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Archive for October, 2013

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

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

SYMETRIX SYMNET RADIUS 12X8 DANTE NETWORKED AUDIO PROCESSORS GET RAVE REVIEWS AT THE WEBER CENTER FOR THE PERFORMING ARTS

LA CROSSE, WISCONSIN: The new Weber Center for the Performing Arts in La Crosse, Wisconsin is a dream come true, not only for the residents of the Mississippi River city, but also for the two institutions that partnered to build the $8 million facility. The La Crosse Community Theatre endured the cramped and ill-suited conditions of its previous space while theater and performing arts students at Viterbo University put up with rehearsals in hallways and other inconveniences not befitting so prestigious a liberal arts institution. Beyond a spacious lobby, patrons will now find a 450-seat main theater with ideal sightlines and a versatile 100-seat black box theater. To achieve maximum flexibility and to accommodate future expansion on a very tight budget, Commercial AV Systems of nearby Onalaska, Wisconsin designed and installed a sound system centered on four SymNet Radius 12×8 processors.

Split between the two performance spaces the four Radius 12x8s at the Weber Center effectively behave as one large custom processor because they communicate via Dante. Together, they also handle the routing logic for nine zones of paging. Like the Dante-based SymNet Edge system, the Radius 12×8 is configured using SymNet Composer open architecture software.

“We designed the system so that you can essentially route audio from anywhere to anywhere,” said Ryan Van Berkum, the Commercial AV Systems project manager who designed and oversaw the installation of the new system. “Nothing is hard-patched – Dante takes care of everything.” Eight channels of audio can flow simultaneously between the two performance spaces in overflow situations. In addition, the community theatre and school both anticipate scenarios where one performance space may serve as a prop room or dressing room for the other. By allowing audio to flow between them, critical cues and other information will not be missed.

The main theater is configured as a mono cluster of two EAW loudspeakers, a Yamaha 1218 subwoofer, under-balcony Yamaha IF2205 fill speakers, a comprehensive monitor system, and a hearing loop that can take as its source a pair of ambient microphones or a direct line from the Yamaha digital console. The console is outfitted with two Dante network cards, one for transfer of signal to the SymNet Radius 12×8 system and one for transfer to a Yamaha digital stage box. In addition, a presentation mode in the main theater supports four input channels – mic, line, or audio from a direct box.

The black box theater makes use of the theaters’ existing Allen & Heath console. A fixed Yamaha IS1118 subwoofer provides low-end support in either full-range or discrete mode. The presentation mode has similar behavior and channel count as the main theater, simplifying training requirements for staff and volunteers while facilitating use of the black box space for simple events without a tech on hand.

The La Crosse Community Theatre will kick off its new season in the Weber Center for the Performing Arts with the comedy Noises Off. The students of Viterbo University will break it in with a performance of Little Women – The Broadway Musical.

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

Crisp, Binaural Sound Takes Leading Role as Neumann KU 100 “Dummy Head” Microphone Features in “Boom Up!” Short Film

Entire Film Shot in 3D from Boom Mic’s Perspective with Neumann & Sennheiser Capturing Sound, Revealing Behind-the-Scenes “Realities” of a Film Set

Old Lyme, Conn. – October 15, 2013: “Boom Up!” is a new short film by award-winning writer/director Guy Chachkes that challenges the traditional sensory perspective of the movie-going experience. The 12-minute film is shot entirely from the perspective of the boom microphone, with the audio experience playing the lead role. The “lead character” — or primary microphone used on set — was a Neumann KU 100 “dummy head” microphone mounted to a boom pole.

“Boom Up!” reveals a crew setting up for a low-budget sci-fi movie, not unlike François Truffaut’s “Day for Night” [1973] — a classic, Academy Award-winning film that also deals with the challenges that accompany the movie-making process. In “Boom Up!”, the viewer is actually a critical piece of recording equipment, omnipresent during the entire process, and often atop the actors. “Everyone is setting up for a scene,” explains Chachkes. “The electricians are setting up the lights, the producer is arguing with everyone on set, and scandals are brewing in the background — it’s a very ‘real world’ production.”

Since the film narration is inextricably tied to the point of view of the boom microphone, capturing a realistic, authentic sound was a fundamental concern during the filmmaking process. “Since the movie is called ‘Boom Up!’, it was very important to have the best possible sound. My producer [Jesse R. Tendler] came across the concept of recording in binaural surround sound, and after doing some research, we determined that the Neumann KU 100 would be perfect,” Chachkes recalls. “In most applications I’ve seen, the KU 100 microphone is stationary — but we moved it around with the camera itself. We pointed the ‘dummy head’ wherever the camera was looking, and it helped create a very realistic experience.”

The binaural sound picked up by the Neumann KU 100 was augmented by a Sennheiser MKH 416 shotgun mic, which was also mounted to the pole. Additionally, there were (14) Sennheiser MKE 2 Gold sub-miniature omni-directional lavalier microphones positioned on the actors and crew, which were used in conjunction with (14) Sennheiser EM 300 G3 receivers and (14) SK 300 G3 bodypack transmitters. “We combined the binaural tracks from the Neumann KU 100 and Sennheiser MKH 416 with the other lavalier tracks, and it created this 3D sensation like you are right there with the actors. The sound is incredible!” says Chachkes.

The video for the movie was captured in a similarly unconventional fashion, using a GoPro 3D system consisting of two small cameras mounted to the boom pole. “We needed a camera that was high quality, yet light enough and durable enough to capture the exact motion of the boom pole to which it was attached,” says Chachkes.

Chachkes recalls his original inspiration for shooting such an unconventional film: “I was making another short. We were breaking for lunch one day and the sound guy let me hear the scene we had just shot with his headphones. The most interesting thing happened. After playback stopped, I could hear everything the boom mic was picking up, all of the private conversations of the cast and crew. I thought to myself, ‘This would be an amazing concept for a movie, just showing an active movie set from the perspective of a boom microphone that catches everyone’s interactions.’”

After Chachkes explained the concept to the film’s producer, Jesse R. Tendler, Tendler sent Chachkes a YouTube video that was made using the KU 100. “As soon as I heard it, I said ‘That’s it!’” he recalls. Chachkes says he couldn’t be happier with the outcome of the film, which has since been submitted to the Sundance Film Festival and 11 other festivals for consideration.

About Neumann:

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones, and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Photo captions:
1) Actor Chris Kapcia holds the “boom cam” above actresses Catherine Gibson (left) and Jessica Grant (right). Dummy head operator Arman Rogers stands behind.

2) The Neumann KU 100 “dummy head” binaural microphone.

3) Matt King (Sound Mixer & Associate Producer) setting up the Sennheiser EM 300 G3 wireless receivers.

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Bexel is Set for New TV Season


(BURBANK, CA) The new television season is rolling out with extensive backing from Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions. From reality programs to talk shows, sporting events, and narrative programming, Bexel provides an award-winning TV line up with the equipment, state-of-art systems and engineering support needed to meet the highest broadcast standards.

“We take great pride in being able to contribute our expertise and support to many of today’s top-rated television programs,” says Bexel President and General Manager Halid Hatic. “There is no room for error in broadcast television. Productions face aggressive timelines, and our goal is to always be raising our game to make sure clients feel like they have a partner in securing the most advanced solutions for the season.”

The list of reality shows that Bexel supports is comprised of competitions as American Idol (Fox), The X- Factor (Fox), Dancing with the Stars (ABC), and Hell’s Kitchen (Fox), as well as serials such as The Real Housewives (Bravo) franchise, Vanderpump Rules (Bravo) and Beyond Scared Straight (A&E), among many others.

Some of the narrative programming that Bexel contributes to are The League (FX), The Ricky Smiley Show (TV One), Dog with a Blog (Disney Channel), The Ex-Terminator (A&E), and talk shows such as The Chew (ABC) and Conan (TBS).

Bexel’s end-to-end solutions include supplying productions with premier technology such as complete ENG camera packages with wireless monitoring, full ENG audio packages with multi-track recording, Cat-5 monitoring for offstage production offices, fiber booth kits, flypack systems, director/DP monitoring solutions, and much more. Some of the company services include on-site design and installation, overall project management of the technical production, customized communication systems, and frequency coordination and consultation.

Bexel also specializes in sports broadcasts including games for college football, Major League Baseball, the National Basketball Association, Major League Soccer, the National Football League, as well as live events such as concerts and awards shows. Web-based series are also on Bexel’s docket such as Anarchy Afterward.

“Bexel is poised to provide the best broadcast systems and solutions – backed by superior engineering expertise and customer service – across the range of today’s programming,” adds Hatic. “It’s an exciting time for content owners in this arena, and we’re ready for the challenge.

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow them on Facebook and Twitter.

About the Vitec Group
Capture the moment(tm)
For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

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Mega Church Makes HD Upgrade With FUJINON Lenses for I-MAG, Broadcast, and Streaming of Services

Wayne, N.J. – With over 30,000 attendees in its main and regional locations and 12,000 viewing on the Web, Calvary Chapel needed to significantly upgrade its aging broadcast video equipment. The church recently invested millions of dollars in broadcast video equipment – including FUJINON HDTV lenses from FUJIFILM North America Corporation’s Optical Devices Division and Ikegami HDTV studio cameras—at its 82-acre main campus in Fort Lauderdale, Fla. Later this month, Calvary Chapel will switch to its new (1080) HDTV control room with dual 2-M/E Ross Vision switchers and an Evertz/PESA routing solution.

“Since the picture quality we produce must hold up when displayed as image magnification (I-MAG) on large-screens or when streaming over the Internet, we’ve invested heavily in acquisition gear,” said Jack Chew, Video Operations manager for Calvary Chapel. “After careful evaluation, we’ve chosen what we feel is the best of the best in HD cameras and lenses—a combination of Ikegami HDK-55 studio/field cameras and FUJINON HDTV lenses.” The lens package includes two XA77x9.5 box lenses, two HA14x4.5 wide lenses, and one HA22x7.3 for shoulder-mounted ENG style shooting.

Chew said they decided to buy the new cameras and lenses after their SD cameras reached 15 years in service. Because they knew video production would soon transition to a tapeless HD infrastructure, they bought the HD cameras and lenses ahead of schedule.

There are five Ikegami HD cameras (three mounted on tripods, one handheld, and one on a Jib), situated around the sanctuary on the church’s main campus, which seats close to 4,000 people. Video is projected onto a large screen center stage, along with two large screens on either side of the sanctuary.

Regional campuses request video on demand of the service from the church’s central Omneon video server at the main, Fort Lauderdale campus. Video files move over dark fiber via the DiVA Hybrid multi track editor to the regional locations for display by Christie digital projectors onto large screens. Three Digital Rapids encoders and Panasas Active Store hard drives deliver a live media stream accessible via the church’s website or for display at its regional campuses. Services are also carried on local NBC affiliate WSVN-TV, Fort Lauderdale. Such a multi-faceted video distribution strategy enables people to participate in services without having to drive to Fort Lauderdale.

“Before we make a huge capital investment in equipment like this, we consider every aspect including price-performance, reliability, and technical support,” added Chew. “We want to invest in manufacturers we know will stand behind their products, so we can keep our cameras, lenses, and other equipment in service as long as possible. When we’re spending our congregation’s money, we take our purchasing decisions very seriously. I’m proud of the video decisions we’ve made, and FUJINON is one of those decisions.”

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2012, and in the year ended March 31, 2013, had global revenues of $26.7 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

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Masque Sound Heats Up Broadway with Modern Take on William Shakespeare Classic Romeo and Juliet

Orlando Bloom and Condola Rashad in Romeo and Juliet - Photo by Carol Rosegg

When William Shakespeare’s Romeo and Juliet made its triumphant return to the Broadway stage for the first time in 36 years, Sound Designer (composer and percussionist) David Van Tieghem and Associate Sound Designer David Sanderson turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the highly anticipated play.

Romeo and Juliet, one of Shakespeare’s most popular plays, revolves around two young star-crossed lovers whose deaths ultimately reconcile their feuding families. This revival, directed by five-time Tony® nominee David Leveaux, retains Shakespeare’s language while moving the setting to contemporary times by portraying the warring Montagues and Capulets as families of different ethnicities.

For Van Tieghem and Sanderson, the overall design goal was to create an eclectic mix of sound drawn from both traditional and modern stagings of the play. “This contemporary Romeo and Juliet is unique in that it’s a play that features a live cello player and live percussionist (Van Tieghem) playing primal drums for a hip-hop feel, so it is quite different then the classic Romeo and Juliet,” says Van Tieghem. “Because various live elements are involved along with previously recorded electronic and orchestral music elements, sound design was a little more complicated and required us to use a larger system than one would expect for a non-musical. Masque Sound did a fantastic job and provided all of the gear we needed to achieve our vision.”

Romeo and Juliet is playing at Broadway’s storied Richard Rodgers Theatre. As the larger venue is usually home to musicals, Van Tieghem and Sanderson wanted to ensure that the actors’ voices projected throughout the entire seating area with absolute clarity. In order to make that happen, Masque Sound provided an extensive vocal reinforcement system. “A lot of times you can hide microphones on stage, but since Romeo and Juliet does not feature a lot of stage props, Masque Sound provided us with DPA vocal microphones, which we placed along the lip of the stage,” adds Van Tieghem.

Among the stage props for Romeo and Juliet is a large amount of sand. To keep the microphones from getting clogged, Masque Sound provided windscreens for the microphones, as well.

In addition to the DPA microphones, Masque supplied several Shure and AKG microphones, as well as Sennheiser cabled and wireless microphones. The custom equipment package also included a Digico SD8 digital console, along with XTA audio management processing systems. The speaker package featured Meyer Sound UPM-1Ps, UPM-2Ps, UPQ-1Ps and a 600-HP high-powered subwoofer. The production crew also utilizes D&B and EAW speakers, and employed Sennheiser and Clear-Com headsets for the show’s intercom. Masque Sound also provided all cabling and associated equipment.

Van Tieghem also appreciates Masque Sound’s reliability and flexibility. “They were renovating the theatre as we were loading in, which drastically reduced our available space on-site. In a project like this, where we are strapped for time and space, Masque Sound really helped us out by not only housing the equipment until we were ready for it, but also taking the time preparing the gear and making sure what we got was what we asked for. We always like working with Masque Sound. They do a consistently great job.”

Romeo and Juliet opened on Thursday, September 19, 2013, and is playing a limited engagement at the Richard Rodgers Theatre through Sunday, January 12, 2014. The production stars Orlando Bloom (Pirates of the Caribbean, the Lord of the Rings) and two-time Tony Award® nominee Condola Rashad (Stick Fly, The Trip to Bountiful) as the title characters. Tickets are available at Ticketmaster.com/1-800-745-3000, or at the Richard Rodgers Theatre Box Office (226 West 46th Street, New York City).

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

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Ask Proxima, Inc. Announces The Appointment Of Sam L. Malik As Vice President And General Manager Of Sales And Marketing

ASK Proxima, Inc., a new USA sales and distribution subsidiary of Shenzhen ACTO Digital Video Technology Co., Ltd. a high–tech enterprise specializing in research, development and manufacturing of digital video technology, announces today the appointment of Sam L. Malik to the position of Vice President and General Manger of Sales and Markting for ASK Proxima, Inc.
Malik is a long-time California resident who is based at ASK Proxima, Inc.’s headquarters located in Torrance, California. Malik will serve as the day-to-day general manager, drawing upon over 17 years of executive experience in the presentation industry. Most recently Malik was VP for Premier Mounts. Prior to that, he spent 3 years with SANYO as VP-GM for the Projector Display division. Previous to Sanyo, Malik had a 14-year career as Director of National Sales and Marketing for Toshiba America, where he oversaw the launch of his business unit and developed multiple distribution channels in North and South America.

Says Malik, “I am grateful for the opportunity to assume this key role with ASK Proxima Inc.’s management team”. With the ability to be involved in all aspects of launching this great brand name, I look forward to meeting the goal of growing and establishing ASK Proxima Inc, as the technology leader in the presentation industry, and continuing our sales growth in the consumer, commercial and Pro AV channels.”
According to Mr. Hiroyuki Taira, Executive Vice President of ASK Proxima, Inc., “We are very pleased to announce the addition of Sam Malik to Vice President of ASK Proxima Inc, and his new role as General Manager. His energy, depth of experience and comprehensive background in presentation technology make him well suited for this new position and responsibilities. We will rely on his leadership skills to provide the direction needed to effectively grow our organization.”
About ASK Proxima, Inc.:
ASK Proxima, Inc., which originated in Europe, is recognized as a leading international imaging display brand. ASK Norway, established in 1986, later merged with Proxima to enter the USA market. Eventually Infocus acquired this merger. Then in 2007, ACTO acquired the Infocus Technology Park in China, as well as the ASK Proxima brand. Visit www.askproximausa.com.

About Shenzhen ACTO Digital Video Technology Co., Ltd.:
ACTO Digital Video Technology Co., Ltd., founded in 1988, is a high–tech enterprise specializing in research, development and manufacturing of digital video technology products. ACTO is the world’s largest manufacturers of LCD and DLP projectors with an annual production capacity of 500,000+ units. It offers the latest expertise and technology utilizing the Sony BrightEra, LCD panels. ACTO is now returning to the USA market the earlier version of ASK Proxima’s brand of well-respected high performance projectors.
For additional information:
For more information about ASK Proxima, Inc. or Shenzhen ACTO Digital Video Technology Co., Ltd., please contact Mr. Steen Sorensen, Business Development for ASK Proxima, Inc. You may email him at info@askproximausa.com. Or visit www.askproximausa.com. You may also contact Leslie Stevens of Eclipse Marketing at leslie@eclipsemarketing.net or call 714.343.6401.

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