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Archive for September 25th, 2013

Audinate and AEQ Sign Licensing Agreement

Portland, OR-September 26, 2013- AEQ announced that it has entered into a license agreement with Audinate to develop its broadcast products with Dante™ digital media networking. AEQ manufactures communications equipment, automation systems, audio mixers, and routing systems for the radio and television broadcast markets.

Built on existing networking protocols and standards, Audinate’s Dante technology is a plug and play networking solution which delivers ultra-low latency, tightly synchronized media, while simplifying installation and configuration of digital media networks. With over 3.5 million Dante channels shipped last year, Dante has rapidly become the leading media networking solution.

Dante networking is widely accepted among broadcast and pro audio manufacturers because it is a self-configuring network that uses standard Internet Protocols over both 100Mbps and 1 Gigabit Ethernet. Set-up is easy, with devices that automatically discover one another and one-click signal routing with user-editable names. Dante has now been adopted by more than 100 OEMs, with over 175 Dante products to choose from and more being launched all the time.

“AEQ made a strategic decision to implement IP for its audio networking solutions a few years ago.“, says Miguel Sancho, Director of R&D at AEQ. “Now with Dante the AEQ line of products will be providing tight synchronization with ultra-low latency, secure, real-time networked IP Audio with interoperability to a large number of products from the most prestigious manufacturers in the world.” Sancho adds, “Audinate’s team are the trusted networking experts, and Dante offers a very quick and highly efficient way to add value to our current range of products with Audio over IP networking capabilities.”

“AEQ was able to integrate Dante in a matter of weeks to get its product ready to demonstrate at the IBC 2013 in Amsterdam”, remarks Lee Ellison, Audinate CEO. “Audinate’s Dante solution has again proven to be the easiest and most reliable implementation for an IP audio solution for OEMs,” Ellison adds. “We are pleased to work with a leader in the broadcast market like AEQ, who recognizes that networking matters.”

About AEQ:
For over 30 years AEQ has been at the forefront of developing communications equipment, broadcast automation systems, broadcast audio mixers, routing systems and other solutions for radio and television. AEQ also offers engineering and installation services for permanent broadcasting facilities and outside broadcasting. Further, AEQ is a well-known equipment and service provider for commentary audio generation, routing and transport at the most important international sport events. AEQ has worldwide presence through a network of distributors that are providing local support to its end-users. AEQ holds offices in USA, Portugal and Spain.

About Audinate
Audinate revolutionizes the way that AV systems are connected, by transporting high-quality media over standard IT networks. Audinate’s patented Dante media networking technology has been adopted by over 100 OEM manufacturers in the professional audio/visual industry. Dante is used extensively for live performance events, commercial installation, broadcast, recording and production, and communications systems. Audinate is a Promoter Member of the AVnu Alliance™. Audinate offices are located in US, United Kingdom and Australia. Visit www.audinate.com for the latest news and information on the company. Dante is Digital Media Networking Perfected.

Dante and Ultimo are trademarks of Audinate Pty Ltd, Audinate is a registered trademark of Audinate Pty Ltd.

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Young Drumming Prodigy Owen Bonaventura Makes His Sound Count Measure for Measure with Sennheiser and Neumann

Bonaventura Moves to the Head of the Class with Classic Sennheiser Dynamic Microphones and Neumann KH 120 Nearfield Monitors

Old Lyme, Conn. – September 25, 2013 – If you are a musician and you have not already heard of Owen Bonaventura, you will. A drummer of extraordinary natural talent since he was just 11 years old, his YouTube channel has already received over half a million views by music fans and aspiring drummers who watch him play technically diffi-cult rock tunes note for note — most notably by the progressive rock trio Rush. As his drumming talent continues to develop, Bonaventura is honing his own sound and has turned to Sennheiser and Neumann for his microphone and monitoring solutions.

After a visit to the Winter NAMM show two years ago, Bonaventura’s profile began rising in the music industry and he began putting together a home studio of his own. He says he began feeling a ‘passion for sound’ around this time, when his father gave him a cou-ple of microphones as a Christmas present. “I branched off into mixing and began sculpt-ing my sounds so that I can portray the sound that I hear in my head out to the drums,” he says. It wasn’t long before he gravitated to classic dynamic microphones from Senn-heiser to capture the sounds from his drum kit. “I now use a Sennheiser MD 441 on my snare and have all MD 421s on my toms. All the other mics I tried from other companies had a midrange response that sounded muddy and boxy,’” he says. “The MD 421s have a classic warmth that isn’t muddy whatsoever.”

Currently, Owen is playing in a funk/jazz trio and working on two new projects: a straight ahead jazz album and a Christmas album featuring Grammy nominated singer Tina Fab-rique, which he says combines jazz with just the right touch of funk and gospel. On his Christmas album, Fabrique sings through a Neumann M147 tube microphone, which Bonaventura says sounds ‘tailor made’ for her voice, accenting the low to mid frequency range. On his drums, he is using the aforementioned Sennheiser MD 421s and MD 441s in combination with a pair of Neumann U87s as overheads. “The U87s have a great low-mid characteristic you simply can’t get with other mics, and they pick up the entire image of the drum kit, versus just the cymbals — this lends a great sense of space to the record-ing,” he says.

“I play a really broad range of musical styles and wide dynamic ranges, and I know the MD 421 can handle the high SPLs as well as pick up the softer nuances,” he continues. As for the snare, he appreciates how the MD 441 captures the ‘sizzle.’ “I could never get the high end articulation of the snare wires mixed in with the nice body of the DW snare I had,” he recalls. “The presence boost on the MD 441 also seems to enhance the ‘airy’ frequencies of the snare drum.”

Neumann KH 120 Monitors: when accuracy counts

Owen maintains similarly high standards in his choice of monitoring equipment, opting for the recently launched Neumann KH 120 nearfield monitors, which he says are a great ‘bang for the buck.’ “These speakers are really flat and reveal all kinds of details and nu-ances in the mix,” he says. “However I decide to make my final mix, I can be confident that these decisions will translate and will sound exactly the way I wanted them to.”

He says that even though the KH 120 monitors have a small footprint, they perform par-ticularly well in the lower frequencies. “I do a lot of Hip hop production, and with other monitors of this size, I find that I can’t hear the kick drums,” Owen observes. “For exam-ple, on an 808 machine, details in the lower frequencies tend to get lost. On the KH 120s, I can hear below 60 Hz no problem and the crossover is very, very smooth.”

As Owen continues to sculpt his own sound in both drumming and mixing, he trusts Senn-heiser and Neumann implicitly: “With these products, I find that I am able to portray the sound as I hear it in my head. I really want listeners to experience what I was feeling when I was creating my music.”

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 com-pany with numerous awards and accolades including an Emmy, a Grammy, and the Sci-entific 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.

Caption:
Owen Bonaventura mics his snare drum with a Sennheiser MD 441, and mics his toms with Sennheiser MD 421s.

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SYMETRIX SYMNET EDGE DANTE NETWORK AUDIO DSP REVITALIZES SOUND SYSTEM FOR THE LEXINGTON LEGENDS

LEXINGTON, KENTUCKY – SEPTEMBER 2013: Located in the heart of bluegrass country Whitaker Bank Ballpark is home to minor league baseballs’ Lexington Legends. Completed in 2001, its’ original sound system held up well until recent years. As components of the head-end began to fail, AV integration firm New World Resources helped maintain the system with band-aids and quick fixes. When the original DSP died New World replaced it with a SymNet Edge system that immediately revitalized sound quality while providing cost-effective ARC-WEB iPad and SymVue PC control.

“We provided the ballpark with a quote for a new head end a few years ago” explained New World Resources owner, David Humphreys. “This year, I updated everything in the quote and included the latest SymNet Edge hardware. Following installation the system ended up being more powerful and even less expensive than what we had previously quoted.”

Two SymNet Edge frames and a SymNet xOut 12 analog output expander handle all of the processing and matrixing. Inputs include a main announcers’ mic, four wireless microphones, three Click Effects units, a radio tuner, a CD player, and a handful of inputs on the field. On the output side the main stadium is divided into three sections, and each of those sections is further divided into three vertical coverage zones. Additional zones include the outfield bleachers, a kids’ zone, east and west concourses, bathrooms, a restaurant, offices, corporate suites, a picnic area, and a party deck.

“This was my first Dante project,” said Humphreys. “It was easier than the CobraNet systems I’ve done. I set up the busses from one SymNet box and it just worked. I didn’t even need a network switch.” Humphreys fitted one Edge frame with four 4-channel analog input cards and the second frame with four 4-channel analog output cards. The SymNet xOut 12 brought the total output count to twenty-eight.

The original quote specified a separate third party control system that, at the time, was one of the only ways to offer mobile control. “I hadn’t used Symetrix ARC-WEB and wasn’t sure that it could provide the control system functionality the client was looking for,” said Humphreys. “However, after I installed the SymNet Edge system, I set up ARC-WEB and handed it to the ballpark’s lead tech on an iPad. It gave him intuitive, customized control over input selection and zone-specific volumes. He was totally happy. Given ARC-WEB and SymVue PC-based control for the announcer, we removed the third party control system from the project. That saved them even more money which they allocated to replacing the few loudspeakers that had died prematurely.”

The SymNet ARC-WEB gives users control over zone volumes, and because it is deployed on an iPad, the tech can walk around the park while making the adjustments. The SymVue PC-based control goes further, allowing the user to drill down to adjust, for example, the three subsections within each of the three main stadium sections. The announcer has access to the SymVue control so that he can control inputs to the system during the game along with the Click Effects units. In addition, a hardwired Symetrix ARC-2e wall panel remote in the bar/restaurant allows the staff to switch between local inputs and the ballpark content. A second ARC-2e wall panel remote in the main office allows simple day-to-day system control for music during practices.

“All of the amplifiers and loudspeakers are from the original system,” Humphreys emphasized. “Yet the system now sounds noticeably better than it did with the original DSP. It’s like a whole new system. The clarity is better and the dynamic range is enhanced. They’re also very happy with the new user control. It’s a night and day difference!”

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

ASHLY AUDIO’S FREE IPAD® REMOTE CONTROL APP A REAL VALUE FOR JIMMY’S FAMOUS AMERICAN TAVERN

SAN DIEGO, CALIFORNIA – SEPTEMBER 2013: The success of Jimmy’s Famous American Tavern in San Diego inspired owner and restaurateur David Wilhelm to open a second location an hour north in Dana Point, California. Both establishments effuse a hip, industrial vibe accented by a touch of mid-century modern and offer great regional American comfort food, wines, craft beers, and creative cocktails. Dana Point patrons can relax at the centrally-located bar, on the expansive patio (with two fireplaces and a living wall), or in the main restaurant itself. One of the luxuries afforded the staff and management at the new location is the new (and completely free) Ashly Remote App for the Apple® iPad®, which provides customized control of the two Ashly ne8250pe network eight-channel amplifiers with onboard Protea™ DSP processing that power its high-fidelity, eight-ohm sound system.

Based on the success of its work at the San Diego location, Wilhelm asked No Static Pro Audio of Burbank, California to design and install the sound system at the new location. No Static CEO Eugene Gordon personally commissioned the system. “I brought my own wireless router and iPad with me to make tuning the system easier,” Gordon said. “I showed the Ashly Remote iPad App to one of the managers, and he was intrigued. He pulled out his iPad and in literally ten to fifteen minutes, I had designed a custom interface made to order from scratch. It was incredibly simple. And because it’s zero cost to me and zero cost to them, it’s purely value added.” The Ashly Remote iPad App is available from Apple’s iTunes® store (a link from the Ashly website makes finding it a snap). The app can control all Ashly Network amps with onboard Protea DSP processors and the NE-series DSP processors.

“The Ashly iPad app is absolutely perfect for a restaurant,” said Wilhelm. “I can walk into any part of the restaurant with it and immediately adjust the volume to the appropriate level without having to run back and forth to a control panel in the back. The app has plenty of capacity for multiple circuits and changes the volume instantly. I wouldn’t use anything else now that I’ve tried the Ashly iPad app, and I plan on using it in all the new locations that we open.”

The core of the system is a straightforward restaurant/bar design with plenty of focus on fidelity and impact. Inputs include a music server, audio from the selected television channel, a DJ or band input, and a wireless microphone, all of which feed two Ashly ne8250pe network eight-channel x 250W amplifiers. The built-in Protea DSP Processor lets No Static replace an entire rack of separate components with two 2U boxes. The outputs feed seven zones – bar, dining area, private buffet, patio, private patio, restrooms, and kitchen – covered by twenty-one Community Veris 2-8B loudspeakers, four JBL SB210 subwoofers, and a handful of ElectroVoice Evid c8.2 in-ceiling loudspeakers for the restrooms and the kitchen. Three Ashly WR-5 wall-mounted remotes provide backup control.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

SSL Live Console is Now Shipping

SSL’s first live console ships on schedule to first wave of customers and commercial partners

OXFORD, ENGLAND — The premiere of the SSL Live console at Prolight + Sound in April 2013 surprised and enthralled the industry. Solid State Logic has been a dominant player in the design and manufacture of consoles for Music, Broadcast and Post for more than 35 years, but it had never produced a product designed specifically for live audio production. SSL’s reputation and business was built upon visionary operational design and benchmark quality standards in audio reproduction and manufacturing so expectations were instantly high.

Early response from FOH and Monitor Engineers has been extremely positive. The more operators see it, the more the excitement surrounding the console grows. Praise surrounds the operational flexibility of the console, its sonic performance and the sensation of ‘finger painting with audio’ via the gestural touch screen. The on-board effects and superb channel processing toolkit and the unique SSL Blacklight system, which simplifies running audio and control between console and stageboxes delivers a surprising amount of power at a compelling price.

The first three consoles all shipped to U.K.-based global tour production company Britannia Row for use on Peter Gabriel’s forthcoming European ‘Back to Front’ tour and another two shipped to SGroup in France for the imminent Amel Bent tour. Console manufacturing production for 2013 has been sold out since July, and details of the new commercial partner network for SSL Live are available in the ‘Where to Buy’ section of the SSL website.

SSL’s CEO, Antony David, says: “The on-schedule completion of the new Live console is an important milestone for SSL. This has been one of the biggest developments we have undertaken for some time and marks the first application of our new Tempest digital platform. We have been very encouraged by the response from mix engineers, rental companies and our channel partners since we presented the console in April this year. Demand has substantially outstripped our initial production plans, but we will return to reasonable lead times by early 2014.”

Since April, SSL has expanded its dedicated Live product team with key hires including Jason Kelly as Live Consoles Product Manager based in the U.K. office and Jay Easley as Vice President – Live Consoles to lead SSL’s live sector sales operation in North America. Certified training courses have also commenced, with focus on Commercial Partners and initial purchasers. A training program for the wider operator community is scheduled to commence from January 2014.

The SSL Live will be exhibited at next month’s 135th International AES Convention in New York and at ISE in Amsterdam in February 2014. With its latest offerings, SSL will relocate to Hall 8 at Prolight + Sound in Frankfurt in March 2014 and the company will exhibit at InfoComm for the first time, in Las Vegas in June 2014.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Barbican Selects BenQ Projectors for U.S. Debut of “Watch Me Move: The Animation Show”

Short-Throw Projectors’ Colorific(TM) Image Quality Bring Major Animation Event to Life at Detroit Institute of Arts

COSTA MESA, Calif. — Sept. 24, 2013 — BenQ America Corp., an internationally renowned provider of digital lifestyle innovations and global DLP(R) projector leader, today announced that the “Watch Me Move: The Animation Show” art exhibition will be making its U.S. debut at the Detroit Institute of Arts (DIA) using BenQ’s award-winning line of short-throw projectors. Installed in the majority of the 100 works screened within the exhibition, the devices are engineered to empower creators of projection art, performance pieces, and other visual projects with Colorific(TM) picture quality while providing full short-throw flexibility in settings with space constraints.

Featuring a combination of celebrated cinema classics and other material, “Watch Me Move: The Animation Show” is the most extensive exhibition of the full range of animated imagery produced in the last 150 years. The worldwide touring exhibit has visited Brazil, Taiwan, and Canada and now makes its debut in the U.S. Organized by Barbican Centre, London, the exhibition explores how artists use animation to entertain audiences and explore both cultural issues and elements of the human condition. The exhibition presents films by masters such as Georges Méliès, Chuck Jones, William Kentridge, and Tim Burton in addition to works by animation studios such as Walt Disney, Aardman, Studio Ghibli, and Pixar. Audiences also gain access to groundbreaking examples of cut-out, stop-motion, puppet, anime, and 3-D animation via images and films projected onto walls, in private booths, and within special screening rooms.

On exhibit from Oct. 6 to Jan. 5, 2014 at the DIA — one of the premier art museums in the United States and home to more than 60,000 works comprising a multicultural survey of human creativity from ancient times through the 21st century — the institute will bring “Watch Me Move: The Animation Show” to U.S. audiences for the very first time. Transforming the gallery into an immersive environment, the exhibition will be divided into six interconnected themes. Beginnings — the emergence of the animated image; Characters — animation’s ability to construct powerful, complex personalities; Storytelling — the use of animation to represent existing myths and fables and invent new ones; Animation for Art’s Sake — underlying formal and conceptual structures of the medium; Superhumans — the exaggerated, extended character; Artistic Visions — mapping animated worlds onto the “real” world.

“Developing genuinely innovative and impactful projection art depends on two very important factors: high image quality and full flexibility,” said Patrick Moran, Exhibition Manager, Barbican International Enterprises. “With BenQ’s short-throw projectors, we conceived and curated a truly unique exhibition that stayed authentic to our creative vision of presenting the works of animation masters in a way that engages, entertains, and educates the audience.”

Designed for visual display projects such as art projection installations which require prolonged image projection, BenQ projectors deliver more than one billion stunning colors, higher contrast ratios, and longer-lasting quality imaging over extended usage. Additionally, the projectors’ short-throw capabilities enable projection much closer to the screen — providing enormous flexibility in projector placement and setups within constrained settings.

“We are very pleased to have our projectors featured in such a premier exhibition event,” said Jan Spence, Director, Marketing Communications at BenQ America Corp. “As the new media art community continues to embrace the advanced features and possibilities of today’s projection technologies, BenQ has made it a priority to design digital innovations that specifically meet their needs and help bring their creative visions to life.”

Projectors selected for the “Watch Me Move: The Animation Show” exhibition include BenQ’s short-throw MP772ST and MX812ST projectors. To further support the event, BenQ will be donating replacement bulbs for the projectors.

“Watch Me Move: The Animation Show” will also be on display from June 6 through Sept. 1, 2014 at Nashville’s Frist Center for Visual Arts. More information on BenQ’s projectors is available at www.BenQ.us.

# # #

***Editor’s Note:
Please note that the included photos for download are a visual representation of the exhibit at The Barbican Centre, London and not of the installation at The Detroit Institute of Arts.
Photo Credit: Installation image. The Barbican Centre, London, 2011

About the Barbican
The Barbican Centre is a performing arts center in the City of London and is the largest of its type in Europe. The Centre hosts classical and contemporary music concerts, theatre performances, film screenings and art exhibitions. The Barbican Centre is provided by the City of London Corporation as part of its contribution to the cultural life in London and the U.K.

About BenQ America Corp.
The BenQ digital lifestyle brand stands for “Bringing Enjoyment and Quality to Life,” fusing lifestyle with technology, enjoyment with productivity, and aesthetic design with engineering. It is this mantra that has made BenQ the No. 1-selling DLP(R) projector brand worldwide, as well as the No. 1 name in short-throw projectors. BenQ America Corp. offers an extensive line of visual display and presentation solutions that incorporate the very latest technologies. The company delivers a broad range of projectors, flat-panel displays, and monitors for any application and market — education, home, gaming, enterprise, government, house of worship, digital signage, A/V and IT — with cutting-edge models that lead the industry in performance, reliability, environmental sustainability, and aesthetics. Whether it’s interactive digital whiteboards for classrooms, full HD 3D projectors for home theaters, short-throw projectors for boardrooms, interactive flat-panel displays for digital signage, or LED backlight monitors for professional gaming, BenQ continues to defy the limits of digital displays. The company’s products are available across North America through leading value-added distributors, resellers, and retailers.

More information is available at www.BenQ.us.

About BenQ Corporation
BenQ Corporation is a renowned global trendsetter of connected digital lifestyle devices founded on the brand promise of “Bringing Enjoyment and Quality to Life.” With a keen insight into ever-evolving consumer preferences, BenQ uniquely creates the ideal balance of leading technology and signature design to provide visual and mobile solutions that elevate consumer lifestyles. BenQ continues to delight the world’s consumers with a broad product and embedded technology portfolio spanning digital projectors, monitors, interactive large-format displays, digital cameras and camcorders, mobile computing devices, and lighting solutions.

About BenQ Group
The BenQ Group is a $21+ billion powerhouse comprised of 16+ independent companies operating in over 30 countries across numerous industries with a combined workforce of over 120,000 employees. Each Group member is a recognized leader in its own field, contributing to the BenQ Group’s vast resources, broad R&D, and distinct strategic strengths. By leveraging each company’s vertical specialization to create true scale across horizontal markets, the BenQ Group controls a highly efficient value chain with the unrivaled ability to deliver critical components and world-class solutions in the following industries: TFT-LCD, green energy, fine chemicals and advanced materials, lighting, IC design, precision components, system integration, branded business, and service. The Group is committed to profitable and sustainable businesses that share its long-standing vision of Bringing Enjoyment and Quality to Life.

The BenQ Group companies are: BenQ Corporation, AU Optronics Corporation (world’s top manufacturer of large-size TFT-LCD panels), Qisda Corporation, Darfon Electronics Corporation, BenQ Materials Corp., BenQ Guru Corp., BenQ Medical Center, BenQ Medical Technology Corp., BriView Co., Ltd., Daxin Materials Corp., Dazzo Technology Corp., Forhouse Corp., Lextar Electronics Corp., Raydium Semiconductor Corp., and Wellypower Corp.

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

PR Link: www.ingearpr.com/BenQ/130924.zip

Photo Link: www.ingearpr.com/BenQ/WatchMeMove.zip
Photo Credits: Installation image. The Barbican Centre, London, 2011

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GC Pro and Its Affiliate Partner The Stopper Group Make Beautiful Music Together for Salerno Winery

— San Diego-area winery now has a state-of-the-art distributed audio system, with the entire project – from equipment to design and installation – sourced through GC Pro and its Affiliate Program —

WESTLAKE VILLAGE, CA, September 24, 2013 — There’s always been something musical about the Salerno Winery. Located in the historic Ramona Valley American Viticultural Area, the small family boutique winery was opened in 1998 by former opera singer Herman Salerno and his wife Rose. And today, thanks to the resources of Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, Salerno Winery now has music everywhere, in the form of a multi-zone distributed audio system. The system was designed and installed by The Stopper Group, a member of GC Pro’s Affiliate Program, and consists of 18 JBL Control 25 speakers, a QSC power amp, QSC powered speakers, a Mackie mixer, and Radio Design Labs preamps and switchers, as well as all mounting hardware, brackets, connectors and cables.

The system can provide background music, and also can connect with live music sources. The system is divided into four discrete zones: the upper dining area (three speakers); the lower dining area (three speakers); the winery’s Artwalk around the perimeter of the upper vineyard space, with speakers next to each of 10 bronze sculptures approximately placed every 30 feet; and the parking area (three speakers).

“This was a first for us – putting speakers in a vineyard,” recalls Steve Stopper, Owner of The Stopper Group. He says GC Pro Account Manager Javier Willis had brought him into the project as an Affiliate Program member. “There were a lot of things that had to be taken into account, including an enormous amount of cabling, including running the cables out into the vineyards for the Artwalk and using 0.75-inch PVC conduit to get them underground, and putting in a way to switch the system between prerecorded and live music on demand,” Stopper explains.

GC Pro Sales Associate Javier Willis says GC Pro’s Affiliate Program offers clients a huge advantage on complex projects like this one. “This was a very unique project requiring a lot of speakers with careful placement and a lot of cabling — it needed someone with an experienced eye to look over the landscape and see where the challenges would be,” he says. “The Stopper Group was able to be on site and help us fine-tune the equipment list for this, as well as do the actual installation. You can’t just sell products – you need to provide full service for clients, which is what GC Pro’s Affiliate Program excels at.”

Steve Stopper agrees, adding, “I think the synergy between GC Pro and our company gave this client a real advantage: GC Pro’s resources combined with our knowledge about how different pieces of this would best fit together. The client’s always the winner with that caliber of partnership.”

For more information, please visit www.gcpro.com.

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The Northstar Session Uses Bose® L1® Systems and B2 Modules for Acoustic Trio Sets

Rising California rock act finds the right blend and harmonies with their L1 systems on stage

Framingham, Massachusetts, September 24, 2013 – California-based rock band The Northstar Session has been thrilling audiences and gaining fans since its formation in 2007. The trio has a rigorous performance schedule with dates on both coasts, and they have earned a strong following for their literate songwriting and sunny harmonies. A key element of their live performance schedule centers on their acoustic trio sets in smaller-to-medium-sized venues, and for these performances, the band uses L1® portable systems and B2 bass modules, along with T1 ToneMatch® audio engines, from Bose® Professional Systems Division.

Matt Szlachetka, the band’s primary guitarist/vocalist, notes, “I think we found really quick that our harmony is our strength. To showcase that, we developed the acoustic trio sets. It’s a really good way for people to latch on to what you’re doing.” Keyboardist/vocalist Dave Basaraba adds, “The easiest way to highlight that was to strip it down and make sure the harmonies can be heard. And there was the Bose L1 system.”

The compact nature of the L1 system simplifies the equipment setup the band has to haul with them. Drummer/vocalist Kane McGee notes, “On the East Coast, we just travel in a pickup truck. We are able to fit everything into the bed of the truck.”

The smaller stages of these venues can also present certain challenges: “A lot of these stages are really tiny. We don’t have a lot of space for amplifiers and stuff, let alone bringing in cumbersome speaker stands and monitors. We’ve got to be able to hear everything,” Basaraba notes. “It’s clubs and coffeehouses and bars. You’re trying to fit everything cohesively on stage, and at the same time make it look presentable,” Szlachetka adds.

The band’s acoustic setup includes L1 systems directly behind McGee and Basaraba, along with a B2 bass module. “We don’t have any feedback issues that way,” Szlachetka notes. “And the B2 bass modules, whether you’re doing a more stripped-down acoustic performance or a larger-scale electric thing, they’re incredibly powerful. They’re fantastic.”

“I’ve never heard anything like the L1 systems ever in any P.A. system I’ve ever used,” notes McGee. Basaraba says, “The mix and clarity of the instruments that you get with the Bose L1 system and using the ToneMatch mixers is incomparable.” Szlachetka notes, “The reason that we’re able to soundcheck usually in about ten minutes is because of the presets on the ToneMatch engine, and then that gives us more time to relax and focus on the performance.” McGee adds, “You’re not thinking about the sound. It’s already there. It’s done. You’re just having fun.”

“Having the consistent sound all the time, it’s incredibly important,” Szlachetka continues. “People always comment, ‘You guys sound amazing!’ A lot of times they’ll look around and go, ‘Where’s your P.A. system?’”

Musically, the setup lets them find the right groove on stage. “We’re virtually hearing what the audience is hearing, so that makes it really easy to harmonize, Basaraba notes. “With the L1 systems we’re all experiencing it together. You tend to feed off the audience response and give them a little more, and they give you a little more back. It’s a conversation.”

Szlachetka sums it up: “It’s been allowing us to connect with audiences on a higher level. For what we’re doing it’s like the best P.A. we could possibly use.”

Photo File: NorthstarSession.JPG
Photo Caption: California-based rock band The Northstar Session, which uses L1® portable systems and B2 bass modules, along with T1 ToneMatch® audio engines, from Bose® Professional Systems Division. Photo courtesy of The Northstar Session. © 2013

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Upcoming 135th AES Convention’s “Sound For Picture” Workshops Will Feature the Sound Shapers for the Primetime EMMY® Award-Winning Reality Show Deadliest Catch

— Re-recording Mixer/Sound Designer Bob Bronow and Picture Editor Josh Earl, both multiple Primetime EMMY® award winners, will showcase the tools and the techniques used season after season from sound captured in one of the most challenging production environments on earth —

— Presentation on Original Productions’ Deadliest Catch is part of the new workshop track “Sound For Picture” at the AES Convention in New York City —

New York, NY, September 24, 2013 — Since it premiered in 2005, The Discovery Channel’s Deadliest Catch has drawn in millions of viewers and reeled in numerous awards, including the two EMMY® Awards for Outstanding Sound Mixing For Nonfiction Programming (Single or Multi-camera). At the upcoming 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City), key personnel from the audio team for the program will be there with a two-hour presentation on how they take sound from what is perhaps the most difficult audio environment this side of a war zone and shape it into one of the most compelling narratives on television. As part of the “Sound For Picture” track at the convention, chaired by acclaimed film sound department professional Brian McCarty (On Golden Pond, The Big Lebowski, Dick Tracy, others), Re-recording Mixer/Sound Designer Bob Bronow and Picture Editor Josh Earl will showcase the tools and the techniques they use to build the show out of a mass of raw audio shot far out to sea.

Bob Bronow has been honored with two Primetime EMMY Awards and four CAS Awards for his work on the show. In addition to mixing all nine seasons of Deadliest Catch, his credits includes Ax Men, The Legend of Shelby the Swamp Man, The Colony, 1000 Ways to Die, and the feature documentary The Wrecking Crew. Josh Earl has earned three EMMY Awards for Outstanding Picture Editing For Reality Programming and an American Cinema Editors’ Eddie Award for his work on Deadliest Catch. He has been part of the production team for seven years and is getting ready for Season 10 of Deadliest Catch. A member of the American Cinema Editors, Josh’s work has been seen associated with Discovery, AMC, Fox, Disney, Pixar, MTV, Epix, A&E, and History.

Together, Bronow and Earl form an innovative team that can sift through the raw audio recorded under some of the most extreme conditions on earth aboard the crab boats working around the Aleutian Islands port of Dutch Harbor where, as the show’s title indicates, the inherent risk of injury or death is always present. Because of a lack of space, the boats do not have someone acting as audio mixer. Audio is recorded using wireless microphones worn by the fishermen, and through shotgun microphones attached to the cameras.

“What Bob and Josh are able to accomplish is incredible,” observes Brian McCarty, who approached them to be part of the “Sound For Picture” track at the AES Convention. “Sound for picture has not gotten the attention it has deserved over the last several decades; as an organization the AES is committed to changing that. With this convention we’ll be presenting a wide range of sound-for-picture applications to the audience, with sessions that feature different OSCAR®- and/ EMMY-nominated/winning figures discussing their craft and the latest technology and techniques used for sound capture, mixing, editing, loudness and more. To have the two engineers who have made the sound for Deadliest Catch so amazing as the centerpiece for the track is fantastic.”

“Sound For Picture” Track features include:

Cinema Sound – Test Evaluation & Screen Performance
Cinema Sound Masterclasses on:
Music Production for Film – A Masterclass
Sound Design for Film – A Masterclass
Dialog Editing & Mixing for Film – A Masterclass
World-Class Cinema Sound Mixers Discuss Their Craft
Sound for Reality Television – Reality Is Hard Work!
Creative Dimension of Immersive Sound – Sound in 3D
Film Soundtrack Loudness – Control and Standardization

“When they come to the reality show audio workshop, people are going to hear audio problem solving of the highest order,” says McCarty. “The audio for Deadliest Catch is captured under constantly changing circumstances, and Bob and Josh have to adapt to all of those changes as they put together a consistently great-sounding show. At this workshop, you’ll learn practical knowledge and you’ll be greatly entertained. That’s a winning combination.”

For a full roster of AES “Sound For Picture” Track presentations, please visit http://www.aes.org/events/135/soundforpictures/. 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/.

Photo File 1: BobBronow.JPG
Photo Caption 1: Bob Bronow, Re-recording Mixer/Sound Designer for Deadliest Catch.

Photo File 2: JoshEarl.JPG
Photo Caption 2: Josh Earl, Picture Editor for Deadliest Catch.

Photo File 3: DeadliestCatch.JPG
Photo Caption 3: An action shot taken during filming for Deadliest Catch Season 9. Photo courtesy of Discovery Networks. © 2013.

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Sir Elton John Shines in Denmark with HARMAN’s Martin MAC Viper Profiles

AARHUS, Denmark — Lighting Designer Andrew Pygott was pleased to learn Danish rental company Comtech began offering HARMAN’s Martin MAC Viper Profile and designed a Martin rig for Sir Elton John’s show at Denmark’s Resenlund Park composed of the high-output profiles.

“I was very interested in giving the Viper Profiles a go ever since a demo at our Barnsley headquarters in England,” says Pygott, who incorporated the Martin fixtures into the rig as the primary spots on the show, part of Elton John’s “40th Anniversary of the Rocket Man” tour.

“Its size-to-light output ratio and the good selection of stock gobos available made it an excellent fixture to clone and easily create multiple looks during the show,” Pygott says. “The Vipers are also remarkably fast on function including movement, which is outstanding for its size.”

Pygott positioned the Vipers on five of six aerial trusses, as well as on vertical towers at the rear of the stage. The tower positions and upstage truss had a pair of MAC Aura’s surrounding them to give a number of nice looks with the gobo beam emitting between the Auras.

Jes Hylby Christensen of Comtech commented, “I chose the Viper because of the efficiency of the fixture according to dimensions of the stage and the stability it offers in ‘outdoor’ environments. An important factor is also the weight-to-output ratio, which is impressive. In my opinion, the combination of Vipers and MAC III was the best solution for the job.”

Pygott thanks Comtech’s Kristian Holm Nielsen (Chief Technician), Jens Olsen (Project Manager) and Jes Hylby Christensen (Project Coordinator), “Who were able to quickly meet my requirements and provide a safe, well-positioned and fully functioning rig with great ease, making my trip to Denmark a pleasure.” He also thanks Omar Grundy, a colleague at Innovation Productions (www.innovation-productions.com), for his continued assistance.

Martin Equipment:
• 30 x MAC Viper Profile™
• 22 x MAC Aura™
• 29 x MAC 2000 Wash XB™
• 14 x MAC III Profile™
• 2 x Jem AF-1™ fan

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of infotainment and audio 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 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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