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Archive for August 7th, 2013

ST. JOHN’S UNIVERSITY WELCOMES STUDENTS WITH SYMETRIX

NEW YORK, NEW YORK: St. John’s University in New York City is one of the world’s leading Catholic institutions of higher education and serves over 20,000 undergraduate and graduate students. Welcoming prospective students and introducing them to all that St. John’s has to offer is a tremendous undertaking. To put its best foot forward, the university recently updated its welcome center. Included in that update is new A/V presentation technology underpinned by a standalone Symetrix SymNet Solus 16 open-architecture DSP. Shadowbox Design Management of Hicksville, New York designed and installed the new system.

“The school wanted to invest in newer presentation technology to create a good impression for prospective students and for new students,” said Joseph Ondrek, vice president of Shadowbox Design Management. “Moreover, they wanted to make the presenters’ jobs easier.” Inputs to the system include a Denon Blu-ray/DVD player with RS-232 control, a satellite TV feed, a permanent lectern computer, an auxiliary laptop computer jack, two Sennheiser wireless microphones, and a permanent podium microphone. Two Sharp 80-inch LED monitors with independent output via a Kramer 4×4 HDMI matrix switcher complete the video portion of the system.

The audio inputs feed a Symetrix SymNet Solus 16 standalone open-architecture DSP, which features sixteen inputs, eight outputs, and flexible third-party control options. Shadowbox programmed the Solus 16 to use a gain-sharing auto-mixer for the three microphones, which provides a well-balanced output volume regardless of differences in voice volume or mic technique, as well as robust feedback protection. “The Solus 16 has plenty of inputs for this system, which includes a number of stereo input sources,” said Ondrek. “There’s still room for future expansion if the school chooses to add additional devices. Its open architecture software allowed us to tailor the functionality, and its comprehensive RS-232 controls allowed for easy integration with a third-party controller from RTI. Of course, Symetrix always delivers dependable processors, and that was an important consideration too.”

An RTI RK3V 3.5-inch color touchscreen controller permanently mounted to the presenter’s lectern allows independent source selection for video and audio, as well as individual volume and overall volume control. Users can also use an Apple iPad to wirelessly control the system from anywhere in the room. An RTI XP-6 central control processor is the cornerstone of the user control system. “The ability for the Solus 16 to respond to RS-232 commands was perfect for this installation,” said Ondrek. “Our experienced RTI programmer set up the system to create a user interface that allowed the university staff to get the most functionality in the quickest and simplest way. Any questions we had were addressed quickly by Ryan Curtright and the other Symetrix techs that we spoke with.”

A four-channel QSC CX-204V 70-volt amplifier powers twelve QSC AD-C152ST-WH shallow-mount, full-range ceiling speakers and four QSC AD-C81Tw flush-mount ceiling subwoofers. Both the full-range loudspeakers and the subwoofers are divided into true stereo to retain the full life and vitality of media-supplied audio. “This is a fairly large number of speakers in a relatively small space, and it allows the volume to be kept at a lower level by distributing the sound throughout the listening area,” said Ondrek. “As a result, adjacent office and meeting spaces remain quieter than they would if we had used fewer speakers with greater individual volume.” The Solus 16 DSP routes all microphones through the full-range loudspeakers only, whereas program audio is also routed through the subwoofers.

In addition to the main output, the SymNet Solus 16 also generates a separate audio mix as an auxiliary feed. That feed can be used to record a presentation or for overflow into an adjoining room. Although the microphone mute toggles and program audio source selection made via the in-room controllers are duplicated in the auxiliary audio mix, their levels may be independently controlled if so desired.

ABOUT SYMETRIX
Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

AUSTRALIAN MUSIC INDUSTRY VETERAN PHIL RIGGER CHOOSES METRIC HALO HARDWARE AND SOFTWARE

SYDNEY, AUSTRALIA: Phil Rigger got his start in the music business the old fashioned way – in a rock band. That was the early 1980s, and the band was Outline. With Rigger on trumpet (boosted by a board loaded with pedals that launched his horn to the stratosphere) and acing the role of front man and lead vocalist, Outline tore up Australia, headlining packed shows and opening up for international acts that stopped down under. It was only a few years after the band split that Rigger formed Monstereo Music, a music and video production company that Rigger heads to this day. Now several decades into a financially successful and stable career, Rigger has written hit songs for other Aussie artists, produced and engineered innumerable albums, composed and produced for television and film, and, above all, continued to let his enthusiasm for the creative life keep him on a path that’s true. Along the way, he found Metric Halo and is now a dedicated user of Metric Halo’s hardware interfaces, its sound analysis program SpectraFoo, and its flagship plug-in ChannelStrip.

In addition to the intangible aspects of music production, Monstereo Music possesses a full-fledged recording studio and video production suite in Sydney. Like most people who get in the business and stay in the business, Rigger is opinionated about sound and the gear that improves (or sullies) it. The studio starts with a collection of tube mics from BeezNeez, Groove Tube, Neumann, and Rode, as well as solid-state microphones from those manufacturers and Shure, AKG, and Sennheiser. Outboard gear includes dual-channel Peach Audio tube preamps, Groove Tube SuPRE preamps, a Groove Tube MP-1 preamp, and a six-channel Audio Developments Class A mixer. The main Mac runs Cubase 7 and possesses 32GB RAM, 20TB of storage, and a Blackmagic video input card and 3GB output card. Event Electronics Opal studio monitors provide transduction at the other end. The video production suite possesses a cyclorama, three cameras, monitoring, and video switching. The video room and the control room are connected optically and via analogue so that users can monitor video input/output, as well as multichannel audio for webcasting and in-house shoots.

A collection of Metric Halo interfaces handles input and output conversion, as well as preamplification when Rigger is using a tube mic (he doesn’t necessarily like to go tube mic to tube pre for vocals). The collection includes one ULN-8, one 2882, and two ULN-2s, (one in the recording studio and one in the video production suite). “I got my first Metric Halo 2882 over a decade ago when my friend and frequent collaborator David Quinn discovered it,” said Rigger. “Because Metric Halo so faithfully supports its products with hardware and software upgrades, I’m still using that same 2882 today! What other piece of computer-related equipment evades obsolescence for so long? Between David and I we have three ULN8s, three 2882s and three ULN2s all with 2D cards.

He continued, “The reason I like Metric Halo interfaces is because they have that solid, high-quality sound. I’ve worked on a bunch of different high-end consoles over the years, and Metric Halo easily has the sound quality to compete with any of them. Of course, the portability is also fabulous. I’ve recorded so many live sets with my Metric Halo interfaces. They’re always solid and reliable.” Rigger also cites the on-board DSP as useful, especially the Character emulations that give the preamps different colors. “I’m a fan of the Classic British Pre emulation,” he said. “It adds a nice warmth to the recording that isn’t overbearing. In combination with a nice tube mic on vocals, the Metric Halo preamps produce a beautiful, rich recording.”

But Rigger’s use of Metric Halo gear doesn’t end there. In the studio, he keeps a second Mac up that runs SpectraFoo. It’s digitally connected to the main system for mixing and mastering. “SpectraFoo works beautifully,” Rigger said. “I’ve had it for nearly a decade. Other sound analysis programs have come along, but SpectraFoo’s display is par excellence. Having it up on a second computer works really well for me because the machine has nothing else to do but analyze the input. The great thing about that setup is that while I’m working, I can solo any individual track, any group, or even the entire song and analyze it.”

Finally, Rigger uses ChannelStrip as his go-to equalization and compression plug-in. “If I want to surgically adjust something, de-ess a vocal or brighten an acoustic track, ChannelStrip is fantastic,” he said. “It doesn’t put much of a load on the system, and although that isn’t such a huge concern these days, it’s a testament to good software design. I have a large collection of plug-ins, most of which I acquired for a particular sound or function, but ChannelStrip is more neutral and allows fine adjustment without imposing itself on the sound – a great feature! Metric Halo equipment and software are the foundation for my business.”

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

www.mhlabs.com

FULL SAIL UNIVERSITY INSTALLS 64-CHANNEL API VISION CONSOLE FOR RECORDING ARTS ACADEMIC PROGRAM

WINTER PARK, FLORIDA: Full Sail University’s Studio B is now the official home of a 64-channel API Vision console. The console will be the centerpiece of the university’s Recording Arts Academic Program. After a rigorous process, Full Sail’s new Vision eventually became the console of choice, primarily due to its distinct analog sound and highly teachable signal path. Installed on January 2nd, Full Sail has completely integrated the console into its Academic Program and is more than pleased with this next level of professional gear offered to students.

“We are excited to have the API Vision Console installed into one of our on-campus studios,” said Darren Schneider, advanced session recording course director at Full Sail University. “This addition to campus provides another opportunity to work on a professional platform and prepares them with knowledge of the technology they will encounter when pursuing careers in the music industry.”

Founded more than thirty years ago, Full Sail University, according to Rolling Stone Magazine, offers one of the top five best music programs in the country and is home to over 18,000 students from all over the world. “We’re honored to have an API console at such a prestigious educational facility,” API President Larry Droppa commented. “Students enrolled in the Recording Arts program learn all aspects of console technique and we’re convinced API products are an excellent way to both teach and understand signal path and signal flow.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

SYMETRIX SYMNET RADIUS DANTE NETWORK AUDIO DSP BRINGS ATLANTA HISTORY CENTER INTO THE 21ST CENTURY

ATLANTA, GEORGIA: The Atlanta History Center (AHC), which was founded in 1926, is in a period of tremendous growth. Its mission to link people, history, and culture through innovative programming connects with 228,000 visitors, including 60,000 school children, every year. In order to accommodate an expanding membership, increasing visitor base and a broadening range of programs, AHC increasingly relied on the 400-seat Woodruff Auditorium that was constructed in 1975. Although minor upgrades to the audio/visual system had taken place over the years, the facility was still using some of the original 1970s vintage equipment – components that were themselves becoming historical artifacts.

“In today’s constantly evolving world of technology, we must be able to connect our visitors with history through a variety of methods, not just traditional exhibitions and displays,” said Hillary Hardwick, vice president of marketing communications with AHC. “We must adapt our methods to meet the current and future needs of our diverse and growing audience, and having the right technology plays a significant role in how we deliver innovative programming.”

AHC consulted with Rogers Dixson, president and owner of Atlanta’s Cape Dixson Associates Incorporated (CDAI). In addition to having worked on a number of exhibits and new facilities over the years, CDAI had consulted on a significant renovation to the Woodruff Auditorium’s acoustics a number of years before.

CDAI first reviewed AHC’s system requirements with Jackson McQuigg, AHC’s vice president of properties. These requirements include AHC’s historical theatre program as well as a wide range of lectures, presentations, and other types of events being held in the Auditorium. CDAI and AHC concluded that to accommodate AHCs new and expanding requirements, a comprehensive replacement of the existing audio/visual and stage lighting systems was needed. The Atlanta History Center was able to undertake this project thanks to a grant from The Goizueta Foundation, but the use of grant funds meant that the project team had to make every dollar count.

CDAI realized that, while modern technologies existed that would meet AHC’s needs, the budget posed several challenges to the project team. CDAI proposed that AHC consider a different approach for the project. CDAI brought in Sound Design & Innovation (SDI), a new audio/visual system integration company started by Aaron Catlin, a former CDAI employee. “It was interesting the way the project evolved into a collaboration between CDAI, SDI and AHC,” explained Dixson. “I think the critical component that made this approach work was the high degree of mutual trust and respect between all three parties.”

A number of outstanding products were considered for the project but all of the original options posed challenges for the tight budget. Ultimately, the team decided on Symetrix’ Radius 12×8 Dante network audio DSP as the best “fit” for the project. The key element of the Symetrix system is Dante audio networking protocol, for which SDI wired the facility with CAT6 cabling.

“The Symetrix SymNet Radius 12×8 DSP is the cornerstone of the system; without it, a system with these capabilities would not have been possible within the budget constraints. When Symetrix announced the release of the Radius 12×8 DSP it was like the heavens opened up and smiled on us,” said Catlin.

The Symetrix Radius 12×8 has a powerful open-architecture DSP. It is fully and reliably controllable from a third-party application and its I/O is flexible and expandable for the future via the Dante network. In this installation it’s handling all of the processing for the main auditorium and the two overflow rooms, including room combining, but we’re only using about twenty percent of its DSP horsepower. Because the whole place is now wired with CAT6, AHC can easily expand or bring in additional Dante-compatible equipment for larger events.”

Bose digital amplifiers power a pair of discrete three element Bose column arrays and subwoofers that, in combination with the CDAI-designed acoustical environment, provide an amazing sound quality improvement in the space. “We set up a demonstration of the Bose system for AHC and the decision to use it was made on the spot,” says Dixson.

Six new Shure ULX-D series wireless microphones provide the workhorse, day-in-day-out inputs to the system. “Because AHC is in the Buckhead area of Atlanta – an area that can be an RF interference nightmare – I was glad to have Shure’s new Dante-based system to provide a reliable front end,” said Catlin. Outputs from video players, microphones from two overflow event rooms, and a stage box comprise the remaining inputs to the system. Since they interface seamlessly into a Dante network, the Shure system is fully available for processing and matrixing within the Symetrix Radius 12×8 DSP and doesn’t use any of its twelve physical inputs.

A Key Digital® Compass Control® system provides iPad and iPod-based touch control of every aspect of the room’s functionality. It controls a new Digital Projection E-Vision 8000 lumen Video Projector, new DMX controlled stage lighting, the existing stage curtains, the projection screen, and a variety of music and video playback devices. It also integrates with the Symetrix SymNet Radius 12×8 DSP to control room combining, input selection, volume, and other relevant system controls.

“With this new technology, we can deliver high-quality programs that will engage a broader audience. It allows us to explore the ways in which we convey history – whether through lectures, music series, film series, our newly-launched museum theater performances, and a variety of other types of event,” said Hardwick. “This system was not only conceived and designed to meet AHC’s needs for a long time to come, it brings AHC into the 21st Century, where a cutting-edge history center belongs,” Catlin concluded.

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

HANOI INTERNATIONAL FELLOWSHIP INSTALLS FIRST DANLEY SOUND LABS SYSTEM IN VIETNAM’S CAPITAL

HANOI, VIETNAM: The Hanoi International Fellowship (HIF) is a non-denominational church serving both expatriates and nationals in Hanoi, Vietnam. It draws together a congregation of over four hundred people, representing over forty nationalities. Because many of its members are itinerant or transient diplomats, students, and employees of NGOs, international businesses, and the like, HIF’s congregation turns over more rapidly than the congregations of most churches. HIF recently moved to its first permanent building, and its challenging acoustics demanded exceptional pattern control from its new sound reinforcement system. Singapore-based Soundsmith Solutions Pte. Ltd. designed the new system using Danley Sound Labs SM-80 and SH-micro loudspeakers and TH-mini subwoofers.

The new sanctuary seats just over two hundred people, and HIF’s services are punctuated by a full band playing contemporary music. “Previously, the congregation met at a local 5-star hotel, and the hotel provided them with the usual hotel sound system,” said Pastor Jinggoy of Hanoi International Fellowship. “That system was uneven. It was too loud toward the front and inconsistent throughout the rest of the room. The subs were boomy and the high-end was harsh.” In addition to designing the system, Soundsmith Solutions also supplied the components. Pastor Jinggoy helped coordinate the church’s own contractors to install the system based on Soundsmith Solution’s drawings and specifications.

Edwin Ng, project manager at Soundsmith Solutions Pte. Ltd., commented, “The big challenge in the new space was its very low ceilings. Moreover, it used to be a warehouse, so none of the walls were designed with acoustics in mind. The challenge was compounded by the fact that there were few places to position loudspeakers that wouldn’t interfere with sight lines. The Danley Sound Labs boxes were a very fitting solution due to their low profiles and their exceptional directivity.” The goal was to keep energy on the congregants and off the walls.

Inputs to the system collect at an Allen & Heath GL2400-424 console, which outputs to a Xilica XP8080 digital loudspeaker management processor. In turn, the processor outputs to QSC RMX 4050HD and RMX 5050 amplifiers. Those power two Danley SM-80 loudspeakers that provide main coverage, six Danley SH-micro loudspeakers that serve as delays, and one more Danley SH-micro that fills in the center front. “The SM-80s were ideal loudspeakers for the mains because they are so slim and could be mounted into the wall without any trouble,” said Ng. “Both the SM-80 and the SH-micro are highly directional, which was great for these low ceilings. The sound goes where it is supposed to go and nowhere else! Importantly, that directivity extends down to 400Hz. Moreover, the Danley tone is natural and not at all fatiguing.”

To provide low-end support for the system, Ng included two Danley TH-mini subwoofers, which the installers mounted into the front wall below the SM-80s. “The TH-mini has to be the smallest but loudest sub I’ve ever heard,” he said. “The amount of bass coming out of this box when properly powered is nothing short of amazing. Subjectively, every bass note is tight and punchy.”

He continued, “All together, the new system is way, way better than the system they used at the hotel. Everything sounds clear, crisp, and pleasant to the ears, and it doesn’t matter where you sit. The whole room is evenly covered. Even when the microphones are placed right underneath the center fill Danley SH-micro, there is no feedback. Hanoi International Fellowship couldn’t be happier.”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

1608 IN KOREA – API NAMES MI CORP A 1608 DISTRIBUTOR

SEOUL, KOREA: When MI Corp signed on as a distributor earlier this year, it was clear that they would make a great API representative in Korea. Now, taking the next step, MI Corp has become Korea’s representative, making the coveted console available to an entire market that was previously untapped.

MI Corp experienced much initial success with API products such as the Lunchbox®, 500 Series modules and the 3124+. As they began to design recording studios, it was clear that one thing was missing: the API 1608 console.

“MI Corp is designing prominent recording studios and meeting the most difficult demands of sound engineers,” said Sunny Park, Manager of the Import Department. “Many engineers [in Korea] would like to own and operate an API 1608 console.” And thus, the authorization to sell the 1608 console began. The 1608 that was shipped just a few weeks ago features its own demo room at the MI Corp headquarters.

Situated in the Gangnam-Gu area of Seoul, MI Corp originated as a musical instrument distributor back in 1997. As of 2009, they began to expand their services, aiming to become a leader in the multi-media industry. Expanding to professional audio and video, as well as the architecture and design of studios, they have been known as MI Corp ever since. Sales director and former recording engineer, Ted Suh, was familiar with the API reputation and knew the impact it would have in Korea and API soon became a fundamental part of their inventory.

“In the current digital audio equipment market, customers missed analog music equipment. We think API is the leading company, not only for consoles, but analog modules,” said Park.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

RASCAL FLATTS FOH ENGINEER JONATHAN LOESER RELIES ON METRIC HALO SPECTRAFOO SOUND ANALYSIS SOFTWARE

SAFETY HARBOR, FLORIDA: In only a dozen years, Jonathan Loeser has risen from newly-minted SAE Institute graduate to FOH engineer for multi-platinum country act Rascal Flatts. Along the way, he has worked as FOH engineer & production manager for Olivia Newton-John, FOH & monitor engineer for Prince’s “Welcome 2 America” tour, and FOH Engineer for Colbie Caillat’s 2011 Tour. The amiable engineer secured those gigs by delivering consistently excellent results, largely free of hiccups or hassles, through careful planning. One of his go-to tricks is careful metering and sound analysis. On the recommendation of colleagues, he recently upgraded to Metric Halo’s sound analysis software, SpectraFoo, which is paired with his Metric Halo LIO-8 interface, itself recently upgraded to include preamps.

“I originally purchased the LIO-8 to give myself a serious, professional interface that would be flexible enough to do anything I needed it to do,” said Loeser. “Prior to that, my converter was cheap. It felt like it was going to break in my hand. The LIO-8, together with its companion MIO Console software, gives me all of the routing and flexibility I need.” Although he had previously used a wireless DBX measurement microphone with line-level output, for the new Rascal Flatts tour, Loeser wanted to expand his monitoring options. “I added the mic preamp option for the LIO-8, which now gives me even more flexibility and portability.”

Previously, Loeser had used sound analysis software primarily for its transfer function. “With SpectraFoo, I’m still able to do that, of course, but I’m also able to do so much more,” he said. “SpectraFoo is very flexible. For example, when I do a time capture, I can move the point that I want to correlate with, which makes it a much more useful tool. Once I learned how to compose and save snapshot window sets, I configured SpectraFoo to show me everything I want to see for tuning and, separately, for the actual show.” Part of that functionality includes making up for his Studer Vista 5’s seeming only weakness: metering.

Tuning the system requires dealing with Rascal Flatts’ somewhat unconventional stage setup. “We have an extensive thrust, and there’s an apron in front of the stage that makes it hard to fill the gaps that it creates,” Loeser explained. “I have some under-hangs that do the trick, but they are touchy. For this tour, I’ve added two Audix measurement mics. During system tuning, I’m able to place them in the questionable zone of seating. Then, using SpectraFoo, I can actually see what the down-fills are doing. That’s critical because squeezing good vocal volume out when the main vocal mic is in front of the PA is my biggest potential headache.”

During tuning, Loeser’s custom SpectraFoo screen includes full-frequency transfer functions on the wireless RTA mic, as well as on the thrust mics. He also includes high-resolution, low-frequency transfer functions to properly align the subwoofers. For the show itself, Loeser flips to another custom SpectraFoo screen. He moves the Audix microphones to a near-audience position on stage that is also used by the monitor engineer for crowd capture. In addition to watching the transfer functions for those microphones, Loeser also takes a feed from the Vista 5 that parallels his send to the PA and gives it a big, fat meter in SpectraFoo.

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

www.mhlabs.com

Warner Bros.’ Thomas Gewecke to Present Keynote at SMPTE 2013 Annual Technical Conference & Exhibition

Premier Motion-Imaging Event to Draw Elite Thought-Leaders From Media Technology, Production, Operations, and Allied Arts and Sciences

WHITE PLAINS, N.Y. — Aug. 7, 2013 — The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that Thomas Gewecke, chief digital officer and executive vice president for strategy and business development at Warner Bros. Entertainment Inc., will be a keynote presenter at the SMPTE 2013 Annual Technical Conference & Exhibition. Gewecke will speak on the future of content in an increasingly Internet-based world.

“In various leadership roles over the past decade, Thomas has repeatedly found innovative ways to leverage the Internet to bring consumers popular content and services,” said SMPTE Education Vice President Pat Griffis. “Engineering online and mobile strategy at media giants Sony and Warner Bros., Thomas has played a key role in shaping the media and entertainment industry’s use of the Internet to deliver digital content. We’re very honored that he has agreed to present at our Annual Conference, and his keynote session promises to be highly engaging and informative.”

The SMPTE 2013 Annual Technical Conference & Exhibition is the premier annual event for motion-imaging and media technology, production, operations, and the allied arts and sciences. The event draws elite and world-renowned technology thought-leaders from motion picture studios, broadcast and distribution networks, production and postproduction communities, software companies, systems integrators, manufacturers, display technologies, distribution providers, over-the-top providers, and others leading the evolving motion-imaging industry.

Gewecke is among the technology thought-leaders shaping the motion-imaging industry today. At Warner Bros. Entertainment, he is responsible for driving the studio’s worldwide digital growth and managing its global business strategy. Gewecke coordinates the company’s digital distribution strategies to maximize the value of Warner Bros.’ content across all current and emerging digital exhibition platforms. He also oversees Warner Bros. Technical Operations and Corporate Business Development, as well as Warner Bros. Home Entertainment’s Direct-to-Consumer, Business Development, and Flixster group. Prior to joining Warner Bros. Entertainment, Gewecke was senior vice president of business development in the Digital Services Group for Sony Music Entertainment Inc.

In addition, the Annual Conference Program Committee has selected the technical papers that will be presented. The preliminary program is available at www.smpte2013.org. The SMPTE 2013 Annual Technical Conference & Exhibition is being held Oct. 22-24 in Hollywood, Calif., at the Loews Hollywood Hotel. The SMPTE Symposium is held in conjunction with the Annual Conference on Oct. 21 and online registration for both events is available at www.smpte2013.org. Early bird pricing for the event remains available until Friday, Aug. 9.

Further information about SMPTE and the SMPTE 2013 Annual Technical Conference & Exhibition is available online at www.smpte.org.

Photo Link: www.wallstcom.com/SMPTE/2013ConferenceKeynote.zip

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About the Society of Motion Picture and Television Engineers
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. SMPTE members include motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students from around the world. Information on joining SMPTE is available at www.smpte.org/join.

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iZotope Announces RX 3 and RX 3 Advanced

The fastest, easiest way to repair and restore audio

iZotope Inc., Cambridge, MA (August 7, 2013)- iZotope Inc., a research-driven audio technology company, has announced an update to its flagship audio repair suite,RX®. Ideal for audio engineers, post production professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more, the new RX 3 rescues troubled audio to save it from the cutting room floor.

From cutting-edge tools and enhanced workflows to a redesigned user interface, RX 3 fixes audio problems with unprecedented power and precision.

Highlighted features:
- Work up to six times faster thanks to under-the-hood processing enhancements and a redesigned user interface.
- Remove or reduce reverb from audio using the new Dereverb module in RX 3 Advanced.
- Clean up dialogue on the fly with RX 3 Advanced’s all-new real-time Dialogue Denoiser
- Use both your eyes and your ears to identify and fix problems within a spectral audio editor.
- Never lose an edit again with the unlimited Undo history, saved automatically with audio data into the new RX document format.

Pricing
Customers who purchased RX 2 after July 1, 2013 will receive a free upgrade to RX 3 upon release. Customers who purchased RX 2 Advanced after July 1, 2013 will receive a free upgrade to RX 3 Advanced upon release.
Special upgrade pricing will be available for all previous RX customers upon release.

Availability
Sign up today and be among the first to hear when RX 3 and RX 3 Advanced become available by visiting: http://www.izotope.com/rx3

Compatibility
Both RX 3 and RX 3 Advanced can be used as a standalone audio editor, or as plug-ins in your favorite host. Supported plug-in formats include 64-bit AAX (Pro Tools 11), RTAS/AudioSuite (Pro Tools 7.4-10), VST, VST 3, and Audio Unit.

About iZotope
iZotope is a research-driven audio technology company based in Boston, Massachusetts. Its award-winning products and audio technologies are in use by millions of people in over fifty countries, from consumers to musicians to major film, TV, and radio studios. Some of the diverse clients include musical giants like BT, Depeche Mode, and RZA of WuTang Clan; radio stations like Boston’s iconic WGBH; and TV programming like CBS’s Survivor, the Discovery Channel’s Deadliest Catch, the World Cup broadcast, and the GRAMMY awards. Through an extensive licensing program, iZotope technology is also directly integrated into products made by industry-leaders such as Adobe, Avid, and Sony; video games from companies like Harmonix and Ubisoft; as well as a growing number of mobile phone applications.For more information on iZotope products, visit www.izotope.com.

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Australia’s Gearhouse Broadcast Standardizes on Riedel Artist Intercom Systems

WUPPERTAL, Germany — Aug. 7, 2013 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today announced that Australia’s Gearhouse Broadcast Pty Ltd is continuing to base all of its outside broadcast (OB) units on the Riedel Artist digital matrix intercom system. Installed across five OB trucks so far with two more slated for release in 2014, the Riedel systems serve as the core communications platform and integrated commentary/announce solution for Gearhouse’s mobile and remote productions. As early adopters of the Artist system, Gearhouse Broadcast holds Australia’s largest complement of OB-deployed Riedel systems.

“We continue to choose the Artist system for its overall capabilities, the power and flexibility of its software, and the superior audio quality assured by internal digital audio routing,” said Stephen Edwards, head of engineering at Gearhouse Broadcast Pty Ltd. “We can easily merge and expand Artist systems across multiple OB trucks and facilities, and their integration with Lawo audio desks gives us the benefit of sharing signals and resources between the two systems.”

Located in Sydney and Melbourne, Gearhouse Broadcast Pty Ltd is a leader in HD OB technology. Its ever-growing fleet currently consists of seven HD units of various sizes and two SD units. The company’s OB business covers a wide range of sporting and entertainment events, most notably the Australian Rules Football (AFL) for Network 7, Super 15 Rugby, A-League Football for Fox Sports, and V8 Supercars for V8 Supercars Pty Ltd. The two latest OB trucks to be equipped with Riedel’s Artist intercom systems, HD5 and HD6, feature identical 192-port systems comprising a combined Artist 128 and Artist 64 system in a two-node configuration.

The Artist system also is in use at the U.K.’s Gearhouse Broadcast Ltd, which is part of the Gravity Media Group along with Gearhouse Broadcast Australia. The U.K. operation has already integrated five Artist systems for international projects and mobile fly-away systems.

“As part of Gravity Media, the Gearhouse Broadcast businesses represent one of the biggest content production groups in the world, and it’s great that Riedel has its support,” said Cameron O’Neill, solution manager at Riedel Communications. “We’re working with the companies on a number of projects to make sure that, both with and without traditional OB units, they can deliver new and exciting content to TV and second-screen audiences.”

Further information about Gearhouse Broadcast and the company’s portfolio of services is available at www.gearhousebroadcast.com.au.

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

Photo Link: www.wallstcom.com/Riedel/Gearhouse.zip

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

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