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Archive for August 14th, 2013

Haivision First to Achieve Common Criteria Certification for Video Encoders

Makito Video Encoders Support International Standard for Consistent Platform Security and Integrity

MONTREAL AND CHICAGO — August 14, 2013 — Haivision today announced that its Makito™ product line of video encoders achieved the Common Criteria certification, the international standard for information technology security. Haivision products, Makito, Makito Air, and Barracuda™, are the first video encoders to receive this certification.

Haivision’s Common Criteria certification allows customers to meet U.S. federal government and international information assurance and security requirements, such as the U.S. Department of Defense Information Assurance Certification Process (DIACAP). This certification ensures that program managers and IT staff can dramatically accelerate the time and effort required to acquire and deploy new solutions.

Led by the National Information Assurance Partnership (NIAP), a joint initiative of the U.S. Government’s National Security Agency (NSA) and National Institute of Standards and Technology (NIST), the Common Criteria international standard ensures that products achieve a highly repeatable level of platform security and integrity.

Haivision’s Common Criteria certification bolsters the company’s strong history of supporting security requirements of U.S. federal customers, including the Certificate of Networthiness (CON) from the U.S. Army and an Authority to Operate (ATO) throughout the U.S. Air Force. In addition, the Makito and Makito Air were the first 1080p60 encoders certified by JITC, the Joint Interoperability Test Command of the U.S. Department of Defense.

Haivision’s Makito, Makito Air, and Barracuda low-latency, Common Criteria video encoders are heavily relied upon by federal and military organizations for mission-critical video applications. Makito encoders are recognized for their low-latency and high quality, HD full motion video (FMV) compression combined with Key Length Value (KLV) metadata support required by mission systems supporting both ground and airborne intelligence, surveillance and reconnaissance (ISR).

“Our goal is to continue to raise the bar for uncompromising security and integrity standards, delivering the most reliable solutions for our federal customers,” said Mirko Wicha, president and CEO of Haivision. “With our JITC certification and ISO achievements, Haivision has a strong reputation for delivering enterprise and military-grade solutions according to rigorous industry standards. This new Common Criteria certification continues that mission and ensures our customers have what they need to easily select and deploy solutions they can count on.”

Now listed on NIAP’s Product Compliant List (PCL), the Makito product line of video encoders were evaluated and accredited at licensed and approved evaluation facilities for conformance to the Common Criteria for IT Security Evaluation (ISO Standard 15408). Certified Makito and Barracuda encoders are now shipping with firmware 2.1.1 and comply with the Common Criteria Protection Profile for Network Devices Version 1.1. The new firmware promotes consistent security practices and includes features to support platform integrity, administration auditing and event logging.

Haivision’s Common Criteria Certificate specifying all certified products can be viewed at:www.haivision.com/files/common-criteria-certificate. For more information on the Common Criteria certification, please visit: www.haivision.com/markets/federal.

About Haivision

Haivision delivers solutions for streaming, recording, managing, and distributing secure IP video and interactive media within the enterprise, education, medical/healthcare, and federal/military markets. Haivision is a private company based in Montreal and Chicago, with regional offices in Austin, Texas; Atlanta, Ga.; Beaverton, Ore.; Hamburg, Germany and Washington D.C. With a global sales and support organization, Haivision distributes its products through value-added resellers, system integrators, distributors, and OEMs worldwide. More information is available at www.haivision.com.

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

Twitter: www.twitter.com/haivision

Facebook: www.facebook.com/haivision

LinkedIn: www.linkedin.com/company/Haivision

 

Haivision Press Contact:

Jennifer Gazin

PR and Communications Manager

Tel: +1 (514) 334-5445

Email: jgazin@haivision.com

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Peter Keppler Uses Waves Plugins on David Byrne/St. Vincent and upcoming Katy Perry Tours

TEL AVIV, ISRAEL, August 13, 2013 — Waves Audio is seeing leading cutting-edge live engineers turn to WavesLive tools, including Peter Keppler, an in-demand front-of-house, broadcast and post-production mixing engineer (David Bowie, Nine Inch Nails, Rufus Wainwright, David Byrne/St. Vincent, Katy Perry). On David Byrne and St. Vincent’s 2012 tour, Keppler used a WavesLive SoundGrid® system with a DiGiCo SD10 console, and he plans on using a similar rig on their 2013 tour. On tour with Katy Perry in 2014, he will use a SoundGrid system with DiGiCo SD7.

Keppler has been using plugins in his shows with VENUE consoles, and now, having switched to Digico, he was able to take his plugins with him to the new platform. Keppler states, “Waves MultiRack SoundGrid with Waves plugins has been vital to my sound and workflow with the DiGiCo desks. My go-to plugins are the Waves C6 Multiband Compressor, CLA-76 and TrueVerb, and of course I use several others as well. Using C6 on vocals works beautifully. I can use much more gentle compression on the channel, because any of the ‘peak-y’ frequencies are taken care of beforehand with C6, and subsequently retain more of the singer’s dynamics. Also, I do some basic EQ with the C6, and that leaves more of the console channel EQ available to me if I need it.”

He continues, “The CLA-76 and PuigTec EQP-1A are both great on acoustic guitar. I use it to make an acoustic much more aggressive for a rock and roll show, so you can really hear and feel it without overtaking the mix. Shorten the attack time and lengthen the release a little, and it will work great for more acoustic-based music, too. It also proves to me that true and accurate modeling of vintage analog gear IS possible! TrueVerb has been a favorite of mine for years. To my ear, it is the best plugin room-style reverb I’ve ever heard. I use it for a short-to-medium room on drums. And with David Byrne and St. Vincent we have eight horn players, and it’s a beautiful complement to their sound.”

He notes a few other favorite Waves plugins: “The other Waves plugins I am using are H-Delay, which I love to make a kind of lo-fi slap echo for vocals, and Doubler, which I’ve been using more as stereo thickener than an actual doubler. In stereo, with just a little pitch and slow modulation on each side, it emulates a Harmonizer-style stereo thickener really well.”

Peter Keppler is part of the growing trend among live sound professionals who are making the move to the next-generation workflow with Waves plugins and WavesLive SoundGrid. Visit www.waves.com and www.waveslive.com for more information.

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Upcoming 135th Audio Engineering Society Convention to Offer Expanded and Highly Focused Broadcast and Streaming Sessions

— New panels for this year’s show reflect key current trends in broadcasting and streaming, including the weather event-inspired “Broadcasting During Disasters” and the future of sound attached to 4K video —

— Topics from previous panels also reflect changes in the industry, such as last year’s examination of the loudness issue for television broadcasting, this year broadened to encompass radio and streaming applications, and the Facility Design rubric looking at new ESPN broadcast facilities in Connecticut and Qatar —

New York, NY, August 13, 2013 — Always at the cutting edge of key trends in broadcast sound and streaming audio, the Broadcast and Streaming Sessions at the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) will bring an intense focus on key frontiers in professional audio. Reprising his role for the 27th year as Chairman of Broadcast and Streaming Sessions, David Bialik has consistently developed meaningful and significant sessions that draw standing-room-only crowds.

This year’s broadcast/streaming sessions are the most exciting yet, offering a look at the implications of how new technologies will affect broadcast and streaming audio, such as “Audio For 4K TV,” and “Broadcasting During Disasters,” a look at how the close-to-home strike of Hurricane Sandy last year impacted news and other broadcast operations, as well as updated iterations of longstanding issues facing the industry, such as loudness and maintenance.

“As always, what we’re doing is taking key issues and technologies in the broadcast and streaming domains and looking at them closely and intensely, but in a way that’s as relevant and accessible as possible to the greatest number of people,” explains Bialik, who also works as the Project Manager for Streaming Operations at CBS Radio in New York City. “We make a special effort to develop mini-tracks focused on topic-related issues,” he says. “For example, attendees will find groupings of events on Troubleshooting, Audio for TV, and Radio & Streaming, which are virtually crash courses on these issues. We strive to make them interesting and entertaining, but still keeping the information at the highest level. And we strongly emphasize that these events are discussions of technologies and techniques, not sales presentations. The AES Convention continues to serve as an essential destination for the serious audio professional.”

The sessions for this year’s AES Broadcast/Streaming series are a mix of cutting-edge new topics and updated familiar ones. Events include:

“Broadcasting during Disaster” – “How Hurricane Sandy impacted the ability of broadcasters to quickly respond with accurate, timely life-safety information,” says Bialik.
“Is it time to retire the MP3 protocol for Streaming?” — “The MP3 format has been around a long time now,” he says. “The key point we’re going to focus on is, is backwards compatibility holding up future progress?”
“Audio for Mobile TV” and “Streaming and the Mobile Initiative,” which both look at the issues audio faces as it moves into the mobile landscape. “Today, cars are being designed to be compatible with mobile phones, not the other way around,” says Bialik. “The tail is wagging the dog.”
Other sessions include timely and relevant topics, including focuses on “Audio for 4K TV,” “Listener Fatigue and Retention,” “Television Loudness and Metadata,” “HTML5 and Streaming,” “Modern Audio Transportation Techniques for Remote Broadcasts,” “Hardware Troubleshooting Basics,” “Technology and Storytelling: How Can We Best Use The Tools Available To Tell Our Stories,” “Facility Design” and “Loudness Control for Radio and Internet Streaming.”

“This year’s Broadcast/Streaming Sessions will be as good as any that David has assembled in over a quarter century of keeping these topics at the cutting edge, and then some,” observes Bob Moses, Executive Director of the Audio Engineering Society. “Attendees will be drawn to these sessions by their compelling and timely topics and David’s elegant assemblage of technical talent on each carefully thought-out panel, and they will come away with new information about technologies and techniques that will help them take their own careers further.”

For further information on the 135th AES International Convention, please visit http://www.aes.org/events/135/.

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ESS Audio Promotes HARMAN’s JBL VTX Line Arrays Through Busy Summer Season

WARSAW, Poland – ESS Audio, HARMAN Professional’s distributor in Poland, is midway through a busy summer festival season with HARMAN’s JBL VTX line arrays, highlighted by the recent Heineken Open’er Festival at Gdynia-Kosakowo Airport on the North Coast. Organized by concert agency Alter Art, Heineken Open’er Festival is one of the biggest festivals in Poland (and the third largest in Europe), with 50,000 attending the 4-day festival daily.

ESS Audio’s customer—rental company, GMB Pro Sound—took responsibility for equipping the main stage, using their new JBL VTX system. They fielded a total of 64 V25 fullsize line array elements, with the main front-facing PA comprising 18 elements per side. This was supported by outfills (in hangs of nine) and downfill enclosures, complemented by 48 G28 subwoofers in a broadside reverse cardioid array. Four VERTEC® VT4889 fullsize line array elements were added for near-field coverage and a further 24 VT4889 were used for delays further down the field.

The entire system was powered by Crown I-Tech 12000 HD and Macro-Tech MA5000 amplifiers, while the company dipped further into its HARMAN Professional inventory for digital control. Four Soundcraft Vi6 digital consoles were deployed for use by the FOH and monitor engineers for internationally-famous acts such as Rihanna, Blur, Steve Reich, Arctic Monkeys, Editors, Skunk Anansie, Nick Cave, Queens of the Stone Age and Kings of Leon.

Earlier in the month, GMB Pro Sound had again fielded its premium JBL VTX system for the main stage at Orange Warsaw Festival, held at the National Stadium, Warsaw, and this year featuring Beyonce, Fatboy Slim, Basement Jaxx, Tinie Tempah Offspring and Cypress Hill. Since the Festival began in 2008 it has grown to become one of the country’s most important events, televised by commercial network TVN.

The same company also supplied a pair of Soundcraft Vi6 digital consoles for the Top Trendy Festival at Opera Leśna in Sopot (close to Gdynia). Organized by television station, Polsat, the event is divided into two sections: ‘Top’ presents the 10 most popular artists in Poland while ‘Trendy’ presents emerging artists, who participate in a talent show. Viewers voting by SMS chose the winner, with the prize a Polsat TV appearance.

For this event sound coverage was provided by 30 V25 line array elements and 18 G28 subwoofers, each driven by a Crown VRack system, supplemented by a further four VERTEC VT4880 arrayable subwoofers (powered by Crown Macro-Tech MA5000), eight VERTEC VT4887 compact line array elements and four VRX932 Constant Curvature loudspeakers on fill duties—all assigned to Crown I-Tech 8000 amplifiers.

Finally, in the south of the country, the National Festival of Polish Song is staged and broadcast annually at the Millennium Amphitheatre (Amfiteatr Tysiąclecia) by TVP, Poland’s national broadcaster. One of the two most important music festivals in Poland, the Opole festival reflects the past year’s achievements by Polish song writers and performers, incorporating hits of the previous season with new songs and performance debuts (including a tournament).

For this event, GMB Pro Audio fielded 18 VRack-powered JBL V25’s, along with 12 SRX712M monitors and a pair of Soundcraft Vi6’s—one at the stage and one at FOH.

Summing up, the challenges of getting so many large VTX systems out to so many major events, ESS Audio director, Witold Karalow said, “Poland is a great place to see how versatile and powerful the JBL VTX system is. We have been able to cover the four biggest and most famous festivals in the country with JBL line arrays—presenting totally different music genres, from rock and pop thru classical, R&B and club music.”

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Electrosonic Continues Southeast Expansion with Appointment of Senior Systems Consultant Les Hill to Orlando Office

Electrosonic has appointed Senior Systems Consultant, Les Hill, to its Orlando office to reinforce the company’s commitment to audio-visual service and systems engineering support for Florida’s large theme park and tourist industry.

Electrosonic is a leading national and global AV systems integrator. Its portfolio includes many of the highest profile theme park attractions, museums and visitor centers in the world. The company has worked closely with the leading theme park developers in Florida since it opened its first US office in 1972.

Les will be responsible for expanding new business opportunities and building on existing partnerships. He joined Electrosonic in 2005 at the company’s Burbank, California, headquarters and is responsible for many of Electrosonic’s West Coast and Asia entertainment projects in the museum, theme park and live entertainment markets.

“I’m thrilled with the opportunity to support Electrosonic’s business in the Southeast,” says Les. “I’m looking forward to bringing my many years of experience in the Entertainment market to further enhance our support for our clients.”

“The Entertainment market in the Southeast is a key business area for Electrosonic,” added Bryan Hinckley, Electrosonic’s Business Development Manager of Themed Entertainment. “Les brings an unmatched experience in the theme park and museum markets that will help us develop new business as well as support our existing clients and ongoing projects.”

Les has spent over 25 years in the themed entertainment market. Prior to joining Electrosonic, Les worked for Universal Studios as Area Director and Technical Manager during the construction of Universal Studios Japan. He was also the Show/Ride Manager for the Indiana Jones Ride at Disneyland and for the Splash Mountain Ride at Walt Disney World. He also spent several years as Project Director for SimEx-Iwerks where he participated in the development of the company’s extremely popular Turbo Tour motion based systems and 4D seat products, and managed dozens of special venue theaters around the world.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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