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Archive for July, 2013

Texas Tenors Sing for grandMA2 During the Making of Their PBS Special

After taking “America’s Got Talent” by storm four years ago, the operatic cowboys known as the Texas Tenors have taped a PBS special on which a grandMA2 light controlled all the lighting fixtures. A.C.T Lighting is the exclusive distributor of the MA Lighting in North America.

Known for taking audiences “from Alabama to Puccini,” the Texas Tenors (John Hagen, Marcus Collins and JC Fisher) performed a diverse set at Grand Canyon University in Phoenix with the Phoenix Symphony, the New Life singers and the college’s choir. The resulting special, “You Should Dream,” will air on PBS stations nationwide.

Lighting designer/director Matthew Firestone already had a show for the Canadian Tenors under his belt when he was tapped for the Texas Tenors’ special. “The Texas Tenors had seen the show and liked it. They hired the director of that show, and he insisted they bring me in, too,” says Firestone.

“We didn’t have a lot of time – three days to program 18 songs. But we were pretty much done when we got on site thanks to three days of pre-viz,” he explains. Firestone and programmer Eric Gorleski “got in crucial previs time” at the A.C.T offices. “Without previs, it wouldn’t have worked – once we were on site we had an overnight load in for a 2 pm start. That’s a really quick turnaround.”

Firestone notes that, “a major plus on this project was using grandMA 3D for previs. I had used it before, and it went really well. The 3D is so integrated – we got some really good looks.”

He says specifying the console “was a no brainer” and cites grandMA2′s “ease of programming, speed and very detailed cueing” as attributes he appreciates.

“Being able to pull off the project in that amount of time was unbelievable,” Firestone concludes. “This was a very painless job. With the support of A.C.T and grandMA 3D we were able to produce a really good quality television program with little to no on-site programming time.”

Clearwing Productions in Phoenix provided the grandMA2 console.

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Masterlabs Chooses a Prism Sound Lyra Audio Interface For Dedicated Analogue Conversion

Masterlabs, Ireland’s leading audio mastering facility, has invested in a Prism Sound Lyra audio interface, which it is using in conjunction with its SADiE 6 digital audio workstations.

The facility has attached Lyra to its analogue tape machines and Dolby units where it is performing dedicated high end stereo AD/DA conversion. This configuration allows Masterlabs to capture 192kHz files and feed them directly into its SADiE 6 workstations.

Masterlabs’ founder and managing director Aidan Foley says: “Prism Sound’s new Lyra audio interface is fantastic. Apart from being incredibly easy to use, it is providing us with very high quality audio conversion and an extremely stable clock. By keeping it separate from my mastering chain AD/DA converters, I can use it directly at the analogue source.”

Based in Dublin, Masterlabs operates from a purpose built facility that was designed from the ground up to meet exacting specifications. Since its formation in 1996, initially under the name of Digital Pigeon Mastering, the company has tackled mastering projects for some of the best Irish and International talent.

Prior to acquiring a Lyra, Foley put the unit through a shoot-out against other renowned converters to ensure that he was making the right choice.

“We already own a number of Prism Sound products, including a Maselec MEA-2 mastering equalizer and a Maselec MLA-2 mastering compressor limiter, so we knew from experience that the company’s products were well made and extremely reliable. This reputation for engineering excellence was one of the key reasons why we chose Lyra for our facility.”

Based on the award-winning and critically acclaimed Orpheus interface, Prism Sound’s Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much improved price point.
Masterlabs is using a Lyra 1 interface, which has two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. Prism Sound also offers Lyra 2, which has two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both versions incorporate new ARM Cortex processor design offering class-compliant USB interfacing that allows for seamless integration with both Macs and PCs. Both versions also offer digital volume control, a low latency ‘console-quality’ digital mixer for foldback monitoring and optical SPDIF capability.
Masterlabs handles between eight and 10 projects a week, ranging from classical and Jazz to Dance and Rock.

“We are fortunate to handle all of the Irish output for Sony Music and Universal Music,” Foley says. “We also service the ever growing vinyl record pressing explosion that is occuring at the moment, and we have just purchased a second Neumann VMS70 lathe to keep up with that demand.”

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

DPA Microphones Help Bill Gates Address the Big IF Rally

DPA Microphones played a significant role at the recent Big IF rally in London’s Hyde Park by ensuring that celebrities and VIPs such as Microsoft billionaire Bill Gates and film director Danny Boyle were clearly heard by the 45,000-strong crowd.

Sound, lighting and power for the event was supplied by Ethix Management, which has many years’ experience in event production.

Ethix Management’s Managing Director Paul Jones, says: “We took 12 DPA d:fine™ Headset Microphones to the event and used them to mic various speakers, including Bill Gates. Apart from the fact that they sit so well on the user’s head and are incredibly comfortable, they were also chosen because they offer the best sound reproduction. When you are dealing with the spoken word there is absolutely no room for error as it is vital that the speakers are heard by everyone in the crowd. DPA d:fine Headset Microphones allow us to deliver loud and clear audio and, in our opinion, nothing beats them.”

The DPA d:fine Headset Microphones for this event were supplied by the company’s UK distributor Sound Network. Ideally suited to a wide range of applications, d:fine Headset Microphones offer impressive gain before feedback and are extremely rugged and reliable. These unobtrusive microphones are easy to fit and are renowned for their audio accuracy. The microphones are available in both directional and omnidirectional options and in single or dual-ear designs with a choice of three lengths of microphone booms.

“We use d:fine Headset Microphones at many of the events we handle because we know we can rely on them to deliver the results we want,” Paul Jones adds. “We are now planning to invest in a DPA d:facto™ Vocal Microphone so that we have an alternative available for speakers who don’t like to wear headset mics.”

The Big IF rally was organised by the ‘Enough Food For Everyone IF’ coalition with the aim of raising awareness about global hunger. Throughout the day speakers such as Bill Gate, Danny Boyle, the former Archbishop of Canterbury Rowan Willliams and Nelson Mandela’s wife Graça Machel pressed for Government action to end hunger and save the lives of millions. Their comments were particularly directed to G8 leaders who were about to meet for a summit in Northern Ireland.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Lighting Specialist Neg Earth Uses Riedel Intercoms to Assure Clear Communications in Live Entertainment Productions

WUPPERTAL, Germany — July 11, 2013 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today announced that London’s Neg Earth, a leading independent entertainment lighting company based in the U.K., has incorporated Riedel intercom gear into its rental and service stock to ensure clear, flexible communications in demanding live environments.

“After first laying my ears on the Riedel comms at the iTunes festival last year, I knew instantly that this was the future,” said Oli Metcalfe, lighting director for the Muse 2013 world tour. “This is the first comms system I have ever used that has no buzz and no hum, and it also has the clearest vocal audio quality I have ever experienced. The live-events sector needs reliable and, more important, clean communications in loud and challenging ‘gig’ scenarios. For me, Riedel will be the only choice from now on.”

Neg Earth provides lighting for artists including Muse, Iron Maiden, George Michael, The Rolling Stones, Foo Fighters, and Leonard Cohen, as well as for the theatrical productions “Cirque du Soleil,” “Jesus Christ Superstar,” and “We Will Rock You.” Neg Earth also handles lighting for festivals such as Glastonbury and V Festival, sporting events including the Commonwealth Games, and corporate conferences for companies such as London Fashion Week and HondaJet.

Riedel’s Performer digital partyline intercom system features two CR-4 four-channel master stations, which can support up to 32 devices including beltpacks, split boxes, and call light indicators, with the integrated power supply. The stations’ clear user interface offers users performance and flexibility, and color-illuminated buttons enhance their utility in live-entertainment environments. A remote mic-kill function allows the user to silence any open microphone on the intercom channels.

The ergonomically shaped Performer C3 digital two-channel beltpack offers all the standard features of conventional analog partyline systems, and also provides high-quality digital audio, DSP signal processing to assure perfect side tone-nulling, excellent intelligibility in applications with very high ambient noise levels, and support of daisy-chaining. The Neg Earth lighting specialists use a combination of 30-centimeter electret microphones and Riedel’s ultrarobust MAX headset for maximum intelligibility in high-noise environments, and have recently added 16 C-2 beltpacks and MAX headsets to their inventory, all of which are currently being used on the Leonard Cohen tour.

“Being a company that needs to be ahead of the curve, Neg Earth instantly saw the quality of the Riedel comms,” added Metcalfe. “I didn’t have to shout too loud to make the company jump on board with an initial investment. I look forward to others using this system and spreading the word.”

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

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About Neg Earth
Based in London and established in 1983, Neg Earth is one of the leading independent entertainment lighting and rigging companies in the world. The company’s aim is to deliver a premium level of support and a one-stop lighting service through the provision of skills and advice in project management, design, fabrication, and maintenance. Together with the supply of crew for theatrical productions, music festivals, concerts, music tours, corporate events, large-scale ceremonies, and sporting events, Neg Earth now has more than 3,000 lighting fixtures out on various high-profile projects around the world. Neg Earth’s highly skilled technical employees work closely with many world-class lighting designers, encouraging a focus on continuous design improvements and innovation. For more information, go to www.negearth.co.uk.

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/NegEarth.zip
Photo Caption: Performer C3 Belt Pack

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New Zealand Racing Board Taps Xytech to Keep Operations Running Smoothly

Organization Bets on MediaPulse for Advanced Software Solution

(Mission Hills, CA/London, UK) Xytech, the global leader in facility management software for the broadcast and media services industries, announced that the New Zealand Racing Board (NZ Racing Board), the organization responsible for managing New Zealand racing and betting, has implemented MediaPulse to power its broadcasting logistics operations.

The NZ Racing Board is an important entity in New Zealand, regulating the industry in a number of important ways. It runs the TAB, the country’s sole provider of betting on racing and sport, maximizes the betting profits in the best interest of New Zealand racing, and promotes the racing industry in general. The role that the NZ Racing Board fulfills is a critical one; racing is a significant contributor to the country’s economy, generating nearly 1% of New Zealand’s GDP – around $1.6bn per year – directly employing more than 17,000 people in fulltime positions and another 52,000 in associated industries, contributing more than $170m in export sales. Highly visible, the NZ Racing Board supports more than 50,000 domestic and imported races every year, with 1,050 domestic race meetings attended by more than one million visitors.

The MediaPulse implementation, completed early in 2013, is used for workforce planning, event management, and resource rostering/tracking for NZ Racing Board’s multiple locations across the North and South Islands.

Glen Broomhall, General Manager of Broadcasting at the NZ Racing Board, said the NZ Racing Board’s broadcasting obligations required robust and effective logistics management. “The NZ Racing Board is tasked with covering events in multiple locations requiring numerous resources across an expansive geographical area. Logistics management of the highest efficiency is vital for us, as we have to ensure that we make the best use of our resources while making sure that we have the right people in the right place at the right time. We needed a solution that not only met our immediate needs, but one with the flexibility and scalability to accommodate any future changes, including the potential expansion of our business. We took a hard look at MediaPulse, and it was apparent that it was the only software solution that could give us everything we needed. Working with the team from Xytech was a pleasure from beginning to end.”

Greg Dolan, COO of Xytech, said, “Following our recent success in the Americas, Europe and the Middle East, Xytech is undertaking a significant expansion into the Asian market. The NZ Racing Board is one of the most sophisticated and influential operations in New Zealand, and they are exactly the type of operation we are looking to bring our hallmarks of innovation and service to. We were honored to work closely with them in the implementation of MediaPulse, and we look forward to continuing our outstanding relationship with this stellar group.”

About New Zealand Racing Board
The New Zealand Racing Board is the country’s peak racing organisation and operator of the country’s iconic, official racing and sports betting agency, the TAB. For every bet placed with the TAB on the gallops, trots or greyhounds, and on all sport, the TAB contributes to the sustainability, development and growth of racing and sport in New Zealand and livelihoods of hundreds of thousands of Kiwis involved in these sectors.

About Xytech
Xytech Systems Corporation(tm) is the leading global provider of facility management software for today’s media and broadcast companies. Leveraging a 25-year history of innovation and market expertise, Xytech brings unparalleled proficiency to its customers with flexible, transparent and evolutionary solutions that set the standard for successfully managing the continuous business realignments that define today’s marketplace. Xytech’s collaborative MediaPulse platform and suite of solutions enable craft workflow and asset management systems to work seamlessly with the company’s renowned planning, scheduling and financial management tools. Xytech has over 450 software deployments in more than 20 countries around the world and is headquartered in Mission Hills, California, with regional offices in New York and London.

For more information, please visit www.XytechSystems.com or call +1.818.698.4900 (US) or +44 (0)20.7903.5170 (UK).

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Media Contact:
Chris Purse, 818.908.3473
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Sound Devices Celebrates 15 Years of Industry Innovation

REEDSBURG, WI, JULY 11, 2013 — Sound Devices is proud to announce its latest company milestone, commemorating 15 years as specialists in portable audio and video products for field production. Founded by three industry veterans in 1998, the company continues to fulfill its original mission—to develop products that help customers achieve the highest quality and performance in their field production workflow. Today, Sound Devices’ growing product portfolio of award-winning audio mixers, recorders, preamplifiers, computer interfaces, and video recorders, offer customers a wide range of essential gear for television and film production.

“We are very proud to celebrate our 15 years in the industry,” says Matt Anderson, Co-founder and President of Sound Devices. “The company has evolved into one of the industry’s most trusted companies, due in large part to the hard work and commitment of our staff.” Jon Tatooles, Co-founder and Vice President of Business Development adds, “We also thank our customers for their loyalty, support and feedback, helping us to reach this milestone in an industry where technology is constantly changing.”

Sound Devices entered the industry with its first broadcast-oriented product, the durable battery-powered MP-1 Portable Microphone Preamp. The company introduced the product and made it available for purchase at the 1999 NAB Show. Today, many elements designed into the MP-1 continue to live in later-generation Sound Devices products, including the battery tube design, high-performance microphone preamplifiers, and durable mechanical construction.

In 2000, Sound Devices introduced its 442 Field Mixer, essentially an over-the-shoulder portable mixing console for production, ENG and film. Developed with input from the industry’s top audio engineers, the 442 offered the audio performance, feature set and mechanical construction demanded by customers with higher expectations for audio from the field.

Soon after, in 2003, Sound Devices announced its entry into the portable digital audio-recording category with its 7-Series Recorders. The 722 and 744T began shipping in early 2005. The 702 and 702T followed, and in 2008, the 788T portable, eight-input, 12-track recorder with time code made its debut in the 7-Series family. Numerous accessories such as the CL-8, CL-9, and CL-WiFi have expanded the number of applications for these recorders, along with numerous feature enhancements through firmware updates.

At the 2011 NAB Show, Sound Devices brought its portable digital recording technology to video with the introduction of its PIX audio/video recorders, PIX 220 and PIX 240. With its strong history of developing high-quality products for the evolving production world, this was a natural progression for Sound Devices. The audio circuitry on the PIX 220 and PIX 240 is based on Sound Devices’ award-winning 7-Series digital audio recorders.

As part of the company’s continued evolution and commitment to its customers and community, Sound Devices relocated its headquarters to a new 27,000 square-foot facility in Reedsburg, Wisconsin, in early 2012. Equipped with state-of-the-art technology, the facility enables Sound Devices to continue to develop new, innovative field-production audio and video products with greater operational capacity. The headquarters is large enough to hold training meetings for its sales representatives and distributors, and offers space for permanent product displays designed for training.

Entering its 15th year, Sound Devices’ commitment to innovation has continued with the introduction of the PIX 260i. The rack-mounted PIX 260i is a file-based audio/video recorder that seamlessly replaces tape-based video decks in production and post-production environments. Its extensive audio capabilities include 32 tracks of audio with analog, AES digital, embedded audio over SDI and HDMI, or Ethernet-based Dante. Powerful network control capabilities include browser-based Ethernet machine control and drag-and-drop network file transfer.

For more information on Sound Devices and its innovations over the last 15 years, visit www.SoundDevices.com or www.facebook.com/sounddevices.

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. The 15-year old 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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RTW Adds BLITS Instrument to Its TM7 and TM9 TouchMonitors

COLOGNE, JULY 11, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, has introduced a new BLITS instrument option for its line of TM7 and TM9 TouchMonitors. Part of the SW20013 software license recently issued by the company, the BLITS instrument is designed to generate and analyze BLITS test signals. The new software license with this option is now shipping.

BLITS (Black & Lane’s Ident Tones for Surround) enables testing for channel allocation, level and phase of 5.1 surround signals. Developed in 2004 by Martin Black and Keith Lane at London’s Sky TV, this sequence has gained widespread adoption in international broadcasting.

RTW created a special instrument not only to generate a BLITS test signal, but also to use the BLITS sequence for a user-friendly and comprehensive analysis and display of level, channel allocation, phase, delay and polarity of incoming digital audio signals in 5.1 mode. Adjustable limits complement the analyzer, and the sequence can be accessed from any digital input of the TouchMonitor.

In addition to the analyzer, the BLITS instrument features a signal generator. This feature is capable of generating not only the 5.1 sequence, but also a stereo ident sequence either in EBU 3304 format or as the widely known GLITS tone. A user can choose to place an identification header, similar to a station ident, in front of the test sequence. The signal will then be output through the AES 3 or AES3id output feeds.

The BLITS license option for TM7 and TM9 uses the order code SW20013, and requires users to install the current firmware, version 3.10, first. Users can download the firmware for free by logging in to RTW’s website: http://www.rtw.de/en/sales-support/manuals-software.html.

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

BenQ Donates MX813ST Classroom Projector to Boost Interactive Learning for United Teachers of Dade

IRVINE, Calif. — July 11, 2013 — BenQ America Corp., an internationally renowned provider of digital lifestyle innovations and global DLP(R) projector leader, today announced that the company donated a MX813ST short-throw projector to the United Teachers of Dade (UTD) in order to recognize the outstanding accomplishments of its teaching staff. As part of UTD’s Professional Development, Best Practices for Interactive Whiteboard Program, a teacher will be using the projector to help transform classroom learning into a more interactive experience. more

P!NK takes off with Sennheiser

International superstar P!NK’s The Truth About Love arena tour is wowing audiences around the world with its incredible mixture of chart-topping tunes, aerial acrobatics, and sheer no-holds-barred entertainment – all powered by audio equipment from Sennheiser. The 140-date 2013 tour sees P!NK perform like never before, flying above the audience, dancing between two stages and diving into water – a demanding high-energy extravaganza that required custom solutions from the audio specialist.

Today’s arena shows offer ever-increasing level of spectacle, fusing sound, vision, special effects and pure performance. In taking to the road with The Truth About Love tour, P!NK has raised the bar even further, with an elaborate game-show themed concert that takes off in every sense – exploding into wild baroque performances and taking to the air with extensive aerial acrobatics driven by a wire system that lets the star travel to every corner of the arena. But how do you maintain great sound and all the emotion when everything is in motion?

Reaching new heights takes innovation:

Monitor assistant and sound engineer, Ben Byford described the challenge: “With this tour, the biggest challenge is that she is so much in the air. This show takes it further than anything I have ever done just because of the distances she can fly over the audience, the height, the movement, including spinning on her own axis. It’s definitely pushing it to a new level – technically and physically for her as well. It was vital to plan for this and get equipment that worked for the job.”

As Byford explained, the production relied heavily on solutions from Sennheiser, including custom prototypes developed specially for the tour: “The whole show is essentially all Sennheiser: every microphone, every in-ear system, every radio system – it’s all Sennheiser. The in-ears we use are Sennheiser 2000 series IEM systems. P!NK uses an SKM 2000 microphone, but with an MD 9235 head. The in-ear piece that she uses is a special prototype that we’re helping to test – a custom-made in-ear with an integrated microphone.”

That custom solution was developed by virtuoso monitor engineer, Horst Hartmann, who worked closely with Sennheiser. He explained that developing a special integrated monitor and microphone was the only way to cope with the highly physical nature of the performance, the aerial stunts and the lifts within the dance routines: “As well as the challenge of the range of motion, we also needed to provide P!NK with a headset that could also work in front of the PA because she is often flying above the audience and through the whole room. Additionally, the microphone had to sound as good as a hand-held one and had to be extremely resistant to feedback, like a hand-held would be.”

A headset with a neckband was ruled out because the set-up time would inhibit costume changes. They also needed a precise fit, as use of a cardioid mic meant that it had to stay in position right at the corner of P!NK’s mouth in order to receive the highest possible intensity of sound. On past tours, the team had used an earset mic taped in position on P!NK’s face but this time the audio team wanted to take things still further: “We came up with the idea of an in-ear with an integrated microphone,” said Horst Hartmann. “I’d seen referees, pilots, and firefighters wearing this but that’s about communication – walkie-talkie rather than the hi-fi quality we demanded. The capsule was already there: that of the HSP 4, an incredible microphone. Working with Sennheiser, we then developed the “hardware” around this capsule.”

Sennheiser developed a microphone that could be attached to the in-ear mould. With the in-ear fixed and securely in position, the attached microphone would stay in place with no adjustments. That was the theory, and in practice the solution proved a match for the demanding performance. Monitor engineer Jon Lewis explains: “Being integrated means that it’s very much set at the right position because it’s custom-made to the curve of her face, so there’s no movement. There’s nothing to tighten or loosen. So once it’s clicked into the in-ear piece, that’s it! This was perfect as any movement would have made things impossible, given the circus-style aspects of the show.”

Hartmann also describes the advantages of developing the whole solution with Sennheiser: “It’s now also one solution from one company, a simple solution that means everything is carried to the transmitter via the same cable. Much better for costume changes: You can take it off very quickly with one click, put a blind cover on it, so the connection is protected and that’s it. Sennheiser developed this just for P!NK’s current tour, and she liked it from the start. No other company offers this kind of product at the moment. And while it’s a prototype, it’s proved reliable – we don’t have any drop-outs when she is flying through the hall. It works perfectly.”

Instrument and ambience mics:

For miking the band, Chris Madden, FOH, and Horst Hartmann drew on the extensive range of wired Sennheiser microphones. The 24” kick drum was miked with an e 901 and an e 902, while the hi-hat and ride cymbal were picked up using e 914s. Two MKH 80s were used as overheads. The guitar cabs were captured with a total of three e 906s. The Leslie speaker was miked by three MK 4s, with two of them positioned at the top of the speaker, and one at the bottom.

In order to capture the audience reactions for the artists’ IEM receivers, Madden and Hartmann used two cardioid MKH 8040 for outside left and right, two MKH 8060 short gun mics for inside left and right as well as two MKH 8070 long gun microphones for far left and right.

A global tour, a universal receiver:

The Sennheiser EM 3732-II wireless receiver delivered a robust backbone to the audio. With a switching bandwidth of 184 MHz, the EM 3732-II can be deployed worldwide. Hartmann explains that its versatility offered a solution that would work perfectly in any venue, in any country: “This is a universal receiver that is capable of working wherever the tour lands: We use receivers that are capable from 600 to 800 MHz and can be used in America, Europe, and Asia. We do need to occasionally change the hand-held transmitters, but have two versions to cover both 600 and 700 MHz. We also love that the EM 3732-II is compatible with the 2000 series as well as the 5000s series transmitters.”

The Truth About Love – partnership counts:

The flexibility of the products and the audio specialist’s readiness to go the extra mile in developing dedicated prototypes has made Sennheiser a true partner to the tour. “Sennheiser are always there for us,” said Chris Madden. “You just have to pick up the phone or e-mail and you’re being supported – no matter what you ask for.” Ben Byford agrees: “There’s no other manufacturer that you feel you can just pick up the phone and ask for advice or ask for new products. It’s definitely the aftersales and the relationship side that makes Sennheiser stand out as a partner.” For Hartmann, reliability is also key: “The most important thing is that the solutions and devices are perfectly reliable. On a tour like this, you really depend on the equipment to perform each and every day.“

“It’s a great pleasure for Sennheiser to be able to support high flying touring artists such as P!NK,” said Pierre Morant, Global Relations Manager for EMEA at Sennheiser, “Taking a hands-on and collaborative approach is the key to making these relationships successful and to delivering the best service and products. In this case, working closely with Horst Hartmann was the key to innovating a new solution that has taken our ability to deliver flawless sound to – quite literally – new heights.“

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

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

Photo captions:
1: The Truth About Love 2013/2014 tour sees P!NK perform like never before – extensive aerial acrobatics are part of her energetic show
(Photo credit: Kevin Mazur)

2: Chris Madden, FOH engineer for P!NK, with Horst Hartmann, monitors (l/r)

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Archimedia Announces Availability of HD and 4K SDI Cards, Made by Bluefish444 With Integrated Metadata Viewer, for Archimedia Reference Player

DELRAY BEACH, Fla. — July 9, 2013 — Archimedia Technology, a new company whose technology and applications bridge the gap between content producers and their archives without loss of quality, today announced Archimedia HD-SDI and 4K-SDI cards for the Archimedia Reference Player. The cards, made by Bluefish444, include a Reference Player installer that will flash the cards’ firmware so that they behave properly under control of the Reference Player. By deploying the cards, video engineers and archivists can use a standard Windows(R) 7 or 8 computer as a high-definition or cinematic-quality videotape player or disk-based SDI video server.

Under the control of the Archimedia Reference Player, the user’s HDTV monitor can display a video file at the same frame rate as the original when in full screen mode, marking the first time that an HDMI monitor and SDI monitor can be faithfully compared up to 4K resolution on a PC. For quality control, the file’s technical metadata can be viewed while the file is playing.

“These SDI cards represent another big step toward a master-quality reference environment for everyone’s desktop,” said Mark Gray, CEO and president, Archimedia. “A traditional HD videotape player costs $40,000 or more, while our HD-SDI card with our Reference Player costs less than $5,000. That’s nearly a 90 percent savings that can make a big difference, particularly for archivists working with very tight budgets. Among their many benefits, the cards allow archivists to view and copy the master files in their care without having to buy a video editor. Likewise, a video engineer can play master files from multiple major vendors in a true comparison without buying proprietary equipment or expanding the development lab.”

With the new cards and Archimedia’s Reference Player, video engineers and archivists in any setting can play video clips and test patterns on practically any professional video device that accepts SDI inputs, including monitors, encoders, projectors, transmission, switchers, routers, editors, videotape and disk recorders, ingest stations, color correctors, standards converters, waveform monitors, and vectorscopes. Both production and development engineers can use the cards to play their video clips and test patterns to configure, set up, calibrate, and troubleshoot an entire SDI signal chain. Archivists can use the cards to view, check, and copy the video in their care — whether they need to ship an archival videotape to a producer on location, encode an archived video file for a news department in a format its station can use, or play their highest quality master videos on an auditorium projector.

Without the Archimedia cards, PC users would have to rely on HDMI-to-SDI converters — most of which are limited to only 8-bit color depths — or high-end SDI cards that lack a matching HDMI frame-rate-controlling player or an integrated technical metadata viewer. Producers, editors, and archivists save valuable time when using the Reference Player to copy only the clips they need, frame accurately, from Archimedia’s SDI card to a recorder without having to load the entire master file into a video editor first in order to extract them. Engineers and manufacturers also benefit from a reliable, full-spectrum SDI stream of master files and test patterns without having to buy dedicated proprietary appliances.

The Archimedia Bluefish444 HD-SDI card plays up to 1080p at 59.94 fps using a Single Link 4:2:2 or Dual Link 4:4:4, 4:4:4:4, or 4:2:2:4 HD-SDI connection. The 4K-SDI card uses four SDI connections in 12-bit 4:4:4 RGB, making it suitable for the highest-quality applications including cinematic production. Both cards use 12-bit video processing and can be installed on a Windows 7 or 8 computer.

“We are very happy to be working with Archimedia and feel that their decoding solutions would be of great benefit to the industry,” said Peter Rowsell, managing director of Bluefish444 Europe. “We look forward to working closely with them in the future.”

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About Bluefish444
Bluefish444 is an innovative developer, manufacturer, and marketer of uncompressed SDI video I/O cards for use within the professional video, broadcast, and postproduction industries. Founded in 1998, Bluefish444 manufactures 12-bit video cards delivering SD, HD, and 4K-based solutions to developers, broadcasters, and creative content professionals, with an installed base of more than 14,000 customers worldwide. www.bluefish444.com

About Archimedia Technology
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bridge the gap between content producers and their archives without loss of quality. Archimedia’s products fulfill a critical piece of the production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.

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

Photo Link: www.wallstcom.com/Archimedia/SuperNova.zip

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