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Archive for August, 2013

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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PESA Celebrates 40th Anniversary, Continues Tradition of Innovation

Huntsville, Alabama – PESA, a leading U.S.-based custom design and manufacturing company for professional audio and video signal distribution, is celebrating its 40th anniversary this year. Recognized internationally as a leading manufacturer of routing switchers, AV distribution products, and video scaling and conversion equipment, PESA products and technologies have shifted the market direction for video and audio distribution throughout its history.

Founded in 1973 by two entrepreneurial engineers, the company has evolved into a global AV routing and distribution leader with a versatile collection of products for the broadcast, religious, education, government, and military markets. In 1976, PESA became the first routing switcher company to offer redundant routing with automatic changeover options. Five years later, the company introduced the first ASIC-based hybrid video switch. In 1988, PESA created the very first virtual matrix mapping software, which was used by NBC during the Summer Games in Seoul, South Korea.

Other innovations followed. In 1991, PESA produced the first 100MHz RGB routing switcher, later followed by the first 200MHz and 400MHz systems, and in 2002 introduced the first 512×512 digital video routing system with hybrid coax/fiber I/O and internal redundant power and control. PESA pioneered the use of VGA and DVI signals over a single high density fiber optic distribution chain using SMPTE-compliant SDI, which set the foundation for converging computer and broadcast signals in the same system. Known for its space saving designs for the OB broadcast truck market, PESA was also the first company to offer a large-scale audio distribution router.

“The success of PESA comes from our ability to keep up with the times and keep ahead of design trends,” said Chuck Tillett, president and COO of PESA. “Our Cheetah product line changed the way facilities used fiber for signal distribution, and our DRS systems introduced a revolutionary new way to centralize and switch audio. We are also continuing our legacy of innovation for the next generations of digital formats, including 4K and 8K.”

PESA is expanding into new market segments as well, most recently with the introduction of the PESA Xstream multi-channel HD streaming appliance. In addition, several of its Cheetah large-scale router and PESA PRO signal processing products were recently certified by the U.S. Department of Defense. PESA is the first and only company to achieve listing on the DoD’s Unified Capabilities (UC) Approved Products List (APL) as a Video Distribution System (VDS).

“After 40 years of superior products and market success, an energetic attitude of innovation continues here at PESA,” said Howard Sutton, PESA executive chairman. “Video and audio delivery and distribution are dynamic industries, and to this day, we still design, manufacture, and test everything right here in our facility. I’m proud of the entrepreneurial spirit that exists throughout our organization.”

Frank Zimmerman, PESA’s senior engineering specialist and co-founder, said the company has always shown a commitment to developing reliable, cutting-edge products. “PESA is a special company with a unique culture that fosters and rewards innovation,” he added. “As the company moves forward, I am confident our rich history of innovation will continue to change the way the world works with audio and video signals.”

About PESA

As a leading provider of audio/video connectivity, PESA offers a wide selection of routing switchers, matrix switchers, extenders, converters, media extenders, and signal processing gear to support government, military, industrial, commercial, broadcast and mobile truck applications. PESA offers one of the widest ranges of AV products – from large scale fiber optic routing to single-point CAT-5 DVI extenders – each with the integrity and innovative high performance technology expected from PESA. Our products are available around the world from a leading team of channel partners offering local support and installation; and all of our products are supported by 24/7 technical support. To learn more about our technologies and services visit www.pesa.com. PESA is located in Huntsville, Alabama with regional offices throughout the United States.

All products mentioned herein are trademarked property of their respective owners.

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Calrec Chosen Once Again by Outside Broadcasting Giant MIRA Mobile

HEBDEN BRIDGE, U.K. — Aug. 13, 2013 — North American outside broadcasting (OB) giant MIRA Mobile Television has purchased two more Calrec Omega digital audio consoles for two of its OB trucks. The purchase brings MIRA’s total number of Calrec desks to seven, making Calrec the dominant audio-console brand in its fleet. The trucks with the recently installed Omega consoles cover sports in the region and are scheduled to work with Major League Soccer, Major League Baseball, and the National Football League over the next month.

“The improvement over the previously installed audio consoles in these trucks is a quantum leap,” said Bill Duncan, director of engineering for MIRA Mobile. “Even something as simple as flexible GPI control was not possible with the previous consoles. The Calrec consoles make managing a 5.1 production much more convenient, almost easy. And with the previous consoles weighing in at about 600 pounds, we believe the Omega consoles have significantly lowered the weight of each trailer, which is always a critical concern when considering equipment purchases in the OB market.”

With the Omega consoles, MIRA Mobile now has AES and MADI I/O capability, the ability to route signals and save setup files within the console, and a dramatic increase in the number of inputs and outputs.

One of the consoles, which has a 128 x 128 MADI interface, 96 x 96 AES I/O, and 96 x 96 analog I/O, was installed in truck M-5 in December 2012 and went on to cover professional basketball games, followed by college basketball. The second console, which has 128 x 128 AES I/O and 96 x 96 analog I/O, was installed in truck M-4 in June and immediately covered international soccer matches.

The two Omega desks join five other Calrec digital audio consoles in MIRA Mobile’s nine-truck fleet. MIRA Mobile, which is the production mobile provider for the Pac-12 Networks, relies extensively on Calrec consoles — especially those with integrated Bluefin2 HDSP and Hydra2 audio-routing technologies — because of their router sizes, scalability, networkability, and number of processing paths. Duncan cites familiarity and comfort, customer service, reliability, market acceptance, and an extensive pool of operators among the many reasons MIRA continually chooses Calrec.

“We installed the latest consoles ourselves under a very tight timeline, but we were comfortable enough with the equipment that we knew we could do it, especially given the impressive degree of support we always get from Calrec,” Duncan said. “Perhaps over time we will be fortunate enough to have an all-Calrec fleet, not just because of the overwhelming market share that Calrec enjoys in our industry, but also, and more important, because of our experience and the relationship we have fostered with Calrec.”

“MIRA Mobile is the largest mobile facilities provider based in the western United States, and it contributes to much of the regional sports broadcasting between the San Francisco Bay Area and Vancouver, British Columbia,” said Dave Letson, U.S. director of sales at Calrec. “The fact that MIRA relies so heavily on Calrec is a testament to its confidence in our gear’s ability to handle the demands of OB production environments, a confidence that is shared by the largest OB companies throughout North America.”

Calrec’s line of consoles will be on display at IBC2013 on stand 8.C58. Information about Calrec and its products is available at www.calrec.com and www.community.calrec.com.

Photo Link: www.wallstcom.com/Calrec/TomKansora-MIRAMobile.zip
Photo Caption: Tom Kansora, MIRA Mobile’s A-1 operator, works with a Calrec Omega audio console.

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About Calrec Audio Ltd.
Calrec Audio, part of D&M Holdings Inc., is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 40 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at www.calrec.com and www.community.calrec.com.

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The IABM Announces Winners of 2013 IABM Engineering Student Awards

All 10 Award Winners Will Receive IABM Sponsorship to Attend IBC2013

GLOUCESTERSHIRE, U.K. — Aug. 13, 2013 — The IABM (International Association of Broadcasting Manufacturers) today announced the winners of the 2013 IABM Engineering Student Awards. Presented to 10 students, the IABM-sponsored awards programme recognises high-achieving college students in the fields of broadcast engineering or media technology and offers each winner full financial support for attendance at IBC2013, Sept. 12-17 in Amsterdam.

The winners of the 2013 IABM Engineering Student Awards are Zoe Wyeth of the University of Salford, Julian Theis of the RheinMain University of Applied Sciences, Adam Plowden and Amy Tinker of Kingston University, Pierre Hamme-Gerome and Antonin Morel of the Université de Valenciennes, Kathryn Savage of Southampton Solent University, Lennard Bredenkamp of HTWK Leipzig, and Evgenii Smirnov and Anna Nikolaeva of St. Petersburg State University of Film and Television. Each award winner will receive funding to cover travel, accommodation, and daily expenses for a five-day trip to Amsterdam and registration to attend the IBC2013 conference and exhibition.

“Winning an IABM Engineering Student Award not only has provided me with the fantastic opportunity to attend IBC, but also has given me confidence in myself as a graduate broadcast engineer,” said Zoe Wyeth. “I hope to leave the conference knowing more about cutting-edge broadcast technology, having new contacts and friends within the industry, and having had an enjoyable week in Amsterdam!”

“I am very proud of winning an IABM Engineering Student Award, which presents a student like me with a unique opportunity to attend the IBC show,” said Pierre Hamme-Gerome. “In Amsterdam I will have the chance to meet some of the most influential people from the broadcast world, to network with professionals and other students, and to discover the latest media technologies for myself.”

The IABM Engineering Student Awards are part of the IABM’s global training initiative, a growing and evolving programme that was created to help increase the industry’s available pool of skilled broadcast engineers and technical staff. The awards programme is open to any student undertaking a full-time course of study directly related to broadcast engineering and media technology. This year’s winners were selected based on a 500-word essay explaining how the student would be able to benefit from attending IBC2013.

“Once again, the IABM Engineering Student Awards recognise a remarkable group of young men and women and provides them with the resources to see the latest developments in broadcast and media technology, learn from senior industry figures, and perhaps even meet a future employer,” said Roger Crumpton, a founding director and trustee of the IABM Educational Foundation which funds the programme. “The Awards are designed to showcase the broadcast and media technology industry to some of the brightest and best students from around the world. While the individual winners gain a significant personal benefit, the awards programme itself promotes the sector and encourages others to gain the knowledge and skills necessary to pursue the exciting career opportunities available. In this sense, the programme benefits not only the 10 winners named today, but the field as a whole.”

Further information about the award programme is available at www.theiabm.org/engineeringstudentawards.

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About the IABM Educational Foundation
Established as an independent educational charity in 2012, the IABM Educational Foundation works to support technical education, career development, and access to employment within the broadcast and media technology sector worldwide. The foundation’s first priority is the development and delivery of an international certification program that will recognise the attainment of individual engineers and technologists, and provide a framework for valuing their occupational and professional engagement as Continuing Professional Development (CPD). The IABM Educational Foundation also is committed to providing educational bursaries and travel awards that enable young people to attend training courses and key industry events that otherwise would be beyond their reach. For more information, please visit www.theiabm.org/foundation.

About The IABM
The IABM, the International Association of Broadcasting Manufacturers, is the authoritative voice of the broadcast and media technology supply industry worldwide. Its wide range of services to members encompasses market research and intelligence, training, expert representation at standards bodies and broadcasting unions, executive networking opportunities, and preferential purchasing. A presence at every major broadcast tradeshow, the IABM also provides a valuable channel for communication among broadcast manufacturers, government, and regulatory bodies. Additional IABM activities include awards programs for innovation and scholarships designed to stimulate the development of the broadcast and electronic media industries on an international basis. For more information, please visit www.theiabm.org.

All trademarks appearing herein are the property of their respective owners.

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For The Walking Dead Voice Actors Dave Fennoy and Cissy Jones, Neumann TLM 103 and U 87 Microphones Help Keep it Real

Old Lyme, Conn., – August 13, 2013- Dave Fennoy and Cissy Jones are both experienced voice actors with several successful gaming titles under their belts. A typical voice session for any other gaming title might involve recording a few greeting lines, some attack lines, taunting lines as well as various grunts and groans. But The Walking Dead — an episodic adventure series based on the successful comic book series of the same name — is based more on character relationships and dialog. This allowed Fennoy and Jones, both of whom use Neumann microphones for their voice work, much more latitude to develop their characters.

Fennoy did the voice work for lead character Lee Everett. Jones, meanwhile, did the voice work for no less than five characters including Katjaa (who appeared in episodes one through three), Jolene (episode two), and Brie (episode 4). Both Fennoy and Jones were thrilled at the amount of dialog in the game, as well as the deep interaction among the characters.

Fennoy, who relies on his Neumann TLM 103 large diaphragm condenser microphone in the studio, says he was immediately taken by the script of The Walking Dead: “On my first day in the studio looking at the script, I realized this was like no other game that I voiced before,” he recalls. “I have played two headed dragons, creatures that drop bombs from the sky, warriors, wizards and every other kind of creature. But Lee Everett was just an average, normal guy and very close to me. I didn’t have to come up with any crazy voices.”

Fennoy uses the Neumann TLM 103 mic inside his Whisper Room isolation booth at home, recording to his iMac running Pro Tools in conjunction with a Digidesign Digi 002 interface. “For accuracy and sound, you can’t beat Neumann,” he says. “This is the microphone that everything else is compared to.”

Cissy Jones: Raising the Level of Performance with Neumann

Cissy Jones also appreciated the deep characters within the script of The Walking Dead: “I am so happy to have had an opportunity to be part of this amazing game because it involved real people,” she says. “It is unlike anything I’ve ever done before and there was so much character development involved.”

During the production of The Walking Dead, Jones also gravitated towards Neumann — in this case, to the classic U87 large diaphragm condenser. “I have a deeper voice and all of that richness gets picked up accurately with the U87,” she says. “For animiation and video games, this is the best microphone to use if you want to capture all the detail and nuances in the recording.” Jones uses her U87 with a MacBook Pro running Adobe Audition, in conjunction with a Cakewalk two channel USB interface.

Jones agrees with Fennoy that the script afforded much more emotional breadth in the studio: “It’s conversation,” she observes. “You actually get a chance to know the characters and it’s not just battle cries. I’ve been in sessions where it is four hours of screaming, different ways of dying, or being the buxom blonde. That just wasn’t the case here and there was so much more depth.”

For Jones, audio occupies a foundational role in any gaming production, providing an irreplaceable emotional connection: “People play games to escape or experience another character in a different world,” she says. “If the audio is poor, you are taken out of that world, and it’s like watching a movie that is badly dubbed. Having audio that is spot on, on the other hand, provides the realism that people crave. Neumann helps me deliver this.”

With Season Two already in production, and with this summer’s recent release of ’400 Days,’ an episode that featured all new characters and helped bridged the gap between Season One and Season Two, The Walking Dead has already won more than 80 ‘Game of the Year’ awards around the world, and has been recognized in top industry and entertainment publications.

About Neumann

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

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, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

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

Captions:
1) Dave Fennoy with a Neumann U87.
2) The Walking Dead character page.
3) Cissy Jones, pictured alongside engineer Jory Prum.

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Forbidden Technologies Raises 8.9 Million Pounds ($13.8 Million) in Placing and Open Offer

Company Sees Significant Investment From New and Existing Shareholders

LONDON — Aug. 13, 2013 — Forbidden Technologies plc (AIM:FBT), the AIM-quoted owner and developer of the market-leading cloud video platform FORscene, announces that it has raised another 8.9 million pounds ($13.8 million), before expenses, in a placing and open offer to continue developing the platform and strengthen the company’s position in the market.

In June 2013, Forbidden Technologies announced a conditional Firm Placing of 40 million new Ordinary Shares, with the goal of raising 8 million pounds from new shareholders. At the same time, the company offered an additional 5 million ordinary shares in an open offer to existing shareholders, with the goal of raising another 1 million pounds. As of mid-July, Forbidden had sold 91 percent of those 5 million shares.

“When we issued our offering, we hoped to garner interest from both new and existing investors. The fact that we’ve been able to raise nearly 1 million pounds from existing investors alone is a testament to the strength of our product — and the strength of support for our strategy,” said Forbidden CEO Stephen Streater. “This new round of funding gives us the capital necessary to expand the company and solidify our position of leadership in cloud-based video editing.”

Forbidden will use the influx of new funding to expand marketing for FORscene, support distributors in providing after-sales service to end customers, provide additional working capital to expand and develop new customer relationships, and make new appointments that will strengthen the senior management team.

Forbidden intends to widen its reach globally for the FORscene editing platform. On-site FORscene ingest servers are already in use at some renowned post-production companies — such as ENVY, Shed Media Group, and The Farm Group — to integrate with existing post-production services and provide cloud-based logging, editing, reviewing, and approval. In addition, international value-added resellers and partners, including Atos, deltatre, and Key Code Media, offer localized FORscene service.

More information for investors is available at www.forbidden.co.uk.

Photo Link: www.wallstcom.com/ForbiddenTechnologies/FORsceneLogo.zip

# # #

About Forbidden Technologies plc
Forbidden Technologies plc is an award-winning technology company that develops and delivers cloud-based solutions for collaborative video post-production. Its flagship product, FORscene, is one of the world’s most advanced cloud-based video post-production platforms. Launched at IBC in 2004, FORscene has been used to log, edit, review, and publish more than 3 million hours of professional video content. Listed on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations including Atos, BIM, deltatre, EVS, and Key Code Media. More information is available at www.forbidden.co.uk.

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Hibino Sound Division Invests in Martin Audio MLA

The Hibino Corporation, the largest production enterprise for the entertainment industry in Japan, has made its first investment in Martin Audio’s Multi-cellular Loudspeaker Array (MLA) system. With its proven technology across challenging venues such as Tokyo Dome and large scale festivals like Rock in Japan, Martin Audio’s MLA system is solving problems that other sound systems simply cannot achieve, and this is attracting the attention of promoters demanding MLA as the system of choice.

Making up the Hibino Corporation are four divisions: Hibino Sound, Hibino Pro Audio Sales, Hibino Visual and Hibino Chromatek. The MLA acquisition was authorized by the Sound Division, which has been a market leader in international touring for many years that supports many of the world’s leading artists with premier loudspeaker systems.

Their investment is for four MLA System 36 rigs, plus an additional four MLD downfill and four MLX subwoofers. This gives them a combined inventory of 92 MLA, 8 MLD, and 52 MLX enclosures, ensuring a large capability.

The decision to invest was brought about by the need to provide consistent stadium coverage up to 650 feet deep (such as Tokyo Dome), without the need for delay towers. This enables them to deliver clear sound right to the back of the venue and at the same time solve any noise pollution and sound spill issues.

Speaking of this latest development, Ryoichi Hashimoto, Managing Director, Hibino Sound, explained. “We decided on the MLA investment because the promoters of summer outdoor festivals are increasingly demanding the absence of delay towers from festival sites and a need to solve offsite noise issues.

“We also like the fact that its calculation ability is extremely accurate. The benefit of this is that we can get a result that corresponds with what we have planned in the simulation.”

MLA also benefits from its size and weight ratio, which given regulations in Japan mean that the system provides no obstacles for its deployment.

“In Japan, the weight of the rigging is strictly regulated, but MLA’s weight is similar to systems we have used in the past, even though it is powered. So, it is good for us to be able to plan as we did before.”

Hibino Sound’s new MLA will be pressed straight into festival duty. “This is the most unique loudspeaker system we have ever had,” concluded Mr. Hashimoto. “It will become the new choice for customers since it has the ability to meet all their demands.”

Martin Audio has already completed training for most of Hibino Sound’s system technicians on site, which was carried out by Chris Pyne, Martin Audio’s Technical Support Specialist in APAC.

In summing up, Anthony Taylor, Managing Director for Martin Audio, said, “We are delighted that MLA continues to prove its technical advantage over the competition and more importantly solving sound issues that face the industry. For the number one rental company in Japan to recognize this is a great honor, and we look forward to supporting Hibino in their success moving forward.”

Photos: Hibino MLA technical training with Chris Pyne (center); Nagai Stadium in Osaka, one of the venues for which Hibino will be able to provide full MLA coverage without the use of delays

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

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