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Archive for October 17th, 2013

New ICE Cable Systems HDMI Features Compact Head Design with GRIP Technology; Handles 15-lbs. of Pull-Force and Transmits 1080P/60 HZ Signals up to 100 feet without use of Baluns

Los Angeles, CA – ICE Cable Systems is shipping its new and improved Clear Series 2 HDMI Cables. Key features of the series include a compact head design, GRIP connector with locking technology and the ability to handle 1080P/60 HZ up to 100 feet (30 meters) without baluns. The line is comprised of pre-terminated cables in lengths from .5 meter to 30 meters and replaces the company’s original Clear Series.

ICE Cable’s unique GRIP connector attaches to female HDMI connectors with up to 15 lbs of pull-force, thus helping reduce disconnected cables and frivolous service calls. The compact size of the head (measures 10 MM by 19 MM by 21MM) contributes to easier side-by-side and stacking connections and takes up less space behind equipment.

In addition to an active chip set, proprietary cable technology allows the Clear Series 2 to achieve 1080P/60 HZ in runs up to 100 feet without the use of a balun, ideal for direct connections from Blu-ray DVD players and DVRs to the TV.

”Clear Series 2 is a game changer because it’s comprised of all the improvements that an integrator could want,” says ICE Cable Systems President Brian Rizzo. “With innovations in three key areas, this is a wish-list of HDMI cable technology at extremely-competitive prices.”

ICE Cable Systems has 41 active distributors in the US selling its products. Integrators can locate distributors in their area by visiting http://www.icecable.com/where-to-buy/ or by calling ICE Cable Systems at 310.444.1950.

About ICE Cable Systems: Founded in 2004 by president Brian Rizzo, ICE Cable Systems is a leading manufacturer of premium low-voltage wire and cable products serving the Audio Video, Alarm and Security, Commercial, Electrical Contracting and Data Center channels. The company’s products are available to integrators both directly and through more than 50 distributors in North America and internationally. ICE Cable’s success is driven by ingenuity and its desire to make superior products that offer more value to installers. www.icecable.com

HISTORIC GIBSON’S BOOKSTORE EXPANDS USING AN ASHLY NE8250.70PEM PROCESSOR/AMPLIFIER FOR DIVERSITY OF PLANNED EVENTS

CONCORD, NEW HAMPSHIRE – OCTOBER 2013: Gibson’s Bookstore opened in Concord in 1898 and has been a cornerstone of the community’s cultural and intellectual milieu ever since. Seizing on the revitalization of the city’s historic downtown, owner Michael Herrmann recently moved the bookstore down the street to the first floor of a brand new five-story office building. At 10,000 square-feet, the move more than doubled Gibson’s floor space and incorporated the newly-acquired Imagination Village educational toy store. The fact that it was new construction gave Herrmann the opportunity to design the store to his exact specifications. Included within those specifications is a sophisticated sound reinforcement system that will gracefully accommodate events of varying sizes and styles. A single, two-rack space Ashly ne8250.70pem eight-channel 250W network amplifier with an on-board Protea™ DSP processor is paired with four Ashly neWR-5 wall-mounted remote controls to form the cost-effective heart of the new location’s flexible, easy-to-use sound system. Factory-installed microphone preamp inputs complete the amplifier package.

“The old location was small enough that a simple, consumer-type sound system could do the job,” explained Rick Elliott, production manager at MFI Productions, the firm that designed and installed the new sound system at Gibson’s Bookstore. “When the owner was looking over the plans with designer Kat Whouley of Books In Common, he realized it would take something more high-tech to do it right. He wanted the flexibility to accommodate any type of event, but he also wanted to make sure that his staff could operate the system intuitively.” Herrmann stopped in at Concord’s Capitol Center for the Arts (literally right across the street from the new location) for recommendations, which led him to MFI Productions. The firm worked with Herrmann for an entire year to ensure that the sound system they installed would be right in every respect from the beginning. After all, they had the opportunity to install it while the building-to-be was still nothing more than steel and concrete.

As the design evolved, the number of zones grew from just a few to eight. Separate Pandora music boxes allow different content to play in the children’s section, the main floor, the café, and the on-hold phone system. A handful of line and microphone inputs accommodate a simple acoustic music setup, a presentation, or a lecture. Two outdoor speakers handle the café’s outdoor seating area, while Twenty-four Electro-Voice Evid C8.2 coaxial ceiling speakers cover the bookstore and are zoned so that speakers can be either muted or used for events of various sizes in either the children’s section or the main section. Since it was easy to install during construction, Elliott ran a few extra input lines that the store can grow into if needed. Four Ashly neWR-5 network wall-mounted remote controls placed at strategic locations allow staff to intuitively select zone inputs and control the volume in each zone.

A single, two-rack space Ashly ne8250.70pem provides all of the necessary microphone preamplifiers, input processing, I/O matrixing, and loudspeaker processing, along with eight channels of amplification at 250W per channel into 70V. “The Ashly ne8250.70pem was the right solution because of its simplicity and flexibility,” said Elliott. “It could do everything that the expanded Gibson’s would require, and, when paired with four Ashly neWR-5 wall-mounted remote controls, could deliver that functionality in a way that would be transparent for the staff. When you consider that the two-rack space ne8250.70pem is handling all of the processing and amplification for the entire store, its cost is more than fair.” To help with the evolving system use, the IT contractor allowed Elliott to get through the bookstore’s firewall so that he can make adjustments to the ne8250.70pem from anywhere in the world.

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

DANLEY TH-812 “ROCK MONSTER” SUBS SHAKE BIG-10 FOOTBALL FANS IN ILLINOIS AND WISCONSIN

CHAMPAGNE, ILLINOIS/MADISON, WISCONSIN – OCTOBER 2013: The University of Illinois’ 60,000-seat Memorial Stadium and the University of Wisconsin’s 80,000-seat Camp Randall Stadium each received a huge new Daktronics video board in time for the 2013-2014 season. At 3,500 and 4,200 square feet, respectively, the new boards dwarf their predecessors in both size and quality. With them came new Daktronics-designed and installed sound reinforcement systems, each with abundant musical low-end supplied by four giant Danley TH-812 “Rock Monster” subwoofers. For the throngs of ardent Illini and Badger fans that pack the historic stadiums on game day, the powerful low-end inspires new levels of enthusiasm!

At four hundred and counting, South Dakota-based Daktronics has installed more sound reinforcement systems in large sports venues than any other company in the U.S. “Our clients never ask for more high end,” laughed John Olsen, a Daktronics regional sales representative with a focus on large sports venues. “And when it comes to low end, no one ever complains that there’s too much! With the program material that is being played by students these days, thunderous low end has become an essential component of the game day experience. Danley provides a clean and punchy low end that we like better than most other manufacturers.” Daktronics has a complete in-house design team that includes system design engineers, electrical engineers, mechanical engineers, structural engineers, marketing experts, project managers, field installation engineers, and site supervisors. “It’s a big team that, together, builds very engaging sound solutions for our customers and their fans,” said Olsen.

Both new systems use JBL VLA line arrays for full-range content. A BSS Hi-Q Network and Crown amplifiers provide processing and power at Illinois, and a QSC Q-Sys Network and QSC amplifiers do the same at Wisconsin. Each stadium’s complement of four Danley TH-812s hang from its new scoreboard and provide, in Olsen’s words, “seat-shaking bass” fifty feet off grade at Illinois and one hundred feet at Wisconsin, using 128,000 watts of power. “Our design team keeps specifying Danley’s Rock Monster because it gives our clients a rich low-frequency response that extends below that of most normal subwoofers.”

Olsen continued, “When a client’s new system is operational, it’s always a great day. And when we bring the subs into the mix, the usual reaction is stunned silence and big smiles. The contrast is stark: they had been using a system with only partial low-frequency response that had reached the end of its life. Moving to a new system with the kind of deep low-frequency response that the Danley TH-812s deliver really puts an exclamation point on the new experience!”

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

WESTLAKE PRO SPEAKS OUT ABOUT ITS NEW 1608

LOS ANGELES, CALIFORNIA – OCTOBER 2013: API announces the placement of another 1608 console in Southern California, this time into the newly0complete and fully-furnished demo room at Westlake Pro.

The choice to add the 1608 to Studio A came with ease. “The API 1608 is a fantastic tracking console with an impressive legacy. It appeals to anyone looking to keep analog production techniques in today’s digital workstation environments,” said Westlake’s CEO George Adjieff. “The high-quality circuitry, the classic analog look, feel, and sound of an API console are unmatched.”

“It is customizable so that you can add any API 500 Series® modules that you need, enabling you the flexibility to craft your perfect console,” said Westlake President Joe Taupier. “The layout is intuitive and easy to understand, allowing a wide range of producers, mixers, and engineers to focus all their attention on what they do best – making the music sound just right.”

As longtime API supporters, Westlake Pro knows the value of quality products with a longstanding reputation. “API has a legendary lineage, great brand recognition, and everything about this mixer is well-conceived,” said Taupier. “The layout is smart, the board is made from quality components, and any studio will instantly receive esteem and credibility if an API console is in the room.”

The 1608 has become a popular addition to Westlake Pro and a regular spot to find pro audio lovers and gear enthusiasts. “Clients are wildly impressed with the API 1608 in our space,” said Adjieff. “Our clients enjoy spending hours trying it out, listening to mixes, and demoing and evaluating other pieces of equipment. It really is the central piece of gear in the room, and really enhances the studio that we’ve designed around it.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

FOH ENGINEER BOB COKE USES METRIC HALO’S SPECTRAFOO TO MIX THE BLACK CROWES

SAFETY HARBOR, FLORIDA – OCTOBER 2013: When we caught up with him, Bob Coke was drawing on his decades of FOH experience to mix The Black Crowes with the help of Metric Halo’s SpectraFoo sound analysis software as the band toured the U.S. in the fall of 2013. The path that took Coke from a “penniless” musician with proficiency on Indian Tablas, sarod, and acoustic guitar to the trusted ears of one of the biggest rock acts of the modern era is a case study in serendipity well-played. Shortly after love relocated Coke – still a struggling musician – from his American home to France in 1980, a friend who had relocated to Los Angeles called him up. That friend, J.P. Plunier (who now owns Everloving Records), had started managing a singer/songwriter Ben Harper and needed someone with a European license to drive the band around on their first European tour. Coke obliged and, trustworthy and capable soul that he is, was promoted to tour manager within the first week. With the new role came responsibility to help with the backline, to help with the monitor mix, and to mix the band at FOH.

“All of this was a very ‘seat-of-the-pants’ learning experience,” Coke laughed. “There was lots of trial and error… oh yeah, lots of error! [laughs] My ears and previous music experiences helped me a lot, as did several sound engineers that I met along the way. After two years, I made the decision to stop the road manager duties and concentrate on sound engineering, which I was (and still am) truly passionate about.” Coke observed that the musical and cultural palette in Europe at the time was much more diverse than it was in the U.S. Mixing, both live and studio, was a wide open field with only a few key players. So in an indirect way, Europe was an exciting and encouraging place to live and work for someone with a good head on his shoulders, a musician’s ears, and a passion (though no formal training) for mixing.

Between then and now, Coke has worked with a broad array of musicians. He said, “My proudest moments are those I’ve spent together with incredibly talented musicians while they created or expressed music: waking up at 4 a.m. to sing with Rahim Fahimuddin Dagar; all the recordings and concerts playing Tablas with New York’s finest soprano saxophonist, Eric Person; co-producing Ben Harper’s second album, Fight For Your Mind and the subsequent tour; recording pianist Pete Drungle; recording, mixing and touring with French rock band, Noir Désir as well as the French singer, Alain Bashung; touring with Grammy-winning French band, Phoenix; and, of course, touring with The Black Crowes. And there are so many others. That’s just a start.”

Coke stumbled upon Metric Halo’s SpectraFoo after complaining to Marco de Fouquières of Dispatch/Dushow (the largest sound company in France) that there seemed to be no Mac-based sound analysis software. Fouquières alerted Coke to SpectraFoo, which is proudly and only Mac-based. “At the time, there was a huge shift in our approach to system installations with the arrival of the L-Acoustic line array, concurrent development of sound analysis software, and the way that sound analysis software was being applied in the field,” recalled Coke. “Every system tech here in France was using the same software, but I opted for SpectraFoo. I quickly recognized SpectraFoo to be a more precise measuring tool that proved equally useful in the studio environment. The Dolby Lake EQ corrections I make are the exact same frequencies Spectra Foo indicates, whereas the PC software frequencies at the time were generally off by several Hertz. This was a cause of consternation with several of my system techs. They went so far as to upgrade their ADDA audio interfaces… but still without achieving a more accurate reading!”

These days, Coke runs SpectraFoo on all of his tours. He uses it to align the mains, the subs, front fills, side hangs, and delays, and he uses it to analyze room acoustics and the room’s response to amplified sound. For both live and recording applications, Coke uses SpectraFoo to verify phase rotation and to visualize tonal balance. “SpectraFoo gives me a visual reference for what I’m hearing and can help me identify in real time what’s occurring acoustically,” he said. “It is an invaluable aid in live sound reinforcement because the working environment is extremely fluid and composed of constantly changing variables. As well, any changes in the sound are immediately perceived by the audience though perhaps not always consciously. I refer to a broad palette of tools in SpectraFoo from the moment I’m powered up and running in an empty venue until the end of the show and I’m measuring audience applause after the artist has departed the stage.”

Although The Black Crowes represent a return to straight-up rock ‘n’ roll and although Coke mixes them in that vein, he asserts that modern sound reinforcement equipment would not respond well to a retro approach to system tuning. “Live sound has evolved dramatically in the past twenty years. As the precision of FOH sound systems has increased, the room for error has decreased. Nowadays, speaker technology and system tuning can be very unforgiving to a bad sounding mix – or even a mediocre sounding one. In our modern day-to-day lives of digitized mp3 sound and small speakers, going to a rock concert can and should be a felt experience. SpectraFoo helps me dial in that experience quickly by providing an accurate visualization of what my ears are hearing, thereby complementing my aural understanding with a purely scientific visual reference.”

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

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