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Archive for July, 2013

Clear-Com Introduces ICON Connectivity Solutions for Extending Intercom Systems Locally and Globally

ALAMEDA, CA, JULY 10, 2013 — Clear-Com® today introduced the ICON Connectivity Solutions, a collection of communications products that link local or geographically distributed intercom systems over Ethernet/IP networks and/or optical fiber. ICON Solutions, which stands for “Intercom CONnectivity Solutions,” provides reliable and secure connections, delivers high performance on common infrastructures and is cost-effective for scalable multi-system networks.

“With today’s productions becoming more decentralized across multiple locations, the ability to link disparate communications systems and extend access of voice communications is highly critical,” said Simon Browne, Director of Product Management, Clear-Com. “Whether working in separate buildings within the same vicinity or in different cities across the country or around the world, teams must still be able to communicate seamlessly and in real time over one integrated infrastructure. This has been a growing challenge among our customers with large facilities, multi-site campuses, and/or remote sites in many different markets.”

Browne continued, “We are pleased to offer a full range of connectivity solutions to address a variety of application needs. With the ability to interface with any Clear-Com and third-party intercom systems, ICON Solutions facilitate flexible, secure, and cost-effective local and global intercom deployments.”

ICON Connectivity Solutions consists of communications products that operate over Ethernet/IP networks and/or optical fiber links. All ICON solutions maintain high audio quality and system performance. They work well with existing infrastructure and are adaptable to existing network quality and bandwidth. Network connections are secure and tolerant of outages. ICON Solutions include, but not limited to:

VoICE2 — 4-channel Ethernet/ IP Interface for extending intercom audio communications or 4-wire audio to remote sites over IP networks (LAN, WAN, Internet). It features low latency over LAN and WAN, ease of setup, automatic network adaptive CODECs and a selection of CODECs with varying audio qualities.

Concert-Server — Ideal solution for operating over IT networks, the Concert-server offers 144 channels of virtual intercom and/or 4-wire audio over Ethernet/IP. It provides highly secure connections and low latency over LAN and WAN systems. The Concert-server is equipped with 8 x 4-wire I/O audio ports and is pre-loaded with Concert-server software. It includes a breakout harness to 16 XLRs (8 x I/O).

X6R-FX-INTERCOM and V3R-FX-INTERCOM — Designed for Optical fiber rings, the Optocore 8 Port (4 port on the V3R) Clear-Com Intercom interfaces offer transport of intercom audio and control data. Each device includes two redundant LAN network ports and two SANE CAT5 ports and Optocore LC Fiber interface. It offers a simple RJ-45 connection for matrix and for user panels and any 4-wire audio I/O.

FIM-202D — Ideal for systems with local and secure connections, this 2-channel fiber interface extends Clear-Com matrix intercom to Clear-Com key-panels or 2 x 4-wire audio to remote sites. (Dual fiber required). The FIM-202D features a throw-down design for ease of deployment, high audio bandwidth and very low latency.

Eclipse-HX Matrices — High performance matrix system frames offer up to 64 nodes of connectivity via E-Fib, fiber interface card. The matrices can intelligently trunk by means of 4-wire, E1, T1, MADI and Ethernet/ IP with low latency over LAN and WAN networks.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

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BTX Now Distributing Optical Cable Corporation’s Connectivity Products

Partnership Brings OCC(R) Custom Fiber-Optic Cables to BTX’s Complete Configuration Solutions

HAWTHORNE, N.Y. — July 9, 2013 — BTX Technologies, a value-added distributor and manufacturer of interface, integration, and system products, today announced that it is now an authorized distributor of Optical Cable Corporation’s (OCC(R)) cable and connectivity products. more

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Atlona(R) Announces 10-Year Anniversary Celebration With Launch of Industry-Leading 10-Year Product Warranty

Atlona(R) Announces 10-Year Anniversary Celebration With Launch of Industry-Leading 10-Year Product Warranty

SAN JOSE, Calif. — July 10, 2013 — Atlona(R), a leading digital connectivity solutions provider, today announced the company is marking its 10-year anniversary by introducing its new Atlona Advantage 10-year limited warranty for all electronics and hardware products. Designed to support the AV industry’s demand for long-term product reliability and performance in residential and commercial systems, the new warranty program demonstrates Atlona’s focus and commitment to providing industry-leading levels of support to its customers and partners worldwide. more

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Antelope Audio to Showcase its New Orion32 Interface at Summer NAMM

Nashville, TN, July 10, 2013 – Leading digital audio manufacturer Antelope Audio will be showcasing its groundbreaking new Orion32 interface at the Summer NAMM show between this Thursday and Saturday at booth 925. This year, the Summer NAMM show, which is being held at the new Music City Center for the first time, is expected to draw over 10,000 visitors from almost 30 countries.

Demonstrations at the Antelope Audio booth will feature the Orion32 being used in conjunction with a Rupert Neve Designs 5059 summing mixer and a pair of Chris Pelonis monitors. Antelope will also have its Isochrone 10M master clock on display, which is a staple in many of the top mastering, recording and post-production facilities around the world.

With no less than 32 channels at the output stage in a single rack space, the Orion32 is becoming very popular for use with summing mixers, including the Rupert Neve Designs 5059. Such a combination can result in increased fidelity, leading to detailed mixes that feature greater dimension.

At a price point of just $2,995, the Orion32 is finding its way into both commercial and project studios given its flexible I/O capabilities, high channel count and built in master clocking capabilities. Its custom-built USB chip supports 32 channels of 192 kHz I/O and works with any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its fiber optic MADI I/O connections, making it ideal for use in live sound environments, and for use in remote recording applications.

“The Orion32 is a perfect complement to almost any studio environment or mobile recording setup,” commented Marcel James, Director of Sales and Marketing, Antelope Audio U.S. “This year at Summer NAMM, we will be demonstrating how the Orion32 can dramatically increase the quality of a mix when used in conjunction with a high end summing mixer, such as the Rupert Neve Designs 5059.”

The Orion 32, which generates very little heat and consumers just 20watts, is housed in a single 1U rack space and requires no internal fan. Its flexible routing capabilities support simultaneous signals over both USB and MADI, and are all managed through a simple-to-use desktop application included with the device.

About Antelope Audio
www.AntelopeAudio.com

The digital audio world leader, Antelope Audio is the brainchild of Igor Levin who has more than a 20-year experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

# # #

All brands and trade names are the property of their respective owners.

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DiGiCo SD10 Tames Mega Monitor Mixes On Frampton’s ‘Guitar Circus’

Peter Frampton reclaims his guitar throne on the blockbuster ‘Frampton’s Guitar Circus’ tour, which kicked off at the end of May in Nashville, TN at the Ryman Auditorium. The guitarist-turned-frontman/singer is sharing the stage and going toe-to-toe with a dizzying array of axemen on the summer outing including Steve Cropper, Dean DeLeo (Stone Temple Pilots), Don Felder (formerly of The Eagles), Mike McCready (Pearl Jam), Vince Gill, David Hidalgo (Los Lobos), Davy Knowles, Roger McGuinn (founder/lead guitarist of the BYRDS), Richard Thompson, Vernon Reid (Living Colour), Vinnie Moore (UFO) and Rick Nielsen (Cheap Trick), with B.B. King, Steve Lukather, Kenny Wayne Shepherd and Sonny Landreth trading off opening the shows.

With Clair Global providing the consoles and a full stage package, Frampton engineer Matt Fitzgerald—who has worked with Frampton for the past four years, and with Ringo Starr and Blue Man Group prior—kicked off the tour with a new audio footprint at monitor world to handle all of the ramped-up monitoring requirements. Fitzgerald chose a DiGiCo SD10 for Frampton’s 5-piece band and the guest guitarists.

Heading into rehearsals with the new system, Fitzgerald was a bit hesitant at first, but his fears were allayed once he powered up on day one. “This was my first experience using one of the new SD consoles in-depth,” he explains. “I’d had lots of mixing experience on a D5 working with opening acts. But for this summer tour, I opted in favor of a smaller footprint and more flexible solution by trading up two linked digital desks that I was using prior for an SD10. Not only was it difficult mixing inputs between the two desks, but it was sluggish also as I had to treat each one as an individual mixing surface.

“Obviously making a big switch was a bit nerve-wracking. Peter’s the kind of guy that wants to be able to walk into rehearsal and just go. I did a lot of research and spent time with DiGiCo’s Ryan Shelton in Nashville and worked with the offline software to build my big session files. We had a decent amount of rehearsal time, about two weeks, because the band was learning the other guitar players’ material, so that was of huge benefit to me. I was able to get really comfortable on the desk, storing snapshots, making scene-to-scene files, etc. Literally after the first day, I was shocked and awed at how easy it was to get around on the desk and how small the learning curve was. I felt like a burden was lifted off my shoulders and I was able to just concentrate on mixing, not on the new gear. I was really blown away by the desk and really liked that everything was laid out so naturally. The buttons were right where I needed them, not to mention that the features are fantastic and you can have the channel strip wherever you want and create the desk to make it the way you want it to be. It’s really comfortable and I really enjoy it.”

With all of our band on Westone ES2 in-ears, Fitzgerald was looking at a lot of variables with the guest guitarists—some would be on ears, some on wedges; some had big stereo rigs and others had simple combo amps, acoustic guitars, etc. “I wanted to have a lot more flexibility and room to grow. With the SD10, I’m able to build a bigger show file as well as have extra wedge and ear mixes built-in. And it’s been awesome as far as changing the layout of the desk from show to show. For instance, we just played with Steve Cropper, who uses wedges, and I was able to move my wedge mixes to my top layer and restructure my file, and it was so cool and easy.”

Fitzgerald makes use of all of the onboard effects from the desk: reverbs for drums, acoustic guitars and keys, slap delays for vocals, plus a bit of multiband compression for vocals and DiGiTuBes on the bass for a little bit of drive. The only external effects he’s employing is an Eventide H3000 harmonizer for the acoustic guitars.

One of the challenges is creating a controlled environment on a day-to-day basis, blending the audience mics and stage sounds in everyone’s in-ears. “The tonality, spaciousness and imaging are really great and big-sounding on this desk. There’s a real clarity to the sound. Any inputs like Peter’s LCR Marshall and stereo Leslies for is his guitar rig, the Hammond organs and keyboards that are hard-panned left and right, sound so clear and natural. The imaging is excellent and sounds like you don’t have ears in at all. I’m able to fine tune the EQ of the audience mics to each room, so the audience sounds the same even though you’re in an arena, theater, or event hall… When someone in the audience yells in between songs I want Peter to be able to look into the audience and know where and who is yelling and make eye contact with them. With the SD10s imaging and clarity I can pan audience mics exactly where I want. It’s as if I’m mixing the audience just as much as I mix the band. Peter’s mix is a very full range, dynamic mix of the entire band with his inputs just top,” he adds. “He wants to hear everybody and what they’re playing. If someone solos I ride my programed control groups to give them a nudge in his ears so he hears all important parts of the songs…”

With the tour well underway, the feedback on the new console among band and front man has been unanimously positive. “This band is so great to work with because they respect my input and ideas as we move forward with this new console. I try to open up the spectrum in their ears and create a ceiling for them instead of monaural mixes. I want it to sound as natural as possible and at the same time have full control of what’s going on onstage so I’ve created a big open stereo spectrum with Peter in middle and the guitar players panned on each side to create that image of what’s really going on onstage. If you take your ears out, that’s what it’ll sound like. And the fact that I’m able to recreate all of this in the in-ear monitors and have it sound so natural is really cool.

“And Peter, being an audio guy himself is great to work with, he is very particular about his sound,” Fitzgerald continues. “He’s involved in a lot of choices in the audio spectrum and loves this desk, too. He’s blown away with it and loving the sound of the desk in his ears. Peter and his band are all on in-ears monitors and we have a couple of subs onstage for feel. I’m able to have a nice, controlled environment and a lot of good mixing. So far, it’s been a seamless transition and awesome!”

“This DiGiCo desk is amazingly ‘analog’ sounding,” raves Frampton. “It’s very warm and, with its full band width, has incredible smooth high-end response. Matt can run monitors and multi-track record every show with ease. This is due to the foresight of design. It’s like not having ‘ears’ in but instead, listening to a really great pair of studio monitors. But… I’m playing live on stage!”

The variety of the material from night to night and city to city has kept Fitzgerald on his toes and had made for a musically stimulating tour. “The fact that we’re doing both Peter’s material but also songs from the other guitarists, has been a bit of extra work for me and the band, but it’s been really fun overall. It’s made for an exciting, unique and fun tour. Again, having the flexibility on this desk has allowed me to simply have fun mixing… Needless to say, I’m really in love with this desk.”

Modular Power Raceway Offers More Options with Addition of New Modules

Fairfield, NJ––Middle Atlantic Products is expanding its popular MPR Series Modular Power Raceway System to include additional unique options to meet the evolving power distribution requirements of AV systems. The industry’s only off-the-shelf NRTL-listed plug and play solution for creating a custom power strip, the MPR Series now offers three new options: a 30 Amp controlled raceway module and two options for Neutrik® powerCON connectors.

Two Neutrik powerCON modules are available to accommodate the manufacturer’s 20 Amp and 30 Amp connectors. The 20 Amp rated receptacle module can be incorporated into the MPR system raceway via standard MPR connectivity options, while the 30 Amp version is hardwired within the raceway.

The new 30 Amp controlled module brings the benefits of the MPR Series’ 30 Amp controlled standalone unit into the MPR raceway. This hardwired-only option incorporates a 30 Amp isolated ground twist lock receptacle. It includes a local toggle switch that allows the integrator to control the outlet status (Always On, Always Off or Dry Contact Control) and features LEDs to confirm the module’s status.

The MPR System was recently enhanced with a deeper raceway design offering increased circuit capacity and improved mounting for greater installation flexibility. These enhancements and continued new offerings show the company’s commitment to offering integrators a custom, NRTL-Listed solution to fit their changing needs.

For more information about the Modular Power Raceway and Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

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Middle Atlantic Products has been part of the Legrand group since its acquisition in 2011.

Legrand is the global specialist in electrical and digital building infrastructures. Its comprehensive offering of solutions for use in commercial, industrial and residential markets makes it a benchmark for customers worldwide. Innovation for a steady flow of new products with high added value and acquisitions are prime vectors for growth. Legrand reported sales of close to $5.8 billion in 2012. Legrand has a strong presence in the North American market, with a portfolio of well-known product lines that include Cablofil, Electrorack, Middle Atlantic, NuVo, On-Q, Ortronics, Pass & Seymour, Vantage, Watt Stopper and Wiremold. The company is listed on NYSE Euronext and is a component stock of indexes including the CAC40, FTSE4Good, MSCI World, ASPI and DJSI (ISIN code FR0010307819). www.legrand.us

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Design for the senses – quality for individualists: The new MOMENTUM On-Ear from Sennheiser

Quality, substance and value: audio specialist Sennheiser developed the MOMENTUM headphones for people who prize these properties – and who refuse to compromise on sound or design. Equipped with high-quality audio technology and finished with the finest materials, the MOMENTUM unites form and function like no other headphones. Now Sennheiser is introducing the MOMENTUM On-Ear. This smaller, on-ear version makes it possible to define your personal style with a range of contemporary colors.

The MOMENTUM On-Ear is a new addition to the MOMENTUM family, adding a dash of color to the Sennheiser product range. The headphones are available in four fresh shades – distinct looks selected by an international team of designers and trend scouts. In blue, green, pink and ivory, their perfect combination of sound and style is every bit as impressive as the rest of the MOMENTUM range.

Katrin Huss, Director of Customer Relationship Management at Sennheiser comments: “The new MOMENTUM On-Ear embodies an urban style that’s focused on high performance and the finest materials – on style and substance. They are the perfect choice for those who demand top quality and want to express this through their own personal style.”

High-quality audio technology and the finest materials

The MOMENTUM On-Ear headphones stand out for their minimalist design, but also for the tangibly high quality of their materials and workmanship. The ear pads and headband have been finished in Alcantara®, a high-tech material produced in Italy. As a result of its unique combination of suppleness, durability and breathable comfort, this luxury material is valued by fashion designers and interior designers alike. As with all other models in the MOMENTUM family, the headband of the MOMENTUM On-Ear is made of stainless steel.

The sound of these headphones is also clear and uncompromising, creating a sound experience in which even the tiniest details can be heard. Equipped with high-end 18-ohm transducers, MOMENTUM On-Ear guarantees full stereo sound with a slight bass emphasis in a frequency range from 16 to 22,000 Hz. Thanks to their closed, on-ear design, these headphones isolate the listener from external noise to ensure a great listening experience on the move – even in noisy urban environments.

Perfection in every detail

MOMENTUM On-Ear headphones feature a single-sided detachable cable with convenient in-line remote and microphone for Apple iDevices, for easy control of music playback and to make and receive calls on the go.

The new member of the MOMENTUM family is available in the colors blue, green, pink and ivory at selected retailers from summer 2013.

For more information on the MOMENTUM On-Ear, please visit www.sennheiserusa.com/momentum-on-ear

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 http://www.sennheiserusa.com.

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Christie MicroTiles Illuminate Reception at Opening of Interactive Media Building at the USC School of Cinematic Arts

Christie®, a global leader in advanced cinema technologies and visual display solutions, recently showcased its Christie® MicroTiles® at the opening of the new Interactive Media Building at the University of Southern California (USC) School of Cinematic Arts (SCA). Christie is partnering with USC to provide students and faculty with access to the latest in visual technologies.

Christie MicroTiles at Univ. of Southern California


A gala reception was followed by an open house where attendees, comprised mostly of game and tech-industry executives, as well as faculty of SCA and friends of USC, could observe and interact with different programs and content being developed for new entertainment and educational projects. Content for the 30 Christie MicroTiles was provided by USC School of Cinematic Arts.

The reception was also followed by a panel discussion on “The Future of Entertainment,” featuring George Lucas, Steven Spielberg and Don Mattrick of Microsoft, and was moderated by Julia Boorstin of CNBC. The panelists discussed current technology shifts/trends with emerging medias and outlined where they believe the entertainment industry is headed in the future.

The SCA Interactive Media Building will house programs that include the Interactive Media & Games Division, the Media Arts + Practice Bachelor’s and Doctoral Programs, and the Institute for Multimedia. It will also house leading edge R & D labs, such as Game Innovation, Mixed Reality, and Environmental Media Lab. The building features all of the most advanced digital technology including 4K digital projection, game testing rooms, and multitouch screens.

“At the USC School of Cinematic Arts we always want our students to have access to technologies that will improve their ability to tell exciting stories and the Christie MicroTiles solution literally allows them to expand their vision,” said the School’s Dean Elizabeth M. Daley. “This is the kind of technology that seamlessly supports the best narrative storytelling, and the visual displays are just stunning.”

“We’re delighted to support the School with our proven Christie MicroTiles solution, built on DLP® technology, and used around the globe in many visual display applications,” said Jack Kline, President and CEO of Christie Digital Systems USA. “Christie MicroTiles are ideal for a wide range of demanding applications, including architectural elements, out-of-home advertising, command and control video walls, and event production, so we look forward to the content that the students will create to exploit the many features of our award-winning technology.”

Using the strengths of both DLP® projection and Light Emitting Diode (LED) illumination technology, Christie MicroTiles offer substantially brighter images and a much wider color palette than conventional flat panel LCD and plasma displays. With no practical limit to the number of tiles in a display, Christie MicroTiles produce a virtually seamless canvas, arranged in any shape or scale, with an unlimited number of super-fine pixels.

PADNET Returns Public Access Television to Long Beach Community with JVC ProHD Cameras

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced that Long Beach Public Access Digital Network (PADNET), which produces local programming for residents of Long Beach, Calif., has opened a new HD studio anchored by three JVC GY-HM790 ProHD cameras. After almost four years without public access television in the city, the new channel was launched last August with six JVC GY-HM150 compact handheld camcorders. PADNET unveiled its new studio on May 2.

“We really like the GY-HM150s and use them for our field cameras. Our users have been happy with the image quality,” said Lisa Mastramico, PADNET director. “Now that we’ve added a studio, we’ve expanded the breadth of what people can do in terms of production.”

Long Beach had been without public access television since early 2009, when California law no longer required cable companies to provide a studio and staff to produce it. PADNET was established through the efforts of the Long Beach Community Action Partnership (LBCAP), a nonprofit organization that supports low-income individuals and families and had already established a youth-based digital media arts program. LBCAP successfully applied for a two-year grant through the Long Beach Community Foundation from the John S. and James L. Knight Foundation to cover operational costs, matching the city’s PEG funds for capital purchases.

Today, PADNET is cablecast throughout the city via Charter Communications and Verizon FiOS, and maintains 24/7 live streaming at www.padnet.tv. It is also working to raise its own operational funds. “This is a new paradigm about how public access moves forward,” noted Darick Simpson, LBCAP executive director. “It all starts locally.”

The channel has a staff of three, all with production backgrounds, but the vast majority of original content is produced by members and interns who have been certified to operate the equipment. Programs cover a variety of topics – including music, religion, fashion, and local politics and nonprofits – as well as coverage of community events. PADNET remains focused on the “public” component of PEG; education and government channels are operated by other entities. Future plans include establishing satellite production offices across the city’s nine council districts with additional JVC cameras.

Paired with Canon lenses, the JVC GY-HM790 HD cameras have full studio configurations. Two cameras are mounted on Vinten pedestals along with prompters, while the third camera is positioned on a Vinten tripod with wheels. The new facility also features an all-new control room and lighting grid. “We tried to make it a first-class operation for a city that deserves nothing less than that,” Simpson said. “On the other hand, it can’t be too intimidating. Some people are intimidated by the technology.”

The choice of JVC cameras in the new studio was designed to provide an easy transition from the JVC camcorders used in the field. “We have a lot of different users. Some are pros, others have never touched a camera,” Mastramico added.

PADNET uses Final Cut Pro for editing, and the GY-HM150’s native file recording saves producers from spending time transcoding footage. Mastramico said the GY-HM150s have been well received by producers, who supply their own SDHC memory cards for recording footage in the field. “They are easy to use and affordable for most people,” she said.

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY

Headquartered in Wayne, New Jersey, with West Coast operations in Long Beach, California, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC Kenwood Corporation.JVC is a leading manufacturer and distributor of broadcast and professional video and audio equipment, D-ILA front projection systems, and Super LoLux HD video security products. For further product information, visit JVC’sWeb site at http://pro.jvc.com or call (800) 582-5825.

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RG Jones And Martin Audio Maintain Winning Formula For Glastonbury

After a one-year break, it was business as usual back at the Worthy Farm site for this year’s Glastonbury Festival. RG Jones once again turned to the tried and true Martin Audio W8 Longbow system, which again dominated the Pyramid Stage.

With visiting artists and sound engineers so complimentary about the sound system two years ago, specialist sound company RG Jones had no hesitation in fielding a similar PA rig, knowing that this would meet all compliances and propagation tests set by the acoustics consultants and organizer Michael Eavis while satisfying the vast crowds of around 150,000 who converge on the site for the four day extravaganza.

The Longbow hangs are now a familiar sight, book-ending either side of the iconic Pyramid, having fulfilled similar duties for the previous four festivals.

Once again dual inner and outer PA hangs comprised of 14 W8L Longbow elements per side, with two W8LD Downfills at the base provided the full range dynamic––making 64 boxes in total. However, this year RG Jones changed the subwoofer design from the Martin Audio WS318X (3 x 18in) subs fielded in 2011 back to 54 of the WS218X (2 x 18in) enclosures used previously––still maintaining an electronically curved, cardioid broadside array configuration.

With the subs delayed incrementally from the center outwards, the overall wavefront was tuned to fill the Pyramid Stage area, and ensure that spillage beyond the site perimeter was minimized.

According to RG Jones’ project manager Ben Milton, a Glastonbury stalwart who was taking on the role of project manager for the first time, “We have tried various configurations of the bass array and this solution––with two enclosures front facing and one reversed––works particularly well; the rejection from the stage is great and it enables us to bend, shape and steer the sound.”

In addition, two clusters of four W8LC Compact Line Arrays, situated at each end of the crash barrier, provided nearfield infills, and four delay masts each comprising a further 16 x W8LC’s were positioned 330 ft. back from the downstage center, split into an arc.

“This solution worked great,” said Milton. “The organizers wanted to leave nothing to chance when it came to maintaining levels and this was virtually a carbon copy of the 2011 system. We had plenty of opportunity to walk the field and conduct measurements to ensure the accuracy of the system,” he said.

One advantage was the additional zoning that could be applied for tighter control. “All the tops were on individual circuits so we could turn them down very discreetly if necessary and sculpt the system. When the sun goes down the air temperature changes and we back off the top boxes; and as it cools we can bring them back up again.”

This is the domain of seasoned PA system technician Mark Edwards, who has extensive experience with all Martin Audio’s premier systems. He was an essential member of RG Jones’ specialist team, which included Steve Carr and Damian Dyer at FOH (with the experienced Simon Honywill occupying more of a ‘floating’ role this year). Down at the stage logistical duties were shared by Ben Milton (who also mixed monitors for some acts) and Mark Isbister. Supporting the system throughout was Martin Audio’s R&D director, Jason Baird.

Summing up, Glastonbury veteran, Simon Honywill, could not have been more positive, “This year’s Festival was the most professional, slick, and calm, enjoyable experience I can remember at an event of this stature.

“The Rolling Stones sounded absolutely incredible, with all the requisite punch and fidelity you could have wished for. Coverage was superb––the Stones FOH team was extremely happy, and the punters were testament to that. As a neutral platform for all the acts, it would be very difficult to criticize the sound, and I was proud to be associated with such a brilliantly well delivered system.”

Ben Milton added, “We now have bands and their technicians fully confident in the system and happy to use our racks, stacks and control. It makes for a great British synergy: a British production company using a British PA system at the greatest of British festivals.”

The only thing Glastonbury lacked, reflected Honywill, was [sound engineer] Steve Watson, who sadly died the weekend before. “He is sadly missed, and the industry won’t be the same without him,” he said in tribute.

For more about Martin Audio, please click to www.martin-audio.com

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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