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Archive for October 15th, 2013

Wohler Unveils RadiantGrid Detect and Correct Color Gamut Legalization Option With RightHue

SAN FRANCISCO — Oct. 15, 2013 — Wohler Technologies today announced the release of the new RadiantGrid Detect and Correct(TM) legalization option now featuring the unique RightHue(TM) algorithm. This new option for broadcast gamut processing on the RadiantGrid Intelligent Media Transformation Platform(TM) assures that all video output by the RadiantGrid platform meets strict gamut specifications. More specifically, the option ensures compliance with the restrictions on luminance and RGB levels defined by the Digital Production Partnership (DPP) and European Broadcasting Union (EBU).

“As the first deliverable developed for our new Detect and Correct architecture, this new broadcast gamut legalization option further extends the RadiantGrid platform’s media transformation capabilities,” said Craig Newbury, vice president sales, RadiantGrid. “In fact, this option represents the first, technically superior, file-based legalization solution integrated at the point of transcode — reducing the cost and complexity of processing while simplifying and retaining an end-to-end file-based workflow.”

By enabling and automating processing entirely within the file domain, the RadiantGrid Detect and Correct legalization option with RightHue eliminates the unscalable real-time bottleneck of baseband processing, and does away with generational degradation of additional decode-encode cycles required by baseband or outboard file-based solutions. It also allows facilities to forego nonlinear editor processing and to establish highly efficient and cost-effective processing that meets set parameters uniformly and accurately. When speed is of utmost importance, processing can be gridded for ultimate performance.

The new Wohler RightHue legalization algorithm powering the RadiantGrid option is optimized for constant hue legalization (gamut processing) to EBU-R103/DPP gamut specification, the dominant gamut requirement in Europe. RightHue delivers precise gamut control, maximizing use of the allowed gamut without the hue distortion and/or overclipping typical of traditional legalization solutions. Constant hue-gamut control is especially valuable for commercials, for which accurate color reproduction can be critical to the value of the brand.

The new RadiantGrid Detect and Correct legalization option featuring RightHue can be enabled through a simple RadiantGrid platform license update.

More information about RadiantGrid and the full Wohler product family is available at www.wohler.com.

Photo Link: www.wallstcom.com/Wohler/RadiantGridColorLegalization.zip
Photo Caption: An example of Wohler’s RadiantGrid Detect and Correct(TM) color gamut legalization option with RightHue(TM)

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About Wohler Technologies Inc.
Wohler’s tradition of innovation began with the creation of the industry’s first in-rack audio, video, and data monitoring category, and continues today through its development of signal management and monitoring solutions for video, audio, captioning, and loudness applications. Wohler’s 2012 acquisition of RadiantGrid Technologies extends this award-winning product line to include the Wohler RadiantGrid Intelligent Media Transformation Platform(TM) for efficient file-based content creation and distribution, quality control, and faster-than-real-time transcoding and standards conversion. This new offering, combined with the company’s proven, cost-effective confidence monitoring, compliance recording, and content management solutions, ensures high-quality media production across any platform and delivery to any device. More information about Wohler is available at www.wohler.com.

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Digigram to Showcase Advances Achieved With THAT Corporation in Presentation at 135th AES Convention

MONTBONNOT, France — Oct. 15, 2013 — Digigram today announced that the poster “Automatic Analog Preamp Gain Control Using Digital Command” has been selected for presentation at the 135th AES Convention in New York City on Oct. 19. This poster addresses the problem of designing an automatic gain control (AGC) in the absence of dedicated hardware, such as voltage-controlled amplifiers, with the use of Digigram on-board DSP processing coupled with advanced analog components supplied by THAT Corporation.

During the presentation, scheduled for 5 p.m. on Oct. 19, Nicolas Sturmel, research project manager at Digigram, will discuss how the company overcame the challenges of fixed gain steps and variable delay of the gain command to engineer a very simple yet high-quality, digitally controlled automatic gain using only 10 MIPS of processing power from Digigram’s CANCUN high-end USB sound card, plus the built-in, high-end, digitally controlled mic preamplifier based on THAT1570/5171 chips. Following the presentation, Sturmel will be available for further discussion at the THAT Corporation booth, #2734.

“Since 2011, Digigram has chosen THAT integrated circuits for the analog inputs of the CANCUN USB sound card,” said Sturmel. “The THAT1570/5171 preamp and gain controller provide the best of two worlds with no compromises: one dedicated chip for top-notch analog quality and one chip for digital ease of control. This modular solution assures the lowest- possible noise level and distortion. With the THAT integrated circuits, CANCUN is one of the rare USB- powered sound cards with four studio-grade +48v-powered mic preamps and with an innovative AGC now.”

“A voltage-controlled amplifier is a great way to control levels, but being positioned after the microphone preamp, it can’t prevent the preamp from overloading on large signals,” said Les Tyler, president, THAT Corporation. “Digigram’s clever solution uses our digital controllers to change gain in the preamp itself, thereby avoiding overload from the start.”

More information about THAT Corporation is available at www.thatcorp.com. More information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

Photo Link: www.wallstcom.com/Digigram/Sturmel.zip
Photo Caption: Nicolas Sturmel, Digigram Research Project Manager

Photo Link: www.wallstcom.com/Digigram/Cancun442-AVG.zip
Photo Caption: CANCUN USB Sound Card

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About THAT Corporation
THAT Corporation’s mission is to provide best-in-class technology solutions to design engineers in the form of analog integrated circuits or as licensed TV-audio intellectual property. The company accomplishes this through a combination of careful, innovative designs; quality-conscious manufacturing; and superior customer service. THAT Corporation is headquartered in Massachusetts, with offices in Tokyo and Silicon Valley. More information is available at www.thatcorp.com.

About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

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Hollywood Post Alliance Honors Avid with the Charles S. Swartz Award

The Preeminent Post Production Organization Will Honor Avid For a Heritage of Outstanding Contributions

(Los Angeles, CA) The Hollywood Post Alliance(r) – the trade association for the post production community – has announced that Avid(r) will receive the 2013 Charles S. Swartz Award for Outstanding Contribution in the Field of Post Production. The HPA will present the honor during the 8th Annual HPA Awards, which takes place on the evening of November 7th, 2013 at the Skirball Cultural Center in Los Angeles, CA. Louis Hernandez, Jr, President and CEO of Avid, will accept the award on behalf of the company.

Leon Silverman, President of the HPA, commented on the award, “From its founding days to the present, Avid has not only helped to lead our industry’s transition to new, powerful digital creative tools, but has also expanded the creative image and sound post production palette in a way that has fundamentally enabled new creative abilities. Building on their strong heritage of innovation, it is exciting to see Avid’s ongoing dedication to our community.”

Recognized as a leading provider of audio and video technology for media organizations and content creators, Avid’s tools and products are widely used by creative and media professionals around the world to make, distribute and monetize content. Avid led the revolution in non-linear editing over 25 years ago, irrevocably changing the way that creative projects were finished. Unveiling a prototype of their first non-linear editing system – the avid/I – at the 1988 NAB, within just a few years Avid’s category-defining products began to dethrone traditional film editing. Non-linear digital editing came to be the predominant standard, and the company has continually exerted its influence through its extensive R&D, development of IP, and expansion into audio production, broadcast, and live sound. The company’s products have been recognized with numerous industry and technology awards, including 2 OSCARS(r) a GRAMMY(r), and 14 EMMYS(r). The company holds over 200 patents.

Avid continues to develop crucial new technologies, and is at the forefront of helping an industry in rapid change, continually move forward. In September, the company announced “Avid Everywhere,” its vision to connect creative professionals and media organizations with their audiences in a more powerful, efficient, collaborative, and profitable way. In a major move to broaden collaboration across its community of customers and industry partners, the company also announced the creation of the Avid Customer Association, a comprehensive initiative designed to provide essential strategic leadership to the media industry, collaborate with key industry leaders and visionaries, and deepen relationships between the company and its customers.

Hernandez said of the award, “We are deeply honored to receive this award, and are especially proud to be recognized by the HPA, the voice of the post community. The post production industry has always been a source of innovation and inspiration. From the beginning, Avid has had deep roots within this community and, we are dedicated to being your trusted partner long into the future.”

The award was named in honor of the late Charles S. Swartz, who led the Entertainment Technology Center at the University of Southern California from 2002 until 2006, helping to build it into the industry’s premier test bed for new digital cinema technologies. Charles was a member of the Hollywood Post Alliance Board of Directors until his passing in 2007. The Charles S. Swartz Award is not bestowed every year, but rather only as worthy recipients are identified. Silverman concluded, “The mission of the Charles S Swartz Award is to recognize those efforts that have had profound and global impact on post production. Avid, throughout its 25-plus year history, has impacted our post production community so significantly that they indeed exemplify the meaning of this Award and so honor the memory of our friend and colleague Charles Swartz.”

The HPA Awards were designed to draw attention to the creative work being done in post production by companies and individuals. During the upcoming event in November, awards will be presented in 13 craft categories, as well as special awards, including the Charles S. Swartz Award, a Judges Award for Creativity & Innovation and the Engineering Excellence Award. Nominees for the craft categories as well as a number of special award winners were announced earlier. The list is available here http://bit.ly/17OZiMd.

Tickets for the HPA Awards are available now and can be purchased online at www.hpaawards.net. For further information about tickets or the Awards Show call HPA at 213.614.0860 or write to info@hpaawards.net.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance. The HPA Awards will be presented with generous support from Sponsors: Foundation members: Dolby, Company 3, Deluxe, EFILM, Encore; Premier sponsor NAB Show; Bronze Sponsor Sohonet; Brand Sponsor NVIDIA and Supporting Sponsors.

About Avid
Through Avid Everywhere, Avid delivers the industry’s most open, innovative and comprehensive media platform connecting content creation with collaboration, asset protection, distribution and consumption for the most listened to, most watched and most loved media in the world-from the most prestigious and award-winning feature films, music recordings, and television shows, to live concerts and news broadcasts. Industry leading solutions include Pro Tools(r), Media Composer(r), ISIS(r), Interplay(r), and Sibelius(r). For more information about Avid solutions and services, visit www.avid.com, connect with Avid on Facebook, Twitter, YouTube, LinkedIn, Google+; or subscribe to Avid Blogs.

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Media Contact:

HPA
ignite strategic communications
818.980.3473
chris@ignite.bz

Avid
Lisa Kilborn
978-640-3230
lisa.kilborn@avid.com

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Forbidden Appoints Bridge Digital as FORscene Distributor for the Americas

LONDON — Oct. 15, 2013 — Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market-leading cloud video platform FORscene, today announced that Bridge Digital will represent FORscene to the broadcast industry in the Americas. Bridge Digital is a U.S integrator and value-added reseller of all tiers of data storage hardware, media asset management software, digital distribution services, and customized technology solutions. Based in Goodlettsville, Tenn., Bridge Digital has served media companies and video production and post-production facilities of all types since 2002.

“We believe that synergies between Forbidden and Bridge Digital will bring us to a new chapter in introducing FORscene to the Americas,” said Greg Hirst, business development director, Forbidden Technologies plc. “With Bridge Digital’s dedicated sales and technical team, its breadth of experience in asset management and post-production, and its reach into Central and South America, we hope to appeal to a wide range of new users who put an emphasis on high-quality, cloud-based editing within the SaaS model.”

“The intelligent mix of compression, on-premises services, and cloud computing make FORscene the obvious next step for our customers’ production requirements,” said Bridge Digital President Richie Murray. “With a powerful feature set and great pricing model, we expect to replicate the success Forbidden has enjoyed in its local market here in the Americas.”

More information about FORscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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

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

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Special Series of FX Tutorials and Workshops Will Kick-Off Each Day of the 135th Audio Engineering Society Convention

— Professor Alex U. Case will lead a tutorial explaining technical foundations and demonstrating creative strategies for an effect family (compression, equalization, distortion and reverb), followed by a workshop panel offering added insight from the designers of some of the most important hardware and software available for the effect. Downbeat is 9:00 a.m., each morning —

New York, NY, October 10, 2013 — At the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City), Alex U. Case, the well-known Associate Professor of Sound Recording Technology at the University of Massachusetts Lowell, will kick off four straight days of tutorials demonstrating audio processing technologies and techniques. Each day’s sessions will then continue with other presenters’ seminars.

Prof. Case, an active member of the Audio Engineering Society and a Fellow of the Acoustical Society of America with degrees in Mechanical Engineering, Music, and Acoustics, is an engineer, educator and author who speaks frequently on audio and acoustics across the United States and worldwide. At this year’s AES Show, he’s overseeing a jam-packed series of seminars that cover key issues in audio, starting at 9 a.m. each morning with tutorials on specific subjects – Compression, Equalization, Distortion and Reverb – followed by intensive workshops on the same topics, intended to reinforce that new knowledge in a highly practical manner.

Case, who has been a major draw in other types of presentations at previous AES Shows, is packaging his vast knowledge and educational skill in an immersive presentation format that will let attendees leave with a new sense of understanding and confidence in their abilities. “I chose topics that I thought I would have been most interested in early in my career,” explains Case, who says the content of the tutorials are based largely on chapters of his book Sound FX. “But we wanted to take it a step further, so I added the workshops to the tutorials to create a more complete experience.”

Alex U. Case-led Tutorial sessions include:
Seminars:
Compression: http://www.aes.org/events/135/tutorials/?ID=3651
Equalization: http://www.aes.org/events/135/tutorials/?ID=3673
Distortion: http://www.aes.org/events/135/tutorials/?ID=3703
Reverb: http://www.aes.org/events/135/tutorials/?ID=3723

Workshops:
Compression: http://www.aes.org/events/135/workshops/?ID=3652
Equalization: http://www.aes.org/events/135/workshops/?ID=3674
Distortion: http://www.aes.org/events/135/workshops/?ID=3702
Reverb: http://www.aes.org/events/135/workshops/?ID=3722

For more information on these and the entire tutorial schedule, please visit http://www.aes.org/events/135/tutorials/. 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 Caption: Professor Alex U. Case

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Audio-Technica to Hold “Ask Me Anything” Sessions at 135th AES Convention

— Featuring industry insiders and friends of A-T, these AMA sessions are set to be informative and revelatory for an audience of in-person AES convention attendees as well as a worldwide online audience —

STOW, OH, October 10, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, announces that, for the first time, it will be hosting several “Ask Me Anything” (AMA) question-and-answer sessions at its exhibition booth (2723) at the 135th AES Convention in New York, NY. Sessions are scheduled for two days of the convention: Friday, October 18, and Saturday, October 19. The session schedule is listed below, and additional details are available at the Audio-Technica booth or www.audio-technica.com/aes2013. (Note: this schedule is subject to change; updates will be made on this link).

Friday, October 18, 2013 (all times EDT):
1:00-1:30 — Joel Singer, GRAMMY® Award-winning engineer/mixer, co-founder and chief engineer of Music Mix Mobile.
2:00-2:30 — Jackie Green, VP R&D/Engineering at Audio-Technica.
3:00-3:30 — Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer.
4:00-4:30 — Richie Castellano, musician and YouTube sensation.

Saturday, October 19, 2013 (all times EDT):
1:00-1:30 — Richard Chycki, mixer, engineer and producer.
2:00-2:30 — Carl Tatz, TEC Award-nominated recording studio designer.
3:00-3:30 — Frank Wells, President of AES.
4:00-4:30 — Jimmy Douglass, GRAMMY® Award-winning recording engineer/record producer.

“Ask Me Anything” questions are fed to the presenters through a moderator during a 30-minute Q&A session. Questions can be submitted by individuals present at AES booth 2723; online at www.livestream.com (free registration); and by Twitter #ATliveAES.

In addition, individuals may watch during and after the event at www.audio-technica.com/aes2013 (also accessible from A-T’s website or Facebook page).

“We are very much looking forward to the AMA sessions at the AES Convention,” stated Gary Boss, Audio-Technica Marketing Director. “This will be a wonderful opportunity to hear comments on a wide variety of topics from some of the leaders in their fields in an informal, no-holds-barred setting. And with the online presence, people who could not make the convention in person can get a taste of what the show has to offer and interact with these experts. We hope that this series of events will truly enhance the AES Convention experience for all who participate, and be the beginning a great tradition moving forward.”

Full details are available at www.audio-technica.com/aes2013.

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Sound Devices Racks Up Interest for PIX 260i Production Video Recorders at AES 2013

Rack-Mounted PIX 260i Enables Unprecedented Audio Control for Production Professionals

NEW YORK, OCTOBER 18, 2013 — Sound Devices, specialists in portable audio and video products for field production, showcases the latest functionality for the PIX 260i Production Video Recorders at the 135th International AES Convention (Gotham Sound and Communications, Booth 2738). PIX 260i seamlessly replaces tape-based video decks in production and post-production environments, while also offering 32 tracks of audio recording and playback. Its latest firmware, version 1.03, brings even more functionality to the end-user.

The PIX 260i brings the features and tools needed by production companies looking to migrate to file-based recording and playback environments. It records either QuickTime files in either Apple ProRes or Avid DNxHD video formats or WAV format audio files. Files recorded with Apple ProRes or Avid DNxHD are ready for editing directly from the recorder in common editing environments, such as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

Continuing the company’s heritage in production sound, Sound Devices infused the PIX 260i with 32-track audio recording and playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

Files are recorded either simultaneously or sequentially on up to four separate, 2.5″ SSD storage devices via two front panel PIX-CADDY slots and two rear panel eSATAp connections. This redundancy in local, removable storage devices, coupled with standard, Ethernet-based file transfer features further reduces steps in the production workflow. Recording to multiple drives offers immediate file backup, eliminating time-consuming post-record copying. Gigabit Ethernet network ports enable remote access to recorded files and the ability to transfer these files quickly into a post-production environment.

Another key feature of the PIX 260i is that it can be controlled from browser-capable computers and tablets. When connected to a data network, transport controls and setup menu controls are available on PIXNET, which offers control of one or multiple PIX 260i recorders. Multiple units can be grouped for simultaneous control.

Version 1.03 firmware, which is available as a free download to existing PIX 260i users, provides support for the new Sound Devices PIX-CADDY CF accessory. The PIX-CADDY CF allows the PIX 260i to record polyphonic WAV files directly to removable CompactFlash cards (audio poly mode only). In addition, v1.03 enables users to record and playback Mono Audio Wave Files (audio only mode with SSD and HDD) and supports RS-422 locate to timecode, cue point commands and device type ID (Sony BVW-75 emulation). Version 1.03 also provides an added scene increment shortcut feature from main screen and added options for displaying smaller audio meters in various parts of the main screen.

Existing PIX 260i users can download version 1.03 for free by visiting http://www.sounddevices.com/download/pix260i-firmware/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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Clear-Com Showcases the Latest HelixNet Partyline System With Linking Capability at AES 2013

NEW YORK, OCTOBER 15, 2013 – Clear-Com® is demonstrating the latest advancements to the HelixNet™ Partyline Intercom System at AES 2013 (Booth 3030). Among these is a new capability that allows multiple HelixNet systems to link over Ethernet and Fiber networks for distributing many digital partyline channels, program audio feeds and auxiliary interfaced audio to digital beltpacks users.

HelixNet’s station-to-station networking function is made possible with the new HLI-ET2 Ethernet Module. Main Stations can connect directly or through a LAN using standard IT switches. The Ethernet Module comes standard with two RJ-45 jacks. A new HLI-FBS Fiber Module is also available for linking stations over long distances. The Fiber Module has two fiber ports with small form-factor pluggable (SFP) modules, for simple exchange of fiber transceivers. The standard SFP for the Fiber Module is Single-Mode with Multi-Mode offered as an option.

Linking HelixNet Main Stations together creates a network that pools channel resources of each individual station. Linked main stations can dynamically discover each other, thus giving HelixNet users the capability to share multiple digital partyline channels plus program inputs and any two-wire or four-wire interfaces in a network distributed system.

“This new capability for HelixNet means that any of the possible dozens of HelixNet beltpack users can access any two of the available network partyline channels by simply selecting the desired channels on their beltpack,” says Simon Browne, Director of Product Management, Clear-Com. “Since all these channels are running off a single, shielded twisted-pair cable, users no longer need to physically relocate multiple cables for new configurations, utilize expensive source-assign equipment or rely on multiple power supply units.

“The networking functionality of HelixNet Partyline permits a more sophisticated and cost-effective digital partyline intercom network. It is ideal for any audio application – from broadcast, to touring, to live – that requires quick setup and distribution of multiple channels of intercom. This allows crew members to remain connected even in disparate locations and over long distances.”

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.

Antelope Audio Orion32 Interface Receives Technical Achievement Nomination for 29th Annual TEC Awards

Orion32 Captures Nomination in “Computer Audio Hardware” Category

Santa Monica, CA, October 14, 2013Antelope Audio announced that its groundbreaking new Orion32 interface has been nominated for the 29th Annual Technical Excellence & Creativity (TEC) Awards in the ‘Computer Audio Hardware” category. The TEC Awards is the pro audio industry’s most prestigious awards show honoring outstanding achievement in product innovation and sound production. The 29th Annual TEC Awards will be presented during the 2014 NAMM Show in Anaheim, CA.

Nominations are based on product entries made by a select panel of industry professionals in numerous audio categories. Products must be released and in commercial use during the period of September 1, 2012 to August 31, 2013 to be eligible for nomination.

Igor Levin, president and founder of Antelope Audio, commented: “We are pleased the Orion32 has been nominated for Outstanding Technical Acheivement by the TEC Foundation. The Orion32 is a best-in-class product that sets new standards in recording and playback in recording and live sound environments, delivering unmatched audio quality and value in a single 1U rackspace unit.”

Orion32: World’s First 32 Channel AD/DA and Master Clock in a 1U Rack

The Antelope Audio Orion32, which is priced at just $2,995, is compatible with all major recording software platforms and is the world’s first 32-channel AD/DA converter and audio master clock in a 1U rack. The device supports both MADI and USB interfaces and is clocked by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) technology.

The Orion32 allows 192 kHz I/O streaming of 32-channel digital audio through its custom-built USB chip, which provides simple connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its Fiber Optic MADI I/O connections, which can be used to connect with any suitably equipped MADI device.

For more information about the Orion32, visit:
www.antelopeaudio.com/en/products/Orion32-Multi-Channel-AD-DA-converter

For more information about the TEC Foundation, visit:
www.tecfoundation.com

About Antelope Audio
Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

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All brands and trade names are the property of their respective owners.

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Advanced Designs Unique Mobile Video Wall In Two Weeks For New CTV Show “The Social”

What do you do when your TV show uses a video wall for direct viewer interaction, but the entire set needs to be mobile because other shows film on the same soundstage throughout the day? According to the makers of the new CTV talk show “The Social”, you call Advanced, Canada’s premier AV and IT integrator, to develop an innovative mobile video wall solution that can be easily rolled on and off the set!

Advanced recognized that the show needed a solution as technologically advanced as the show’s concept, which capitalizes on social media to make viewers a very literal part of the show, allowing folks at home to tweet and message the show in real time and influence discussions and pose questions. It’s the 21st century’s answer to the old mainstay of “let’s go to our next caller”, and the set deserved a 21st century display to show the audience’s input.

The most amazing thing may not be the display itself, but the fact that Advanced designed, built and installed the custom mount and display in just two weeks working only after-hours, from the day the order was placed to completion. According to Advanced’s General Manager of Systems Integration Omar Prashad, systems such as this one usually require a 4-6 week lead time, which meant that the team had to work literally 24 hours a day for the final two days to have it finished on time for the show’s debut on Monday, September 2.

“We’ve never built a mobile video wall before,” he said, “so there was a lot of brainstorming at the very beginning to determine the best way to build the mount that houses all nine 46-inch displays. It’s not something a lot of AV companies could do, but we developed a custom mobile mounting solution with custom welding that can be moved by a single person, even though it weighs nearly 800 pounds. We also couldn’t be on the set during the day because it’s used for a variety of programming, so we constructed the mount offsite, then spent the final two days working around the clock to get it integrated with the switchboard and working flawlessly for its debut on the air on Monday.”

The video wall is composed of nine 46-inch ultra-thin NEC X463UN displays, creating a nearly seamless 138-inchdisplay that gives viewers an HD view of show graphics that may include photos, videos, text and live viewer feeds from Twitter and other social networks. The video feed is delivered directly from the switchboard to a Kramer scaler that optimizes the incoming signal and then sends to the video wall.

“It was a lot of pressure to design, deliver, color calibrate and make sure it was 100 percent working in such a short time frame, but it was exciting to see it all happen,” Prashad added. “There’s nothing Advanced can’t do, and this last-minute mobile video wall is an incredible proof of that philosophy.”

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