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Archive for September 24th, 2013

VMP Launches PDS-LCHB 360-Degree Large Flat Panel Tilt Ceiling Mount Adapter at ASIS 2013

CHICAGO, Sept. 24, 2013 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the security, commercial, residential, and pro audio/video markets, is proud to announce the launch of the new PDS-LCHB large flat panel ceiling mount adapter during ASIS 2013, held in Chicago from September 24-27 at McCormick Place, booth 1185. Now shipping, the new PDS-LCHB has an MSRP of $199.95.

“The PDS-LCHB adapter allows for the accommodation of a 37- to 70-inch flat panel display to an existing ceiling mount mast, such as one previously used to support a bulky tube television, so there’s no need to replace the entire mount,” said Keith Fulmer, president of Video Mount Products. “Designed for both practical and aesthetic purposes, the PDS-LCHB is the ideal multi-function option for a host of applications, such as in schools, restaurants, bars, health clubs, and arenas.”

The PDS-LCHB has a maximum flat panel hole pattern of 860mm x 500mm, rotates 360 degrees with an adjustable 0 degree to 15 degree tilt, uses standard 1.5inch NPT masting, has a load capacity of 180 lbs., and is complete with powder coat finish.

For more information, please visit www.videomount.com or call toll free 877-281-2169. If you need help choosing the right mount for your application, try the Video Mount™ Finder at www.chooseamount.com.

About Video Mount Products
Born in 1994, Video Mount Products (VMP) is a leading provider of mounting solutions for the A/V, communication and security industries. VMP products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to grow by adding mounting systems to address growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of our business.

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San Diego Opera Covers More Ground with Clear-Com’s Tempest2400

Seamless Roaming Allows Crew Members to Travel Throughout Large Venue and Nearby Spaces Without Loss of Signal

SAN DIEGO, CA, SEPTEMBER 24, 2013 – The San Diego Opera is expanding its production communication coverage area with the help of Clear-Com’s wireless intercom system. As part of a system upgrade, the opera has installed six Tempest®2400 Digital Wireless Intercoms with the new Seamless Roaming capability. The four-channel wireless systems not only support more wireless BeltStation users and deliver the most intercom options, but they also provide the crew and management department with interference-free communications across multiple productions spaces.

Clear-Com’s Tempest®2400 Digital Wireless Intercom with the new Seamless Roaming capability provides San Diego Opera with interference-free communications across multiple productions spaces for all its productions, including its recent performances of Samson et Delilah (pictured here).

One of the leading opera companies in the United States, the San Diego Opera puts out four operatic productions a season, in addition to concerts and other special events. Wireless intercoms are essential for the crew members since the systems permit untethered movement and communication during productions. Because of the limited coverage area offered by the production team’s former wireless intercom, they sought new wireless intercoms that would cover the far-reaching areas of the building and a nearby plaza often used for VIP receptions. In addition, the production team wanted to avoid the issue of interference with their new wireless intercom because wireless systems from local TV stations were already competing for the same frequency spectrum as the opera’s existing equipment. Already familiar with Clear-Com’s intercom solutions and their capabilities, the San Diego Opera decided to employ Clear-Com products for its latest upgrade.

Six Tempest BaseStations were connected via ZSync (Zero Synchronization) technology to give the staff Seamless Roaming in every production area. Tempest’s Seamless Roaming feature lets the crew members conveniently travel throughout the performance facility and stay connected without having to change the settings on their BeltStation.

Operating in the 2.4 GHz band, the Tempest2400 systems also resolved the opera’s challenge of wireless interference in the UHF spectrum. Tempest’s Frequency Hopping Spread Spectrum (FHSS) technology ensured that the system does not compete with signals from other 2.4 GHz wireless devices as well. This minimized frequency coordination and enabled the system to have flawless wireless performance.

“I had television stations intruding directly upon my wireless equipment and so much of it was not working the way it should due to the interference,” says Bill Scott, Audio/Visual Technician for the San Diego Opera. “Clear-Com seems to be first out of the gate to address this, having come up with a very good product to solve all of those problems. We know that the 2.4 GHz operating spectrum of the Tempest2400 system along with its advanced RF technology is going to secure our communications now and for the foreseeable future, so it was worth the investment.”

FHSS, along with proprietary algorithms and timing synchronization mechanisms, allows the Tempest BaseStation to support more full-duplex BeltStations in a single RF space than other systems. As a result, the opera is able to have more full-duplex BeltStation users than previously possible. Approximately 40 people at the San Diego Opera use the Tempest systems and the Clear-Com analog partyline that is integrated with the Tempest for a basic opera production. Crew members handling set changes and other items on the stage utilize the Tempest system, along with personnel in the dressing room, the trap room and a rehearsal hall, which is separated by some distance from the stage area. On the wired system is the center stage manager, along with those manning spotlights in the upper balcony and staff in the venue’s offices.

Having four-channels of communication on Tempest is another asset since this gives the staff the option of communicating within a single channel or talking/listening to more than one channel at a time. Other advantages of the Tempest are that crew members can change the volume of each channel and their program feed from their BeltStation. The entire configuration of the Tempest system can easily be adjusted via the system’s associated T-Desk software to fit the opera’s varying productions.

“My goal with the new intercom system was to expand the loop of communication so that everyone who was critically attached to the production is connected,” says John David Peters, Production Carpenter and Technical Director for the San Diego Opera. “We are learning to take advantage of the multichannel capability of the Tempest system, which we are finding particularly useful when teching a show. In the past, we had one channel on our wireless system, with 19 or 20 people on that one channel, so there was a lot of cross talk. Being able to assign separate work groups to different channel has really streamlined communications. The other thing that I think is really remarkable about the system is how there is absolutely no noise.”

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

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Canon U.S.A. Delivers Innovative IP Video Security Cameras at ASIS 2013 with Full HD and Megapixel Imaging Performance

MELVILLE, N.Y., September 24, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, will exhibit its product line of Full HD, Megapixel and Standard Definition IP Video Security cameras at ASIS 2013, held September 24-26, 2013, at McCormick Place (booth # 377) in Chicago, Ill. Designed to deliver a wealth of end-user benefits to various professional security markets, Canon’s eight different IP Security cameras include Pan-Tilt-Zoom, Fixed Dome and Stationary “Box” Style models.

Visitors at the Canon ASIS 2013 exhibit will have the opportunity to view demonstrations of the precision optics and exceptional image quality of Canon IP Security cameras at four specially designed demo stations. A special demonstration of the low-light capabilities of Canon’s IP Security cameras will display how Canon cameras capture color and black & white video even better than the human eye can see. Also present at the exhibit will be information on Integration Partners and a wide range of third-party Enclosure Solutions, including housings, domes and mounting brackets.

The following models from the Canon IP Video Security camera product line will be on display at the show:

Full HD IP Security
• The VB-H41 Pan-Tilt-Zoom Camera, featuring a Canon 20x optical zoom lens with 12x digital zoom, a wide 60.4º angle of view and an advanced auto focus algorithm for accurate focusing even in low-light, haze, and other challenging environments. With a built-in electronic image stabilization feature that minimizes blur that can be caused by vibration in the installation base, the VB-H41 can capture potentially crucial image detail in low-illumination environments.
• The VB-H610VE Fixed Vandal-Resistant Dome Camera, featuring a clear polycarbonate dome mounted to an aluminum body. This unified enclosure has a dust- and water-resistance rating of IP66 and is designed to absorb violent impacts, or for use in areas that may be subject to abuse, such as correctional facilities, public transportation centers, shopping malls and schools. An optional heater allows the camera to be used in temperatures down to -22º F. The VB-H610VE also features a built-in genuine Canon 111º wide-angle 3x optical zoom lens for clear, high-quality images and can capture potentially crucial image detail in low-illumination environments.
• The VB-H610D Fixed Dome Camera features a built-in genuine Canon wide-angle 3x optical zoom lens with an ultra-wide 111º angle of view, making it ideal for use in areas with severe space restrictions such as stairways, narrow halls and elevators, as well as vast, wide-open spaces such as shopping malls or factory floors.

Both the Canon VB-H610VE and VB-H610D IP Security Cameras also include a Remote Adjustment Function to change their angle of view – including pan, tilt, rotation, zoom, and focus – from any remote Internet-connected PC, thereby virtually eliminating the time and expense of on-site adjustments involving labor, transportation and equipment.

• The VB-H710F Fixed “Box” Camera provides a built-in genuine Canon wide-angle 3x optical zoom lens with an ultra-wide 112.6º angle of view. A feature of this camera is its built-in motorized focus and zoom function, which enables users to remotely adjust those settings from any Internet-connected PC.

The two proprietary Canon DIGIC processors in each of Canon’s Full HD IP Security cameras include the Canon DIGIC DV III image processor, which provides superior image quality, vivid color reproduction, low noise, and smooth gradations and the Canon DIGIC NET II network video processor, which transmits H.264 and M-JPEG simultaneously at 1920 x 1080 up to 30 frames per second.

Megapixel IP Security
The following Canon Megapixel IP Security cameras will be on display at ASIS. They feature a 1.3-Megapixel CMOS image sensor and a Canon DIGIC NET processor for simultaneous transmission of H.264 and M-JPEG at 1920 x 960 up to 30 frames per second.

• The VB-M40 Pan-Tilt-Zoom Camera, featuring a Canon 20x optical zoom lens with 4x digital zoom, a wide 55.4º angle of view, advanced auto focus and electronic image stabilization.
• The VB-M600VE Fixed Vandal-Resistant IP66-rated Dome Camera can absorb violent impacts due to the mounting of the camera’s lens in a damping mechanism. This unique Canon aspherical 3x optical zoom lens delivers an ultra-wide 101.2º angle of view, making it ideal for use in areas with severe space restrictions. An optional heater allows the VB-M600VE camera to be used in temperatures down to -22º F.
• The VB-M600D Fixed Dome Camera also includes a Canon aspherical 3x optical zoom lens with an ultra-wide 101.2º angle of view and special lens-coating technology enabling it to produce sharp, high-quality sharp images with minimal distortion and flare.

Intelligent Features
These Canon Full HD and Megapixel IP Security cameras include built-in video analytics to assist monitoring personnel in identifying potentially crucial image details. This includes moving, removed and abandoned object detection. The four Full HD IP Security cameras also offer passing (or “tripwire”) detection. User-adjustable in terms of detection characteristics, such as sensitivity, area and duration, video analytics can engage configured alarms and notification functions. All eight cameras also feature camera analytics, which include detection of camera tampering and sound-level detection that may indicate vandalism or sabotage.

Additional features shared by each of these security cameras include a privacy mask function to block sensitive locations (such as ATM keypads or computer monitors) from the cameras’ view while still allowing for a full range of motion. The cameras feature two-way audio connectors for bi-directional sound communication, built-in management tools and a web viewer function for remote video monitoring by authorized users on supported web browsers.

Standard Definition
• The VB-C60 (640 x 480) Resolution Pan-Tilt-Zoom IP Security Camera will also be on
display at the show. It features a built-in 40x optical zoom with a 56° wide angle lens, a wide panning range (± 170°), auto focus, image stabilization, and a proprietary Canon DIGIC NET Processor for simultaneous M-JPEG and MPEG-4 video output at up to 30 frames per second.

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $40 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2012† and is one of Fortune Magazine’s World’s Most Admired Companies in 2013. In 2012, Canon U.S.A. has received the PCMag.com Readers’ Choice Award for Service and Reliability in the digital camera and printer categories for the ninth consecutive year, and for camcorders for the past two years. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss and follow us on Twitter @CanonUSA.

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†Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

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Get in a “New York State of Mind” with the Technical Tour Program at the 135th Audio Engineering Society Convention

— Technical Tour organizer David Merrill, son of famed baritone Robert Merrill, has planned a set of quintessentially “New York” excursions that will take attendees from Broadway to broadcasting, post-production and restoration —

New York, NY, September 20, 2013 — Continuing a long and always sold-out tradition, the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) will include a four-day set of technical tours, itineraries that will take visitors into a wide range of interesting and significant facilities. And this year’s technical tour program is as “New York” as it gets. It was developed by David Merrill, a successful recording and mix engineer who has worked at several of the city’s major facilities over the past three decades, and a man who also has a very special investment in the city: he is the son of the late Robert Merrill, the longtime lead baritone for the New York Metropolitan Opera and the vocalist for “The Star Spangled Banner” before New York Yankees season-opening home games since 1969. Those fortunate enough to find a slot on what will be almost certainly sold-out tours will see the entire range of what New York has to offer as a world center for professional audio. Tickets will be available on-site at the Javits Center at the convention’s Tech Tours desk (space is limited).

Slated itineraries include the following:

On Thursday Oct. 17, attendees can visit Definition 6, a leading audio and video post-production facility.
On Friday Oct. 18, they can choose among four options: 1. A visit to Kaufman Astoria Studios (KAS), followed by a trip to the Museum of the Moving Image; 2. A look inside WNYC Radio’s station operation and their sound stages; 3. A trip to restoration specialist Battery Studios; 4. Or a jaunt to the Tony Award-winning Broadway show The Book of Mormon.
On Saturday Oct. 19, visitors will be awed by a tour of the famed Avery Fisher Hall at Lincoln Center, home of the New York Philharmonic, where they’ll tour the hall, the stage and the audio recording facilities.
On Sunday Oct. 20, attendees will stop by the NBC-TV studios of Late Night with Jimmy Fallon where they will be able to check out the sound stage and all of the production facilities.

David Merrill says he wanted to create a completely authentic New York pro audio experience, one that included iconic examples of music studios and broadcast facilities, post-production and live performances. “New York has so many great recording studios but I wanted to make this technical tour a more comprehensive experience, but still one that you can associate with New York City and nowhere else,” he explains. Even his research into the facilities on his itineraries was locally sourced. Merrill recalls that it was Avatar Studios manager Tino Passante who helped him make the connection to Lawrence Manchester, the music mixer on Late Night with Jimmy Fallon. “And you can’t get more New York than Broadway and Lincoln Center, so I’m really looking forward to people enjoying these tours. They’re going to have a real New York experience.”

For further detailed information on the Technical Tours, visit http://www.aes.org/events/135/tours/. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

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MASQUE SOUND PROVIDES CUSTOM AUDIO EQUIPMENT PACKAGE FOR BROADWAY’S SPELLBINDING NEW PRODUCTION OF TENNESSEE WILLIAMS’ MASTERPIECE, THE GLASS MENAGERIE

Masque Sound, a leading theatrical sound reinforcement, installation and design company specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events, continues its Broadway run by providing a custom audio equipment package for the groundbreaking new production of Tennessee Williams’ masterpiece, The Glass Menagerie.

The Glass Menagerie, starring Cherry Jones, Zachary Quinto, and Celia Keenan-Bolger, is directed by John Tiffany and the Tony Award®-winning creative team behind ONCE, and tells the story of Amanda Wingfield, a Southern belle past her prime who lives with her two grown children in a small apartment in St. Louis. Amanda, dreaming of a better life for her shy and crippled daughter, Laura, pressures her son, Tom, to find a ‘gentleman caller’ for the girl. The arrival of the suitor, however, sends shockwaves through the family and causes cracks to form in the delicate fantasies that keep it going.

For sound designer Clive Goodwin, there were two main goals: To make the play sound as natural as possible and to ensure that the whole audience, even members seated in the very back of the mezzanine, could clearly hear Nico Muhly’s beautiful composition. “Nico’s music sets the theme for the show,” says Goodwin. “The Glass Menagerie is a memory play about the character Tom’s recollections, and Nico’s music beautifully creates that atmosphere. It makes it slightly surreal, so as the sound designer, I wanted to do justice to Nico’s composition and try to make it sound even more exquisite than it already is, and Masque Sound helped make that possible.”

Goodwin’s biggest challenge was dispersing the sound on stage to the back of the theater without it sounding mic’d. In order to do this, Masque Sound provided him with an array of Funktion-One speakers, an unorthodox speaker for the Broadway stage.

“The Funktion-One speakers that Masque Sound provided really allow me to control the dispersion, especially upstairs,” adds Goodwin. “By using the Funktion-Ones, we have the most control possible and are able to minimize room reflections that would otherwise muddy the sound. Masque Sound does a wonderful job of providing me with these non-traditional speakers, even though they are different than the normal Broadway stock. They go out on a limb and are fantastic in supplying me with the rare equipment I like to use.”

Masque Sound’s custom equipment package also included a Midas Pro1 compact digital console, Rode RF-Bias Shotgun mics, Sennheiser wireless microphones, XTA DP428/448 audio management system, D&B E3 speakers, Meyer UMS-1P subwoofers and a Clear-Com Intercom system.

“Masque Sound has always been great to work with,” adds Goodwin. “They work very hard and go the extra mile to make me, as a sound designer, happy.”

The Glass Menagerie is currently playing on Broadway at the Booth Theatre. The production officially opens on Thursday, September 26, 2013, and its 17-week run is slated to conclude on January 5, 2014.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Clay Paky Sharpys and Sharpy Washes, Elidy LEDs and grandMA2 Consoles Accompany Bruno Mars Around the World on his Moonshine Jungle Tour

Singer-songwriter Bruno Mars has been getting rave reviews for his Moonshine Jungle Tour, which will continue to play dates around the world through March 2014. The tour reads like an inventory of equipment represented by A.C.T Lighting, including a grandMA2 console, Chromlech Elidy LED matrixes, and Clay Paky Sharpy and Sharpy Wash fixtures. All are exclusively distributed in North America by A.C.T Lighting.

“We were tasked with creating a world for Bruno and his band to inhabit,” says lighting designer Cory FitzGerald who codesigned the tour with Roy Bennett. “Bruno has a lot of sounds and pushes past a lot of genres, so he needed an environment that would accommodate all his music. The lighting fixtures help a lot with that. We have 276 panels of Elidy, 42 Sharpy Washes and about 80 Sharpy beams plus two grandMA2 full-size units s – and we’re very happy with the rig.” VER supplied the tour’s gear.

The Moonshine Jungle Tour marks the first time FitzGerald is using Elidy LED matrixes, the first in the world capable of projecting volumetric graphics. “I like them a lot, and they look awesome,” he reports. “The Elidy panels are built into the stage deck and risers – the front side of all the risers and the stage is composed of Elidys, all in geometric shapes. Since they’re transparent, you can shoot through them with fixtures behind them, which is great.”

The versatile Sharpy Washes are “used for everything,” he says. “They’re the main wash for the show, and we have 36 overhead and six on the floor. We built a ceiling, and the Sharpy Washes are so small that they can be recessed in it and still shoot through.

“They also have a great zoom range and can do amazing beam effects,” he adds. “It’s great to have the option to go super wide or super narrow. The fact that they can color mix is a life saver.”

FitzGerald also made room for a number of Sharpys in the rig. “I can’t remember the last time I did a show without them,” he says. “They’re well established and high powered. With prism, frost and gobos I can get a lot of looks out of them. I have them everywhere on the show: overhead, on the back wall of light, on the floor. We even have 14 gold Sharpys on the deck.”

Controlling the full complement of almost 8,000 lighting ‘fixtures’ on the show are two grandMA2 full-size units with 6 npus and “lots of universes,” says Fitzgerald. “We have 16 universes of just Elidy fixtures. We’re running all the video servers via ArtNet; grandMA2 has the ability to scale that big. Although grandMA2 is standard these days for shows, it’s still amazing. It’s working as expected with no surprises. It’s great to have a console I can rely on to handle everything so well.”

Dave Marcucci is the touring lighting director for the Moonshine Jungle Tour.

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