands and advertisers with optimal engagement and consumer interaction. Visit www.clearvisiondigitalnetworks.com to learn more.

About Clear Channel Airports
Dedicated to airport advertising for more than 37 years, Clear Channel Airports is the premier innovator of contemporary display concepts. The Company, a division of Clear Channel Outdoor Holdings, Inc. (NYSE:CCO), one of the world’s largest outdoor advertising companies, currently operates more than 275 airport programs across the globe and has a presence in 32 of the top 50 U.S. markets with major airports. More information can be found on Clear Channel Airports and Clear Channel Outdoor by visiting www.clearchannelairports.com and www.clearchanneloutdoor.com.

About Harris Broadcast

Harris Broadcast is an industry leader in delivering the most advanced, content-rich media experiences available for a wide spectrum of radio, television and private media networks around the globe. With more than 25 leading brands including Versio™, Selenio™ and Maxiva™, the company enables media organizations to tap into one of the broadest, integrated product and solution portfolios in the industry. Headquartered in Denver, Colorado, the company is widely recognized for its product quality and reliability, engineering excellence and customer service, and has earned nearly 100 technological firsts and more than 50 awards for technical innovation. For more information, please visit harrisbroadcast.com.
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FiberPlex Mixing it Up at Montreal Jazz Festival

Here’s a new mix on things. It starts with a young phenom whose eclectic jazz sound ranges from big band and symphony to pop. And, it involves a FiberPlex fiber optic system and a FOH engineer who likes to travel light, on tour with aforementioned artist and her band.

Last stop: Montreal Jazz Festival July 4 – 6, where Nikki Yanofsky, the young phenom jazz-pop singer now being promoted by Quincy Jones himself, performed with Richard Forte of Forte Sound, Montreal, doing FOH mixing.

While on tour with Nikki, Forte has solved some of those live sound issues that seem to go along with the extreme jazz genre. He’s been able to do so with little more than a 32×16 Yamaha LS9, and he is still able to get the big sounds that come out of artists like Yanofsky, who started out “channeling” Ella Fitzgerald and is now coming onto her own with some fresh, eclectic sounds ranging from symphony and big band to pop. “I’ve covered so much ground with this artist in terms of musical style and challenges for live sound, and I’ve learned a lot in the process,” says Forte.

So how does he mix all those channels of sound coming from young Nikki’s band and still travel light? In a word: fiber. Richard Forte just began using LightViper, FiberPlex’

Richard Forte of Forte Sound is mixing it up with a FiberPlex fiber optic 'snake' during Montreal Jazz Festival.

fiber optic transport system including head end mic preamp/line level unit, lighting multiplexer, MIDI interface, fiber optic connector, and Ethernet-to-fiber converter. This allows him to skip the heavy copper snake and associated manpower and run an insanely large, capable system between FOH and stage through one fiber optic cable that in addition to carrying the audio, also carries the four universes of DMX lighting control for Nikki’s show. No more having to ratchet up the input gain on the board to get a decent SN that will overcome the noise picked up by copper along the way. He can get all 32 channels across and then some with no noise whatsoever. When he runs out of board, he uses the digital cards in the desk to expand the console by an additional 32 EtherSound preamps and 16 channels of AVIOM A16 to handle all of the nine-piece band’s monitoring needs with no noise issues, no compatibility issues and all on a single quad core fiber optic cable.

That’s a decent mix of audio and performance.

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Get HD Sound For HD Pictures with DPA Microphones at IBC 2013

Broadcasters attending IBC 2013 will only need to stop at DPA Microphones’ stand D76 in Hall 8 to cover all HD broadcast microphone applications, from the single interview to the complete TV show.

Since its beginning in 1992, DPA Microphones has been developing microphones that deliver HD sound from the deepest sounds to the highest peaks, covering the whole dynamic range, delivering perfect, linear HD sound.

Christian Poulsen, CEO of DPA Microphones, says: “People spend a lot of time in front of their TV and enjoying this experience depends on the picture they see and the sound they hear. This is where DPA microphones make the difference. A poor sound, even with a good picture, is not accepted. Our goal is to make it as easy as possible for the sound engineer to work with DPA microphones. This means that they are extremely linear and need very little or no EQ’ing. DPA is the only company on the market that delivers the same sound pattern, whether you work with a miniature microphone or a larger d:dicate™ microphone. The microphones simply blend perfectly and give a fantastic sound experience – for the sound engineer and the audience.”

Broadcast applications cover many situations and different miking possibilities depending on requirements, taste and specifications. In the broadcast studio the TV host is close miked with a DPA lavalier miniature mic mounted on the chest, or perhaps the elegant d:dicate™ mic on a goose neck mounted on the desktop. The journalist (the VJ) who interviews people in the field needs lightweight equipment because he has to record both the video and the sound at the same time. He would be miked with a DPA miniature or headset mic, while recording the interview with a d:facto mic. In a full blown TV talent show, the TV host wears a d:fine™ Headset Microphone, the singer sings into a d:facto™ Vocal Microphone, the band is reinforced with d:vote™ 4099 Instrument Microphones and d:dicate Recording microphones and the whole ambience is captured with the 5100 Mobile Surround microphones. And the list of combinations goes on and on.

“We believe we deliver the best sounding microphones to the broadcast industry and you can challenge us on that,” Christian Poulsen adds. “The audience deserves the best and we want to be the first choice when it comes to the best sounding microphones. The hallmarks of DPA’s ingenious engineering techniques ensure that every DPA microphone delivers clear, transparent and precise sound, along with the robustness and versatility.”

Beside DPA’s unique miniature based microphones, broadcasters will be particularly interested in the new d:dicate™ 4017C Shotgun microphone, a shorter version of the popular d:dicate 4017B Shotgun microphone. Thanks to the modularity of this new d:dicate range, DPA has been able to team the much loved 4017 shotgun capsule with its compact C preamp to create a microphone that is ideal for boom recording in tight spaces and rooms where ceiling height is limited. Offering the same functionality as the 4017B-R, which is the shotgun microphone in a Rycote Windshield, the 4017C-R offers the same solution, just with the 4017C and a smaller Rycote Windshield to give outside broadcasters, journalists and location film-makers everything they need for clear, directional sound, regardless of weather or environmental conditions.

The d:dicate series has been expanded with yet another new preamplifier solution, two modular active cables (MMP-ER with rear cable entry and MMP-ES with side cable entry), plus a number of modular active booms (MMP-F). These new microphone solutions can be used in many different applications, for example as a microphone solution on a desktop, on a podium, suspended for high-end capture or on elegant stage stands. The active booms come in several lengths and configurations with flexible gooseneck and XLR termination. The new active cable only adds a centimeter to the capsule, making it even more discreer than the compact C preamp, but giving comparable performance.

At IBC 2013, DPA Microphones will also be showing its new, high quality d:facto™ II 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.

DPA will complete its IBC 2013 line up with its expanded d:fine™ series of Headset Microphones. Offering impressive gain before feedback and very stable construction, these unobtrusive microphones are easy to fit and provide presenters and guests with a discreet microphone solution that can’t be seen on the face. The d:fine range is renowned for its audio accuracy and its ability to deliver natural voice intelligibility and consistent audio performance at all SPLs. Available in both directional and omnidirectional options, in single or dual-ear designs and with long or short booms, d:fine™ headset Microphones are designed to fit comfortably and can be adjusted to accommodate any ear size and head shape.

At the DPA stand every microphone can be listened to and there is even a tombola where you can win a d:vote 4099 Instrument Microphone every day at 5 pm.

For more information about DPA Microphones, please come to Hall 8, Stand D76 or visit the company’s website – www.dpamicrophones.com

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information on DPA Microphones, please visit www.dpamicrophones.com

TNDV: Television Picks Up Good Vibrations with HARMAN Studer® Vista 9 Console

NASHVILLE, Tennessee – TNDV: Television is a full-service mobile television broadcast production company with a fleet of four state-of-the-art broadcast trucks. Make that five, as TNDV: Television recently rolled out its “Vibration” truck, specifically designed to meet the needs of audio-intensive TV productions and equipped with a 256-channel HARMAN Studer Vista 9 digital mixing console.

“The audio input counts for TV shows keep getting higher and higher, and it got to the point where we decided to build a truck designed primarily around audio mixing,” said Nic Dugger, President of TNDV: Television. “We’re doing more and more shows where the input count can reach 100 or even more—so we decided to take that number and double it when we started looking for a console for the truck!”

In addition to TV, the Vibration truck is used for music festivals, concerts, awards shows, corporate and other events. Dugger and his staff wanted a console that had “top-of-the-line everything” and could simultaneously deliver a live sound mix and recording feed. After considerable research and hands-on evaluations, TNDV: Television purchased a Studer Vista 9 console and four Studer Stagebox input/output expansion modules, providing a total of 256 input channels. The Vista 9 feeds the truck’s JBL LSR4300 Series studio monitors monitors and a recording setup comprising two 128-channel Pro Tools-equipped computer towers.

Vibration is a 53-foot 18-wheeler that is divided into three areas—the mixing room, a client lounge complete with guitars, air conditioning, comfortable couches and a “machine room” where outboard gear, A/V infrastructure and “anything that has fans and makes noise” is located. “We want a comfortable mixing environment without distractions,” Dugger noted, an important consideration for someone who does gigs for days at a time in 90-plus-degree heat. “We built Vibration to feel like and function like a recording studio on wheels.”

A big part of that comfortable feeling is the truck’s Vista 9 console. Dugger and his staff had previous experience with other Studer and Soundcraft consoles and were familiar with their working environment, making the transition to the Vista 9 easier. He noted that while any experienced engineer will expect great sound and quality mic preamps from a console, it’s the unexpected that sets a console apart. In the case of the Vista 9, it’s the console’s software capabilities, control layout and ability for an engineer to configure the console and way he or she wants it.

TNDV: Television does production for a lot of music festivals, and the Vista 9 gives the crew the ability to get a mix for each band at sound check the day before and then instantly recall all the bands’ settings the day of the show. Dugger uses the console in a novel way that saves even more time. “Because we have 256 inputs, we can divide the console into essentially four different 64-input consoles,” he said. “That means that on the day of the show we’re ready to mix four bands in a row without touching a thing. We can be ready to mix the next band before they even set up their drum set.”

In fact, Dugger and his staff have pre-loaded about 20 “snapshots” of how bands typically use a mixing console, and store these templates on a USB drive and use them as a basis for getting a ballpark mix almost instantly. Dugger plans on sharing these stereo and multichannel mixes with other engineers on the Studer website. “We’ve done production for artists like Garth Brooks, Toby Keith, Sammy Hagar, Ronnie Dunn and many others, and time after time their engineers are very impressed by how good everything sounds,” he said.

“If any audio engineer came up with a wish list of what they wanted in a console, I doubt he or she could find anything on the list that the Vista 9 doesn’t provide,” Dugger concluded. “We certainly haven’t!”

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.

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