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Archive for October, 2013

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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BrightSign Powers Digital Signage at the Zurich Film Festival

BrightSign, LLC®, the market leader in digital signage players, today announced the successful completion of its work with Imaculix at the Zurich Film Festival. The project – a collaboration between BrightSign, Imaculix and the festival’s organizers – included more than 70 screens deployed in four major event venues located throughout Zurich.

Each fall, the film industry comes together at the Zurich Film Festival, an annual gathering that attracts film luminaries from across the globe. Now in its ninth year, the 2013 festival delivered an impressive line-up of events, award ceremonies and receptions to honor the achievements of directors, producers, actors and others within the film industry.

“An integral part of the event, our digital signage installations are unique in that they have the ability to both inform as well as entertain. For the second year, we turned to Imaculix to help harness these functions to the best of their ability, and we were very impressed with the result,” said Karl Spörri, artistic director of the Zurich Film Festival.

Digital signage conceived by Imaculix and powered by BrightSign was utilized extensively across the expansive network of event venues and transportation depots. More than ever before, innovative digital signage installations were used to direct festival attendees to their destinations, inform them about upcoming festival activities and simply entertain them with a dazzling array of eye-catching displays.

The Zurich Film Festival began on September 26th and concluded on the 6th of October. For full details, images and additional information about this installation, please contact BrightSign for its recently published case study detailing the technical implementations at the event.

About BrightSign
BrightSign, LLC is the market leader in digital signage players. Based in Los Gatos, California, the company develops products, software and networking solutions for digital signage. BrightSign solid-state digital sign controllers set new standards for both stand-alone and networked digital signage applications with their superior video quality, reliability, affordability, ease of use and interactivity. Online information about BrightSign units is available at www.brightsign.biz. For US sales inquiries, please contact sales@brightsign.biz or call +1-408-852-9263. For European sales inquiries, please email Pierre Gillet: pgillet@brightsign.biz or call +44-1223-911842. Follow BrightSign at http://twitter.com/brightsign and http://www.facebook.com/BrightSignLLC.

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BrightSign and the BrightSign logo are registered trademarks of BrightSign, LLC in the United States and other countries. All other trademarks are trademarks or registered trademarks of their respective owners. Specifications subject to change without notice.

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Historic Italian Venue Gets Martin Audio MLA Upgrade

Paul McCartney’s Out There tour recently landed in the Arena di Verona, the historic amphitheatre that has provided entertainment spectacles for the people of Verona for thousands of years.

Touring logistics meant that Paul McCartney’s regular PA system could not make the Verona date, so local supplier Amandla Productions stepped in to provide a Martin Audio MLA system, supported by All Access, the owners of Italy’s largest MLA rig.

Paul McCartney’s long-standing FOH engineer Paul ‘Pab’ Boothroyd was at the helm for the show, ably assisted by his touring system tech Chris Nicholls. Both were impressed by the system’s performance.

“I had heard a lot of good things about the new Martin Audio rig and was happy to use it for this show,” said Boothroyd. “Everybody was really happy with the show, the coverage was great and the detail and clarity in the system made it an enjoyable show to mix. It’s great to see Martin Audio right at the front of new design––the first systems I mixed on were Martin Audio Philishave rigs and that powerful musical sound got me going in my career.”

All Access system tech, Red, was able to demonstrate the unique control of the MLA to Chris Nicholls: “The way the system was able to cover a steeply raked venue with relatively few boxes was very impressive. It didn’t look as though they had enough curve on the array, and we gave them a really tight weight target to hit so they couldn’t add more boxes; yet the flatter array shape was great for the throw required. With a quick adjustment in the software they had the system covering great right up to the back seat without adjusting its angles and that’s something I’ve never heard a system do before.”

The system deployed in Verona included 12 MLA per side for main hangs, six MLA per side for out hangs and two MLD in the orchestra pit for front fill. The out hangs were particularly challenging, as they had to be flown from the ancient stepped seating within a scaffolding structure. The manageable weight and size of the MLA cabinets made this difficult maneuver possible. “The MLA is less than 194 lbs,” reported Red, “and being based around horn loaded 12’s meant we could physically lift the cabinets and fit them in between the steps and the scaffold structure; anything heavier or taller simply would not have been possible in the space available.”

The Out There tour continued on to Vienna before returning for a run of shows in America. “We’re back to our normal touring PA after this show but I’ll look forward to mixing on MLA again––this rig is right up there with the best in the world,” said Boothroyd at the end of the spectacular two and a half hour set that featured a huge selection of songs from the McCartney, Wings and Beatles back catalogue.

For more about Martin Audio, please click to www.martin-audio.com.

GROWING SONNOX AAX COLLECTION SPARKS 40% DISCOUNT OFFER

OXFORD, UK: Beginning on Oct. 15th and running through the pre-Christmas shopping period until November 30, Sonnox will offer a substantial 40% discount on all plug-ins and bundles (excluding Codec Toolbox, GML Option.)

“We’ll shortly be releasing the next entry in our growing collection of 64-bit AAX plug-ins,” reveals Sonnox Sales & Marketing Manager, Nathan Eames. “The Oxford Reverb has been on many Pro Tools users’ wish lists for Pro Tools 11 compatibility, so we’re delighted to be releasing an AAX version in the coming weeks. Now is an opportune time to buy Sonnox AAX plug-ins, as we’re currently running our biggest promotion to date,” Eames adds.

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Photo: Sonnox offers a 40% discount on plug-ins and bundles Oct. 15 – Nov. 30, 2013

For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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VMP Launches “Lucky Friend” Facebook Campaign

STEVENSVILLE, Md., Oct. 15, 2013 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the A/V, communications, and security markets, is proud to announce its new “Lucky Friend” Facebook contest campaign. VMP will choose two winners at random from its list of current and new followers who “Like” the company on its Facebook page (www.facebook.com/Video-Mount-Products-VMP) through the end of Jan. 31, 2014. VMP will choose the two winners of the $100 Visa gift cards on Feb. 3, 2014.

“What we’ve been finding is that more and more of our customers are turning to Facebook as an additional resource to find out what’s going on at VMP and within our industry,” explained Keith Fulmer, president of Video Mount Products. “We have great traffic on our website, industry publications do a tremendous job of informing us on today’s current trends, products, and practices, and our sales and rep force are second-to-none in educating and helping our customers. But social media is here to stay and has become a huge and ever-growing information source, and we have embraced it wholeheartedly.”

Fulmer added that VMP is diligent in keeping both its website and Facebook page current on news and product information, and hopes to continue to build upon the audience that visit www.videomount.com and follow VMP’s Facebook presence.

“We greatly appreciate all of our current customers and we want to reward them for their dedication, as well as wanting to welcome and reward new customers at the same time,” Fulmer continued. “We not only post fun topics about what’s happening inside our company on our Facebook page, but we also feature current news items on our products as well as where we’ll be showcasing our lines, such as trade shows and regional events, so customers know where to find us and our representatives at any given time.”

No purchase necessary. To enter, simply click “Like” on Video Mount Products’ Facebook page on or prior to Jan. 31, 2014.

For more information, please visit www.videomount.com and click on the “Like Us On Facebook” icon at the top of the Home Page, visit www.facebook.com/Video-Mount-Products-VMP, or call toll free 877-281-2169. If you need help choosing the right mount for your application, try the VideoMount™ Finder at www.chooseamount.com.

About Video Mount Products
Born in 1994, Video Mount Products (VMP) is a leading provider of mounting solutions for the A/V, communication and security industries. VMP’s products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to grow by adding mounting systems to address growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of our business.

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The Music Producers Guild Gets BPI and AIM Backing For Its Broadcast WAV Initiative

Just months after officially launching its ‘ISRC in Broadcast WAV’ initiative, the Music Producers Guild has received the support of the BPI and AIM, two trade bodies representing the music industry. Both have agreed to adopt Broadcast WAV as standard.

“We are really delighted to have the support of the BPI and AIM,” says Alchemy Mastering’s Barry Grint, who has led the MPG ISRC campaign. “This is fantastic news for all recording artists and copyright owners because adopting Broadcast WAV will make file identification and content tracking much easier and more accurate. It will also help royalty agencies develop more precise systems for payments, thereby safeguarding the incomes of artists and copyright owners when their recordings are played on air.”

With two major UK music industry organisations now firmly behind the new format – and with a number of mastering hardware equipment manufactures also on-board – the Music Producers Guild believes it is only a matter of time before Broadcast WAV is adopted by the music industry world-wide.

“WAV is the standard format for music interchange in the production process, but MPG members were frustrated that there was no method of embedding industry standard ISRC information in the format to enable more accurate identification the content of files,” Grint explains. “Working in collaboration with the European Broadcasting Union, which created a professional version of the WAV format called Broadcast WAV, we have been able to ensure the carriage of ISRC information in this type of file, thus removing the need for it to be re-entered and reducing the opportunity for error.”

The inherent good sense of using Broadcast WAV is now being recognised.

BPI Chief Executive Geoff Taylor says: “BPI is pleased to support this MPG initiative and we’ll be encouraging our members to adopt Broadcast WAV as a standard. By incorporating ISRC data into the WAV file, we can provide a more accurate and reliable means of identifying recordings when they are exchanged between labels and studios.”

James Farrelly, membership manager of AIM, adds: “In an environment where labels of all sizes now understand that effective metadata management is the key to maximising revenue from their master rights, the work MPG is doing to adapt the BWF format will result in a clearer, more accurate approach to identifying tracks and minimising potential mis-allocation of income from repertoire usage. AIM is proud to support this initiative and looks forward to working with the MPG and their partners to build industry wide adoption of the format.”

The MPG is now planning to address mastering engineers by holding a seminar to demonstrate the ease with which Broadcast WAV can be implemented. This will take place in London in early November (see www.mpg.org.uk for more details).

“For engineers using Magix/Sequioa or Merging/Pyramix, switching to Broadcast WAV will simply involve a software upgrade as both of these workstation manufacturers are already backing the Broadcast WAV initiative, ” Grint explains. “Now that this issue is higher up the priority list, we hope other manufacturers will quickly follow their lead.”

-ends-

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

StreamGuys Powers In-Store Broadcasts for Custom Channels

Cloud-based streaming architecture supports custom music services with dynamic ad insertions for businesses

BAYSIDE, CALIFORNIA, October 15, 2013 — Internet music service Custom Channels is helping retail businesses like Whole Foods Market transform in-store environments with broadcast-quality audio programs, mixing music and dynamic advertising that deliver a branded, radio-like experience. The company is relying on robust, cloud-based streaming services from StreamGuys to support its customers.

Custom Channels brings a rare broadcast perspective to the growing business of in-store audio streaming. Its principal partners, including President/Co-Founder Dave Rahn, launched Custom Channels following years of experience working at and consulting for radio stations. Today, Rahn and his team leverage their professional production skills and broadcast programming knowledge to build custom in-store programs for retailers like Whole Foods Market, for which they support two-thirds of their stores.

The company recently switched to StreamGuys for content delivery support, recognizing its broadcast expertise as well as its shared spirit of customization to meet client needs.

“We have always used an outside CDN because the specialized technical knowledge required to maintain servers, bandwidth and overall infrastructure is frankly beyond our area of expertise,” said Rahn. “The difference with StreamGuys is that they are not forcing us into one business model for streaming services. They instead provide us with the streaming services that are right for our model, and deliver the ongoing recommendations, support and troubleshooting we need. That helps us keep costs low and leaves us to focus on program content and customer relationships — which is what we do best.”

Custom Channels takes program content beyond music by incorporating dynamic ad insertions in the form of “mid-rolls,” which Rahn cites as a particularly strong tool to trigger ads and promos for in-store streaming models. StreamGuys incorporates third-party ad insertion software into its streaming architecture, targeting broadcasters and IP-based music services that wish to incorporate promotional content in the form of pre-rolls, mid-rolls and post-rolls — and potentially generate new revenue streams.

“The ad insertion software in the StreamGuys architecture allows us to manage content at the server side as opposed to just pushing messages to individual players and boxes,” said Rahn. “For example, we work with a large chain of dental offices, Comfort Dental, with offices all over the country. The mid-roll insertions allow us to take a single Comfort Dental radio channel and insert specialized ads for each region, or even down to the local office level. The messages don’t have to live in the origin stream; instead, we create a place in the stream and insert them on a very targeted basis. It’s a very efficient model, and makes for good use of IP delivery.”

Rahn’s broadcast experience also means a focus on audio quality. Custom Channels currently delivers most audio content using the aacPlus codec at bitrates ranging from 64 to 96 kb/s, and uses other high-quality codecs like Ogg Vorbis for specialty services such as ReMix, which allows customers to create their own custom mixes. Rahn will explore Ogg Opus moving forward, the new versatile, open-source audio codec for low-latency, high-quality audio streaming. StreamGuys is the first CDN to announce support for Ogg Opus audio streaming.

“We’re dealing with businesses, and we try to keep as light of a footprint as possible since there are other demands on their bandwidth and technical infrastructures,” said Rahn. “StreamGuys allows us to use various high-quality, bandwidth-friendly formats so we are comparable to FM quality and usually higher than satellite quality — a sweet spot that our clients can easily handle on their networks.”

Rahn also points to several restaurant brands as Custom Channels clients, including the 200-plus Which Wich sandwich shop chain; and the fast casual Mod Pizza chain based in the Seattle region. Another interesting client is Floyd’s Barbershop, which operates more than 70 barbershops around the country. Custom Channels produces a true “retail radio” station in this case, with full-blown professional production, deejays and live requests.

“We focus on music-conscious brands that essentially want custom radio stations, and many of these clients also stream their channels on their websites,” said Rahn. “Ultimately, StreamGuys offers an ideal service for in-store delivery, whether it’s conventional streaming of a radio station or a business that wants something a little more unique.”

More information on Custom Channels can be found at http://www.customchannels.net.

About StreamGuys, Inc.
In business since 2000, StreamGuys is a provider of audio and video streaming toolsets and services. The company has a reputation for outstanding customer service, a robust and reliable network, and competitive rates. More than 600 clients worldwide, across many industries, depend on their mission-critical service. Projects include serving as the technology backbone for live streaming/podcasting for top public broadcasters such as New York Public Radio, WAMU Washington D.C., KQED San Francisco and WXPN Philadelphia; live video events for major auto racing circuits and the British Royal Wedding; audio streaming for government entities such as D.C. Court of Appeals, U.S. Army, and the National Science Foundation; mobile video content for Cisco Systems; and IPTV content for international broadcaster ABS-CBN.
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StreamGuys, Inc – info@streamguys.com – www.streamguys.com – 707.667.9479
P.O. Box 828 Arcata, California 95518 – fax 707.516.0009

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