A virtual press conference from Sound & Video Contractor

Archive for September, 2013

Carl Tatz Design Offers Affordable Upgrade Path for Legacy PhantomFocus™ System Users

- Dramatic sonic improvements realized as more and more early adopters of the acclaimed PhantomFocus™ System (PFS™) are upgrading to the new PFS digital technology with improved alignment protocols -

Nashville, TN: “If you’re happy with your older PFS™, as most engineers are, you still may want to experience one of the newer digital systems,” suggests TEC Award-nominated recording studio designer Carl Tatz of the Carl Tatz Design (CTD) firm and creator of the PhantomFocus™ System monitor tuning protocol.

PhantomFocus System methods and technology have evolved greatly over the last nine years since the early systems were implemented, and performance has improved substantially. “I really want our legacy PFS users to be able to enjoy the newer technology, so we’re offering very attractive options for them to upgrade to the latest state-of-the-art systems,” explains Tatz.

Legacy PFS user and Willisoundz owner John Willis comments about his upgrade: “It made my monitoring go from great to ‘OMG,’ and now mixing is an even more enjoyable experience. It even makes my banjo sound better! Do yourself a favor, up your game with Carl’s new system.”

PhantomFocus_Brochure.PDF

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WorldStage Teams with Artist Rafael Lozano-Hemmer on “Voice Tunnel”, A Large-scale Interactive Art Installation

The New York Department of Transportation’s Summer Streets 2013 arts festival featured many unique installations but none more unusual than Mexican-Canadian artist Rafael Lozano-Hemmer’s “Voice Tunnel,” which opened the 1,400-foot vehicle tunnel on Manhattan’s Park Avenue to pedestrians for the first time ever. WorldStage filled the interactive art installation’s needs for an extensive lighting package and a custom audio system that delivered the once-in-a-lifetime experience to art lovers of all ages on three Saturdays in August.

The tunnel, which runs on Park Avenue from 33rd to 40th Streets and date back to the 1830′s, featured a sound and light installation that came alive when pedestrians spoke into a microphone at the center of the tunnel triggering 300 pulsating spotlights and 150 loudspeakers. Called “part architecture, part performance art” by one critic, “Voice Tunnel” invited the public to play with the very unique space around them.

WorldStage had previously teamed with Lozano-Hemmer on “Pulse Park” in Madison Square Park, “Levels of Nothingness” at the Guggenheim Museum and “Pulse Room” at the Madison Park Conservancy Gala. “We love working with Rafael,” says WorldStage president Joshua Weisberg, “He challenges us technically and the results are always magical.”

And the feeling is mutual. “I’ve worked with WorldStage in the past and been very pleased,” says Lozano-Hemmer. “Our collaboration process for ‘Voice Tunnel’ was great – I got WorldStage involved at the beginning to make sure my numbers and logistics were right. When I work with WorldStage I can get all of the lighting, staging and sound from a single source. My projects are all about the integration of these elements in unique ways, so to work with a company that’s comfortable with all the AV disciplines is very beneficial.”

WorldStage provided 300 Source Four Lekos, 150 self-powered 50w speakers and many miles of cable for the tunnel. The artist said he didn’t want to create “a big intervention” in the tunnel. “It’s quite pretty with beautiful rock shapes and metal cladding so I didn’t want to bring a big installation into it.” Instead he preferred to “work with something more ephemeral, like lights” and sounds that would “create a sense of choir.”

WorldStage mounted the spotlights along the tunnel floor base, sitting on 18″ curb at either side of the tunnel and spaced six feet apart, to produce glimmering arches of light. Pedestrians were able to influence the lights’ intensity by speaking into an artist-supplied intercom at the tunnel’s center, which recorded their voices and looped them. The trailing voices of the last 78 participants were heard as pedestrians strolled through the tunnel; the voices were played back on 150 loudspeakers, one beside each light arch and synchronized with it. As each new participant spoke into the intercom, older recordings were pushed one position down the light array until they left the tunnel. In this way the content of “Voice Tunnel” changed constantly. Lozano-Hemmer described the voices as “quiet…more like little memories of the tunnel.”

Josh Weisberg likened the experience to “visiting an old cathedral in Europe where the light is streaming in and you hear the low murmur of tourists’ voices out of which you can pick a lot of individual voices. It was a swirl of light and sound activity, sometimes chaotic, sometimes calming and sometimes totally absent.

WorldStage staff audio engineer Kate Brown led the team that worked with the artist’s programmers to craft a unique audio solution for the installation. She opted to use a digital audio network run over fiber optic cable to eliminate noise induced by the extensive runs of lighting cable and achieve a distance not possible over copper. Each group of 8 to 16 self-powered speakers was connected to a Yamaha Rio digital stage box. The Rios were connected to the fiber switch network, which was linked to the artist’s computer. The computer was outfitted with a RedNet sound card to output 75 streams of audio into a matrix that Brown configured using Dante network protocol. The 150-channel matrix output then fed the individual speakers.

Some 30 WorldStage crew members were on site for the install, which had a very short load in. “We had to pull an overnight prior to each Saturday exhibition, and install the system from scratch each time” Account manager, Terry Jackson points out. “It was a monumental amount of work, but we had Phil Alfieri and a great crew from Local 1 and they really made it happen..”

Lozano-Hemmer says, “one of the things I love about WorldStage is that they maximize the impact of the show for the available budget. This show was a big one, but WorldStage is able to respond to any size budget and get the most out of it.”

At WorldStage Terry Jackson, who handled the account is vice president and director of lighting, Daryl Carmen was brought in to manage the production and Erik Perry, WorldStage senior project manager, was the site manager.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Media Group International Appoints Three Key Management Staff

Leading Media Systems Integrator Media Group International has consolidated a period of rapid expansion by announcing three new staff appointments.

The new recruits, who are all based at MGI’s headquarters in Doha, include Jim White, Tyrone Donnelly and Jacqulyn Hamilton, all of whom have extensive experience in their specific areas of operation. Their decision to join MGI indicates the company’s growing importance in the international broadcast industry, which is allowing it to attract the very best talent and thus significantly strengthen its team.

Formerly with BSkyB, Jim White has joined MGI as Solutions Architect and is now working closely with MGI’s designers, engineers and operations teams to deliver projects that meet each customer’s technology needs. During his tenure at BSkyB, Jim White was responsible for the overall design of Sky’s Broadcast, Campus, and Data Centre networks. He also holds Cisco’s CCIE accreditation and has extensive experience designing IP networks specifically for broadcast covering the entire workflow chain from content acquisition and contribution through to online and satellite playout.

Tyrone Donnelly, who has been appointed MGI’s Broadcast Solutions Architect, previously worked for companies such as BSkyB, Avid Technology and Sony Professional Services Europe. He has extensive knowledge in the creation and delivery of complex broadcast systems and over 10 years’ experience leading numerous successful multi-million dollar projects. Tyrone has particular expertise in sports broadcasting, having delivered production systems and managed content and workflows at the Doha Asian Games and two FIFA World Cups.

Jacqulyn Hamilton joins MGI as Head of Global Project Management. With twenty years’ experience in program management, Jacqulyn has worked for a number of Fortune 100 international firms managing complex global Project Management Offices and multimillion dollar project portfolios. Most recently, she was the global head of PMO for a Singaporean management consulting firm with offices throughout China and Southeast Asia. Coming just months after MGI was awarded the British Standards Institute’s ISO 9001:2008 certification – the world’s most recognized quality management standard – Jacqulyn’s appointment indicates MGI ongoing commitment to invest in first rate process and project management.

Paul Hennessy, CEO of MGI, says: “Since rebranding as Media Group International, we have focused on strengthening our leading position in the systems integration market by ensuring that we have first rate staff in all key positions. Jacqulyn, Jim and Tyrone bring valuable knowledge in areas such as project management, IT and broadcast infrastructure and this, along with their experience in dealing with customers and third party suppliers, makes them important members of the MGI team. We are very pleased to welcome them to the company.”

Media Group International has over 35 years’ experience of systems integration in the Gulf region and represents many worldwide manufacturers. These include Avid Technology, Quantel, SeaChange,, Vinten Broadcast Ltd, Telestream, Vizrt and EVS Broadcasting. It also serves TV channels and networks, movie studios and network operators in the region, providing telecommunications, broadcasting, integrated systems and state-of-the-art security.

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Notes to the editor:
About Ghanim bin Saad Al Saad & Sons Group Holdings
Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.
GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.
The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
www.gssg.com

Media Group International
Media Group International (MGI) is a proven media broadcast and communications systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.
Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor and multisensory environments. MGI provides solutions from safeguarding national security, such as in government operations, to creating the best educational venues in museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.
Media Group International is ISO 9001:2008 certified, the world’s most recognised quality management standard. It is the first company of its kind to receive the prestigious accolade within the Middle East region, guaranteeing customers world-class quality assured products.
Media Group International recently launched their new website to give customers a better experience online.
www.mgi.tv

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Analog Way exhibits Ascender 48, impressive new Multi-screen Seamless Switcher with 48 Scalers InfoComm Middle East & Africa 2013 – Booth #TA-115

September 2013 – Analog Way is pleased to exhibit the new Ascender 48, a powerful Multi-screen Seamless Switcher. Based on the LiveCore™ platform, Ascender 48 offers unmatched processing capabilities with 48 Scalers. The powerful new AV processor will be demonstrated in Analog Way’s booth #TA-115 during InfoComm Middle East & Africa from October 20-24 in Dubai, United Arab Emirates.

Ascender 48, a powerful Multi-screen Seamless Switcher with 48 Scalers, is part of Analog Way’s LiveCore™ series.
The system offers 12 seamless inputs with 42 input plugs: 6 x HDMI, 9 x DVI-I, 3 x DisplayPort, 12 x 3G/HD/SD-SDI and 12 x Universal Analog. It can handle any source from composite video, up to 2560×1600, and outputs a variety of formats, including HD-TV and Computer format up to 2560×1600 and 4K.
Ascender 48 includes an independent Dual-Link output for monitoring purposes, with a Live Source Mosaic layout. The product delivers varied display configurations: Mixer, Hybrid, Hard Edge and Soft Edge configurations.

In addition to a native background layer, Ascender 48 can display up to 6 true-seamless scaled layers per output. Up to 50 frames and 50 logos can be stored in the device’s memory bank. Layers, including frames and logos, can be controlled individually in time and transition, and can be fully resized.
Ascender 48 offers advanced layer management. When an output is disabled, its layers can be added to another output offering higher flexibility with much more layering capability.

Up to 2 units of Ascender 48 can be linked. Inputs and outputs are shared and added, thus resulting in an impressive 24×8 Scaled Seamless Matrix system with 2 Live Mosaic previews.

Ascender 48 can be controlled directly from its front panel through a TFT color display, or through the Web-based Remote Control Software (Web RCS) specifically designed for the LiveCore™ platform.
Ascender 48 will also be controllable through the Vertige console, a new innovative Event Controller, which will be available in late 2013.

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DPA Diversifies Its Highly Directional Microphone Palette

Broadcasters and film makers who are searching for a high quality boom microphone capable of capturing audio in challenging locations need to look no further than DPA Microphones’ IBC 2013 booth (8:D76).

On show for the first time at IBC is the new DPA MMC4018 – a modular supercardioid condenser capsule that is an integral part of the company’s d:dicate™ Recording Microphone range. Thanks to its directional pattern, the MMC4018 has an extremely controlled off-axis response and very uniform directional shape (independent of frequency), thus ensuring exceptionally smooth and controlled sound.

Unlike the DPA d:dicate 4017 Shotgun, which includes an interference tube and is therefore more directional at the sides, this new variant offers more consistent rear rejection making it an interesting alternative to a conventional shotgun. While the MMC4017 is exceedingly directional, especially at higher frequencies, the sleek and compact MMC4018 focuses on low noise and high sensitivity, making it more suited to long-distance voice capture.

The DPA MMC4018 is the counterpart to the MMC4018V capsule, which is used in DPA’s popular d:facto™ Vocal Microphone. This means it offers extremely good isolation and feedback rejection, making it ideally suited to applications where clarity and audio quality are critical.

Christian Poulsen, CEO of DPA Microphones, says: “Our new MMC4018 supercardioid condenser capsule expands the flexibility of DPA’s d:dicate range by offering the broadcast, film and music recording industries the perfect microphone for long-distance boom miking, spot miking in orchestras, foley and speech recording. Due to its shorter length, it is very easy to boom in low-ceilinged rooms or to mount in challenging film recording sets such as the inside of cars.”

The modular nature of DPA’s d:dicate Recording Microphone range has enabled the company to expand its remit by entering the installation market. To this end it has introduced new desktop and podium microphones that give AV installers and conference organisers the clear, transparent and precise sound they demand.

DPA’s new MMC4018 capsule is the standard recommendation for the d:dicate podium microphone. By combining the capsule with different active booms and cables, installers can specify the exact microphone for their needs. For example, an MMC4018 capsule combined with an MMP-C compact pre-amp makes an ideal desktop microphone, while the same capsule combined with an MMP-E modular active cable is perfect for applications where the microphone needs to be hung from the ceiling because the preamp only adds 12mm to the capsule – and thanks to its integrated cable it is very inconspicuous.

“Given the flexibility of our d:dicate range, creating a microphone for the installation and conference markets was an obvious step,” Christian Poulsen adds. “We already had the high-end capsule and pre-amplifier technology needed to fulfil the brief, so all we had to do was employ some ingenious mechanical solutions. By doing this, we have been able to adapt our boom and cable technology so that we can deliver installation solutions for a wide variety of applications. Whether this is for a podium, a desk top, a stage stand or even suspended from the ceiling, we have it covered with visually elegant and sonically superior products that boast all the robustness inherent in DPA’s ingenious engineering techniques.”

For more information about DPA’s microphone range, please visit DPA’s IBC stand – Hall 8, D76. Visitors to the booth will also have the opportunity to win a DPA microphone by having their badge scanned and entering a free draw, which will be drawn each day at five pm throughout the show.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information on DPA Microphones, please visit
www.dpamicrophones.com

DVEO Upgraded to Intel Technology Provider Platinum Partner — Designation Comes as DVEO Prepares to Introduce Numerous IP Video Solutions at IBC 2013

San Diego, California — DVEO, the broadcast division of CMI, announced today that they have been upgraded to an Intel® Technology Provider Platinum Partner. Intel Technology Provider Platinum Partners are among the top performers in Intel’s reseller channel worldwide.

“We are very proud to achieve Platinum Partner status,” stated Scott Grizzle, Product Manager for DVEO. “Being a Platinum Partner shows our commitment for working with the latest technology. It also shows that customers like the DVEO/Intel relationship and products. We are both working for sustained quality and also the latest advancements in technology. We take pride in building upon the Intel platform with processors, SSD’s and more.”

At the International Broadcasting Convention (IBC) in Amsterdam, September 13-17, at Stand 2.A34, DVEO will demonstrate numerous products that utilize Intel® Xeon® processors. Featured products include the Live+Anytime Server™ for live media distribution and VOD, the MultiStreamer™ product family of live encoders/streamers, the D-Streamer IP/DIG™ IP to HD-SDI decoder, the Infinity Streamer™ continuous HLS streaming appliance, the DelayServer IP™ time delay system, the Ad Serter™ graphics, EAS, and video clips inserter, and the SegmentKeeper™ media server for IPTV content providers that allows many online viewers to rewind a live stream back in time then forward to live.

Platinum Partner status is reserved for Intel’s most valued program members — those who demonstrate superior business and technical skills, as well as leadership in the development of innovative customer solutions based on Intel technologies. Platinum Partners receive top benefits, including rebates, advanced support, marketing resources, exclusive invitations, expertise recognition, and the use of Platinum Partner membership assets.

“Platinum Partner is the highest level of Intel’s Technology Provider Program. It ensures DVEO’s customers that they are working with highly qualified engineers,” said Richard Phamdo, Business Development Manager for Intel. “DVEO has almost 60 video streaming products based on Intel® Xeon® 4, 6, and 8 Core processors, with many more to come. We congratulate DVEO on their new status as an Intel Technology Provider Platinum Partner.”

DVEO, Ad Serter, DelayServer IP, D-Streamer, Infinity Streamer, Live+Anytime Server, MultiStreamer and SegmentKeeper are trademarks of Computer Modules, Inc. Intel and the Intel logo are trademarks of Intel Corporation in the U.S. and/or other countries. All other trademarks and registered trademarks are the properties of their respective owners.

About CMI and DVEO
CMI, founded in 1982, is a privately held company headquartered in San Diego, California. DVEO, the Broadcast Division of Computer Modules, Inc., sells digital video and high definition television (HDTV) products to the top television broadcast companies throughout the world.

For more information on CMI and DVEO, please contact Rebecca Gray at +1 (858) 613-1818 or rebecca@dveo.com. To download DVEO’s press releases and product images, visit the news section at www.dveo.com.

DVEO, 11409 West Bernardo Court, San Diego, California, 92127
Web: www.dveo.com phone: +1 (858) 613-1818, fax: +1 (858) 613-1815

IN-DEMAND MIX ENGINEER RICHARD FURCH USES METRIC HALO’S CHANNELSTRIP PLUG-IN ON EVERY CHANNEL OF EVERY SONG HE MIXES

LOS ANGELES, CALIFORNIA: Seasoned audio engineer Richard Furch has worked on numerous Grammy Award-winning albums for the world’s leading pop, R&B, and rap artists. His client list includes Prince, Jimmy Jam & Terry Lewis, Tyrese, Frank Ocean, OutKast, Macy Gray, Usher, Chaka Khan, Katherine McPhee, Fountains of Wayne, The Brooklyn Tabernacle Choir, and he has worked with a slew of prominent rappers including Jay Z, Snoop Dogg, The Game, Rick Ross, and Ludacris. He recently mixed India.Arie’s album SongVersation and Chrisette Michele’s album Better, each almost in its entirety. Both albums went to number one on the iTunes R&B chart and captured the number one and two spots, respectively, on the Billboard R&B charts and stayed in the top ten for eight weeks. As with everything he mixes, Furch began with an instance of Metric Halo’s ChannelStrip plug-in on every channel of every song he mixed on both albums. Because it can be either transparent and surgical or colored and organic depending on his needs, Furch bases his workflow and sound on ChannelStrip.

“I love the perfect combination of transparent when I need it, but ‘analog smooth’ when I want it,” he said. “With everything flat, ChannelStrip is truly transparent. I’ve loaded a dozen or so instances in series and compared the output to the original – it was indistinguishable. Because of that, I don’t hesitate to put on extra instances to automate small fixes as needed. For example, there were moments in India.Arie’s vocals where she got a little too close to the mic or one of the syllables lacked the presence it should have. I could leave the ChannelStrip instance that gave me the overall balance just as it was and punch in a new instance just for a particular correction.” Furch maps the controls from the ChannelStrip on each Pro Tools channel to the Avid C24 Pro Tools control surface that organizes his workflow. “ChannelStrip is essentially my board… any other plug-in is a flavor,” he said.

In the course of using ChannelStrip for so many years, Furch has developed his own flat preset that serves as a speedy jumping-off point. Strategic equalization frequencies, cut-offs, and bandwidths together with compression ratios, side-chain settings, and decay times make it easy for him to pop in one of several tricks that instantly take tracks to good places. For example, if he finds that he’s losing a particular instrument in the mix, he enables the compressor with his preset parameters and the auto gain make up “lifts out the sound of the mix a bit.” He continued, “I used to do that when I mixed on SSL consoles, but no other plug-in – not even SSL emulators – could replicate that trick quite this way and keep the gain exactly steady. ChannelStrip does. In addition, I often employ the high-pass filter on the compressor side chain and then lower the cut-off frequency to get more compression. It’s like a second threshold control, but it has its own, uniquely musical effect.”

On SongVersation, Furch employed ChannelStrip’s high shelf EQ – as he often does – to add clean “air” to the high end of several tracks, including India.Arie’s vocals. “It’s such a wide shelf,” he explained. “I leave the frequency way up at 20kHz, but it has a smooth effect all the way down to 8kHz or so. When I lift it up, the track becomes airier and more lively. The quality of the shelf is so good that it’s never obtrusive. In fact, that’s one of the first things I do when I start a mix. I find the tracks that don’t seem as lively as they should be and use the high shelf. Because India.Arie’s vocals are so critical, because they have to be forward and warm, and because they need some sizzle at the top, I used ChannelStrip to really create her sound.”

Similarly, Furch asks his assistant to pre-condition every mix by employing the ChannelStrip high-pass filter to remove all low-end sounds or energy that aren’t actually serving a musical purpose. “The filter itself seems colorless,” he said. “I can pull out a lot of rumble without affecting the quality of the musical low-end information. I used that technique on Chrisette Michele’s new album – especially on the backing vocals. There, I raised the cut-off quite high, since it’s great at cleaning up the sound without making it too lean. With the new real-time analyzer built into ChannelStrip3, it’s easy to see where to place the cut-off. It’s nice to feel comfortable knowing I’m in the right place.”

But for Furch, Metric Halo’s ChannelStrip isn’t merely for surgical fixes. “When I start working with the parametric EQ, I can really hear that pleasant analog feel that ChannelStrip is able to deliver. I typically crank up the gain and sweep the frequencies to quickly identify the right center point. It’s like ChannelStrip zooms in on the sound. Then I can relax the gain and everything sounds so precise. Most of the time it only takes a few dB. It’s very responsive,” he concluded, “a powerful weapon of mass sound manipulation!”

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

www.mhlabs.com

HISTORICALLY SIGNIFICANT ST. JOHN’S CONGREGATIONAL CHURCH BUILDS NEW SANCTUARY, INSTALLS DANLEY

SPRINGFIELD, MASSACHUSETTS: Originally known as “Free Church” when it was founded in 1848, St. John’s Congregational Church in Springfield, Massachusetts is one of the nation’s oldest predominantly African-American churches, and its history is intertwined with the history of advancing human rights in the United States. One of its founding members was a personal friend of Abraham Lincoln, and John Brown, abolitionist and hero of Harper’s Ferry, was a member when he lived in Springfield. St. John’s Congregational Church served as a busy stop on the Underground Railroad, and over the years the church has enjoyed visits from luminaries such as Sojourner Truth, James Baldwin, Langston Hughes, and Jesse Jackson. Membership swelled in the 21st Century, prompting the church to raise funds for a new 800-seat sanctuary on property across the street from its existing, 100-year old building. Recently completed, the new sanctuary features a Danley Sound Labs sound reinforcement system that delivers precise intelligibility and soul-moving bass.

“St. John’s Congregational Church has a high-energy contemporary music program, and they wanted a sound reinforcement system that would really support and extend that aspect of their services,” explained Victor Puddy, chief engineer with dB Audio & Video. Getting it exactly right was so important that the church officials sought recommendations for integration firms from friends around the country. Georgia-based dB Audio & Video came highly recommended, and a small contingent of church officials flew down to Gainesville to meet with the folks at dB Audio & Video and to tour some of their local installations. They were impressed and hired the firm to design and install the new sound reinforcement system. To minimize time away from home and family, dB Audio & Video technicians pre-fabricated as much of the system as possible in their Georgia shop.

“To meet their needs, we had to design a sound system with great intelligibility, musicality, and low-end extension – even and especially at high SPLs,” said Puddy. “They wanted to feel the grooves of their seven-piece contemporary band, not just hear them. Danley Sound Labs loudspeakers deliver superior speech intelligibility, and their exceptional pattern control keeps energy on the congregation and away from the walls. Of course, the low end from Tom Danley’s subwoofer designs is phenomenal.” A single Danley SH-96 mounted at the ceiling above the stage covers most of the seats, and a pair of Danley SH-60s on either side provide fill. A Danley SH-100 mounted behind the SH-96 and facing the opposite direction covers the choir. Two Danley TH-115 subwoofers mounted on the floor deliver generous bass.

An Allen & Heath GLD-80 digital mixer (paired with a digital snake for the stage and a second digital snake for wireless microphone receivers and playback devices) provides a flexible and recallable front end. A dozen Shure ULX wireless microphones guarantee excellent reception and fidelity at the sound source. Output from the mixer feeds a Danley Sound Labs DSLP-48 signal processor, which in turn feeds RMX 450 and 1850 amplifiers. A new Panasonic HD video system complements the sound reinforcement system. High-definition cameras capture video of the service from different angles and distances and project them on two screens behind the stage, and to one on the back wall for the choir. In addition, the HD video signal is distributed throughout the building.

“They’ve been using the new system for several weeks now, and it would seem that everybody is in love with it,” said Puddy. “They were especially impressed by the even coverage and the tremendously deep and clear bass response.”

ABOUT dB AUDIO AND VIDEO dB Audio and Video is a Gainesville, Georgia-based design/build technologies integrator specializing in audio and acoustics, broadcast and presentation video, digital signage, and control automation for houses of worship, schools, sports arenas, government and military. For more information visit: www.dbaudioandvideo.com

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

VIETNAM TELEVISION (VTV) INSTALLS EIGHT SYMETRIX SYMNET EDGE DANTE AUDIO DSPs

SEATTLE, WASHINGTON: Vietnam Television, or VTV, is the largest broadcaster in Vietnam and has been in operation for over forty years. With six nationwide broadcast channels currently in operation and two more under development, VTV is building a state-of-the-art infrastructure. Recently, HD Vietnam, the Symetrix distributor located in Hanoi, supplied VTV with eight SymNet Edge DSPs. HD Vietnam designed and installed this new audio backbone, and their customer, VTV, programmed the system without additional assistance – a testament to SymNet’s ease of use.

Each of the eight SymNet Edge frames has four slots to accommodate different input or output formats. VTV loaded them up with an even split of four-channel digital input and four-channel digital output cards. They accept and return digital audio to and from a server and studios via AES. The Dante network connects all of the frames together, effectively pooling all of the inputs, outputs, and DSP resources into one massive audio processing hub. “A big part of what VTV was looking for in the new system was the ability to route any input to any output,” explained Nguyen Huyen Dieu, owner of HD Vietnam. “They wanted full matrixing and audio processing on all channels.” In conjunction with the SymNet Edge system, Ross Video audio de-embeders and audio embeders strip and re-associate audio with its respective video stream.

“The SymNet Edge is a unique processing system,” said Dieu. “It is very powerful and flexible, yet easy to program. Symetrix has proven its reliability in the Vietnamese broadcast industry through its long line of broadcast processors.” Because VTV’s programs are currently broadcasting in multi-channel audio to serve different dialect regions and because program material frequently possesses only two-channel information, VTV uses the SymNet Edge processing to enable a smooth transition. Whenever program material on channels three and four is absent, the SymNet Edge processor duplicates channels one and two on channels three and four.

“VTV is very happy with the capabilities of the SymNet Edge system, and the VTV engineers are also very happy with its ease of use,” said Dieu. The national broadcaster is already planning new HD channels that will employ SymNet Edge processing. If VTV grows beyond its current I/O count or DSP resources, it will be a simple matter to add input/output or more Edge frames and to connect them seamlessly to the existing system via the Dante network.

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

SYMETRIX EXPANDS LIBRARY OF APPS FOR JUPITER TURN-KEY DSP

SEATTLE, WASHINGTON: Symetrix announces the addition of seventeen new apps for its family of Jupiter app-based turn-key DSPs. The three different hardware units in the series – Jupiter 4, Jupiter 8, and Jupiter 12 – differ only in their input/output counts and are user-controllable from Symetrix ARC wall panel remotes, third-party systems, and Symetrix ARC-WEB browser-based software for smartphones. The addition brings the total number of available Jupiter apps close to one hundred and expands the already impressive range of situations for which the Symetrix Jupiter provides reliable processing at an extremely competitive price point.

“We’ve been listening to our customers,” said Trent Wagner, senior product manager at Symetrix, “and we’ve carefully chosen the new apps to release to ensure they offer functionality that addresses the breadth of requests we’ve received. Additionally, we’ve enhanced nearly all of the existing apps with multi-channel gain and mute controls to simplify user control.”

Everyone loves a free app that has more functionality, saves time and makes the user look smarter than the next guy (or gal). So, go to our website and download the apps that will make your next Jupiter installation a virtual breeze.”

Six core apps form the heart of the addition and are elaborated according to the input/output counts of the three Jupiter hardware devices. “BGM Zone Mixer 1” provides background music routing to multiple zones with two levels of priority. “Dual Matrix Mixer 1” provides flexible mixing and routing and allows integrators to assign any input to a mix, assign those mixes to submixes, and route submixes to outputs. “Gain-Sharing Automixer 3” provides a gain-sharing automixer with feedback processing on the outputs together with matrixed outputs. Similarly, “Gating Automixer 3” provides a gating automixer with feedback processing on the outputs together with matrixed outputs. “Priority Zone Mixer 2” provides a multi-zone priority mixer with paging and SPL computing. Finally, “Sound Reinforcement 12” provides heavy input processing and full-range outputs with feedback processing.

The growing library of Jupiter apps are optimized for specific applications and venues including houses of worship, auditoriums, retail and hospitality establishments, sports facilities, and transportation terminals. The time needed to learn the software is zip. With Jupiter turn-key DSP sound contractors end up doing what they do best, which is to dial in really great sound.

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

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