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Archive for October, 2013

HARMAN Professional Invests in Live Sound & Rental Community With Dedicated Global Team to be Led by Industry Veteran, Brian Pickowitz

NORTHRIDGE, CALIFORNIA — HARMAN Professional today announced the formation of a new global group to support live sound and rental professionals with advanced programs, including technology, systems, training and support. The group is led by Brian Pickowitz, newly promoted to Associate Director, Global Live Sound and Rental Systems, and also includes tour sound veterans Raul Gonzalez, Application Engineer, Live Sound and Rental for North America, and Vincent “Vinnie” Perreux, Application Engineer, Live Sound and Rental for EMEA and Asia. Today’s announcement was made by Scott Robbins, Executive Vice President of Sales, HARMAN Professional, to whom Pickowitz reports.

“The formation of a new Global Live Sound and Rental Systems group within HARMAN Professional will serve our customers well and I am pleased and encouraged to have a professional of Brian Pickowitz’s expertise and experience to lead the group. Brian understands his market, his technologies and his clients’ needs and makes it his business to ensure their productions meet their highest expectations. Brian has demonstrated his capacity as a client-partner and I am confident that he will make a significant contribution to our success and the success of our clients around the world,” said Robbins.

According to Pickowitz, the group is extending the depth of partnership to which HARMAN Professional engages its customers in this community. “We recognize that partnership extends beyond a transaction and requires a considerable commitment before, during and after the sale. Our strengthened commitment to training and support will ensure that customers in the live sound and rental communities extract optimal return from their investment in our platform,” Pickowitz said today. “If we can provide customers with greater consistency in terms of system performance and setup efficiency, then we’ll help improve their businesses and therein lies the goal of this new group.”

Brian Pickowitz joined Crown Audio as an Electrical Design Engineer in 2004 and has since been heavily involved in the development of Crown Audio’s tour sound business, assuming the marketing leadership of that sector in 2010. He has played a key role in the design and implementation of business-critical live sound products, including the I-Tech HD, Vrack and Macro Tech I Series. A 2004 graduate of Southern Illinois University, Brian Pickowitz holds a BSEE in Electrical Engineering.

Vincent “Vinnie” Perreux has more than 30 years experience supporting worldwide tour sound productions and working closely with front of house and monitor engineers. He has served as sound system engineer, crew chief and product trainer for Clair Global & Clair Brothers. Vinnie’s experiences also includes work with Clair/ShowCo, SSE Audio Group, Agora, Westfalen Sound and Eighth Day Sound other companies and with bands including Muse, U2, Smashing Pumpkins, Leonard Cohen, Gloria Estefan, Justin Timberlake, Beyoncé, Green Day, Bon Jovi, Michael Jackson and Elton John among others.”

Raul Gonzalez is similarly qualified with18 years of experience in the audio industry. During the last 13 years, Gonzalez has worked for HARMAN’s JBL Professional supporting tour sound & rental clients as Market Development Engineer for Latin America, Tour Sound Product Manager and Tour Sound Field Engineer. Prior to joining HARMAN, Gonzalez was Systems Engineer for the Julio Iglesias World Tour, and Audio System Designer for Concert Sound Consultants. He also served as FOH Engineer for Jam On The Groove World Tour and Jesus Christ Superstar Broadway Tour, as well as a recording engineer for BGF Productions.

“Just as our live sound and rental customers rely on talented, hardworking crews to represent their businesses and support their artists, HARMAN Professional now has one of the most talented and hardworking teams on the road to support its customers. I look forward to working with Vinnie and Raul to develop support and training programs that provide customers with deeper care and more forward-looking training than anyone else in the marketplace,” Pickowitz concluded.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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Av Week 2013: RelampIt Projector Lamp Recycling Raffle

Each year audiovisual professionals celebrate the AV industry during a week-long event in October, known as AV Week. AV specialists use AV Week as opportunity to raise awareness of the span of AV applications in many markets including business, government and education. This is also an ideal time for RelampIt to encourage recycling within industry and reinforce their commitment to environmental sustainability.

RelampIt receives thousands of lamps during their month long projector lamp recycling program every year. They anticipate a record number of participants and lamps recycled during the 2013 event.
Kicking off during AV week and extending for 5 weeks, the annual RelampIt Recycling Raffle is RelampIt’s way of:
• celebrating the AV industry during AV Week
• encouraging participants to recycle, furthering their sustainability initiatives
• continuing to support a cost-free, end of lifetime option for projection lamps

RelampIt’s Lamp Recycling Raffle runs October 14th through November 22th. To participate all are simply invited to recycle spent projector lamps! Send a minimum of 5 lamps to the RelampIt Recycling Center, which qualifies for one entry in the lamp recycling raffle. Participants have the opportunity to win one of two prizes, including a grand prize of a brand new front projector. Winners are selected randomly from all eligible entries. Visit www.relampit.com for more details about the RelampIt Recycling Raffle and terms & conditions.

RelampIt will also be providing free shipping for all recycling raffle participants during AV Week (October 14-18). Jut fill out the recycling request form at http://www.relampit.com/Projector-Lamp-Recycling.htm and RelampIt will email a UPS label for the lamp shipment.

Finally, RelampIt will be running two AV Week social media challenges for all #AVTweeps. On Tuesday October 15, and Thursday October 17 they will have contests on Twitter and LinkedIn. Details of the challenges will be released shortly, and winners will receive new livescribe digital pens!

RelampIt provides new lamps in re-certified housings for the projection display industry. RelampIt has developed a process that allows projection lamps to be re-newed at a reduced cost without compromising lifetime or performance. RelampIt also offers a no charge projector lamp recycling service. The RelampIt Projector Lamp Recycling Center, focuses on reducing waste and environmental contamination from the lamps found in front and rear projectors.

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Loop Utah Movement Underway with Support from Listen Technologies

Listen Technologies joined Loop Utah in September to Kick-Off the Loop Utah Movement at the Deaf and Hard of Hearing Festival.

Salt Lake City, Utah, USA—Listen Technologies joined other hearing loss advocates at the Deaf and Hard of Hearing Festival for the kick-off of the statewide movement to get Hearing Loops installed in public spaces throughout Utah.

The Loop Utah Movement is dedicated bringing more awareness to the subject of hearing loss by educating Utah communities about assistive listening systems, in particular Hearing Loops, which provide individuals with hearing loss a better way to experience what they fully deserve when they visit public places like churches, theatres, museums, auditoriums, and concert venues.

As a co-sponsor of the event, Listen installed two temporary Hearing Loops, one around the main stage for presentations and a smaller one at their own booth to demonstrate the technology to visitors. A Hearing Loop, also known as an Induction Loop or T-Loop, is an assistive listening system that provides access to facilities for those with hearing loss. It takes a sound source and transfers it directly to a hearing aid without background noise.

The increasing popularity of Hearing Loops has seen a steady increase in the inclusion of telecoils in hearing aids. At present just under 70% of hearing aid models on the market are fitted with them. This number is as high as 95% in countries where Hearing Loops are already established, and all new model cochlear implants now offer telecoils.

“I am involved with Loop Utah, because I believe in the technology,” says Dr. Lobdell, Loop Utah Steering Committee Chair. “My passion for loop technology began early in my career when my hard of hearing grandmother explained how a loop system allowed her to continue to participate in church services, which made me wonder why the technology wasn’t available in more places.”

Loop Utah planning meetings are held the second Tuesday of every month from 4:00 p.m. – 6:00 p.m. at the Sanderson Community Center. For more details on what you can do to be a part of the movement visit www.looputah.org.

About Listen Technologies
Listen Technologies brings power and clarity to the sounds that enrich your life—by overcoming the challenges of noise, distance, lively debate and hearing loss to deliver precise and personalized audio in any setting or environment. With Listen solutions, you can cut through the clutter and connect to an experience of pure, focused sound. Listen solutions are used in gathering places around the world including schools, houses of worship, factories, entertainment venues, government agencies and more. Watch the About Listen video. For more information on Listen solutions, contact Listen Technologies at 1.800.330.0891, +1.801.233.8992, or visit www.listentech.com.

About Loop Utah
Loop Utah is an ongoing advocacy campaign dedicated to educating Utah venues about the many benefits of hearing loop technology, which delivers sound directly to an individual’s telecoil-equipped hearing aid or cochlear implant. Loop Utah will serve to attract, educate, and advocate as the collective voice for loop technology so the Hard of Hearing can have the enriched experience they deserve in venues across the state of Utah. For more information about Loop Utah, contact LoopUtah@gmail.com or call 801.556.2241.

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Sennheiser Delivers Flawless Wireless Performance on Bruno Mars ‘Moonshine Jungle Tour’

New York City, October 10, 2013: Superstar Bruno Mars finished the North American leg of his Moonshine Jungle Tour in September ­ a run that consisted of over 40 U.S. and Canadian dates, a spectacular appearance on the MTV Video Music Awards, and an announcement that he will perform at the Pepsi Super Bowl XLVIII Halftime Show on February 2, 2014. This month, the Moonshine Jungle Tour continues on to Europe before setting out to Australia and New Zealand in early 2014. Bruno and his band rely on Sennheiser microphones and wireless systems.

At the VMAs, which were broadcast from New York City’s Barclays Center and reached more than 10.1 million viewers, fans were treated to a thrilling rendition of Mars’ new single, “Gorilla”. Dressed in a leopard skin shirt on a stage awash in green lasers and gorilla imagery flashing on a massive LED screen, Mars delivered a memorable, soulful vocal performance through a Sennheiser SKM 5200-II wireless transmitter and MD 5235 capsule. During the VMAs, which also featured performances by Justin Timberlake, Kanye West and others, Mars picked up two Moonman awards: Best Male Video for his #1 hit single “Locked Out of Heaven”, and another for “Best Choreography” for his latest single, “Treasure”.

The VMAs were the icing on the cake for Bruno Mars’ production team, who has endeavored to continually raise the audio quality and production standards of the touring operation for the past several years. Sennheiser’s global relations team has played a direct role in helping them achieve this goal by providing superb wireless and microphone technology. “When I took on the Bruno Mars gig over 2-1/2 years ago, he and the background singers were using a competitor’s model. I just knew there was a better microphone and capsule combination for him,” recalls James Berry, monitor engineer for Bruno Mars. “I began transitioning the background singers first, then worked with the front-of-house guy to get Bruno to try a Sennheiser microphone. Now you couldn’t pry that microphone out of his hands if you tried!” he says.

For wireless audio at the VMAs, as well as with the rest of the tour, the Bruno Mars production team has relied on Sennheiser. At the VMAs, one particular challenge was the massive LED walls at the rear of the stage. “We had to shoot the wireless signal right through the LED walls,” Berry recalls. “We did a lot of pre-planning on antenna placement when we got there. It was all rock solid and performed flawlessly.” The monitor crew used Sennheiser’s WSM software to save set-up time: “We used WSM to preload all the frequencies we were sent, so when we arrived, we just booted up the system and were ready to go in about ten minutes. In the past, we would have had to go to every individual unit and program all this information in.” Berry also used the software to monitor each wireless element in real time: “I rely on WSM to see my battery and RF levels, as well as all the inputs and outputs,” he says.

Honing In on Bruno Mars’ Microphone and Wireless Touring Rig

Derek Brener, who has been Bruno Mars’ front-of-house engineer for 3-1/2 years, recalls a point where Bruno’s audio infrastructure took a huge step forward: “One of the main turning points was when James came in and said he would not use anything else but the Sennheiser wireless ­ that’s when everything changed. James is such a heavy hitter having worked with Beyoncé, Weezer and lots of other great bands, I trusted his opinion.”

After trying various Sennheiser capsule and transmitter combinations for some time, Berry and Brener eventually settled on an SKM 5200 handheld transmitter with an MD 5235 capsule. “For me, the MD 5235 capsule punches through the PA system better than any other microphone we’ve used on Bruno Mars,” says Brener. “Bruno is very involved with Derek and me on the way things sound and has very clear ideas on what he wants and what he expects,” Berry adds. “Now, it is a comfort thing. Whether we are playing arenas, stadiums or awards shows, there is no debating ­ he wants Sennheiser, and that’s what he’s going to get.”

For vocals and horns, the band’s wireless consists of ten channels of Sennheiser EM 3732-II receivers, seven SKM 5200-II transmitters with MD 5235 capsules and three SK 5212-II bodypack transmitters. Berry says that one of the primary reasons they chose the EM 3732-IIs was because of the AES3 digital output with external word clock synchronization: “We are clocking our wireless devices at 96kHz to get the best sound quality we can. We didn’t consider anything other than this unit because we knew it would give us the best sound quality and reliability on the RF side.”

“For me, clocking at 96kHz opens everything up so it sounds more full,” Berry continues. “You have the entire frequency expanse in there, and what you put in is what you get out. Therefore you can hear the Sennheiser MD 5235 microphone capsules we are using with even greater fidelity.”

The band also relies on Sennheiser for its wireless monitor systems, of which Berry has sixteen channels of SR 2050 IEM. This covers the entire band, as well as off-stage technical staff. “I’ve used a lot of in-ear systems, and the reason I chose Sennheiser is because of sound quality,” says Berry. “The wireless IEMs deliver a wide stereo image so I can put things right into place where they need to go in my mix. For me, there is no other option than the 2k series because of that.”

All in all, over the course of the entire North American tour including the VMAs, the Sennheiser equipment has performed flawlessly, reports Brener: “We have never, ever experienced a drop out as long as we have had the Sennheiser wireless. It is all rock-solid. I have major confidence in Sennheiser.”

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

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

Photo captions:
1: Bruno Mars on stage during the Moonshine Jungle Tour with his Sennheiser SKM 5200 transmitter and MD 5235 capsule (photo credit: Getty Images)

2: James Berry, monitor engineer for Bruno Mars, beside his racks of Sennheiser wireless (photo courtesy of DiGiCo)

3: Bruno Mars‘ front-of-house engineer, Derek Brener

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Joan Baez Down Under with DPA Microphones

American folk musician used d:vote™ 4099 Instrument Mics to highlight the instrumental portions of her music

AMHERST, MA, OCTOBER 10, 2013 – American folk singer/songwriter Joan Baez went on the road in Australia and New Zealand this summer with DPA Microphones’ d:vote™ 4099 Instrument Microphones. The musician and prominent activist’s audio engineer Jason Raboin uses the mics to achieve the ultimate sound of the grand piano, mandolin and violin that are prominently featured in her music. A long-time DPA fan, Raboin doesn’t leave home without the d:votes. He even brought them with him to Baez’s special performance in late July with Jackson Browne and Emmylou Harris to benefit Downtown Streets Team, an organization aiming to end homelessness.

With two d:votes originally purchased for Dirk Powell—a multi-instrumentalist in Baez’s band who wanted free range of movement while playing his guitar, violin (fiddle) or mandolin—Baez’s rig now features a total of four d:votes. With the ability to mount the wireless microphone directly onto the instrument, Powell can perform with the gusto of a typical fiddle or mandolin player.

“Dirk’s request sent me on a hunt for a mic system that not only does what he wanted, but also sounds good and is useable in monitors,” says Raboin. “The d:vote 4099s were a clear choice. Since the mic mounts right onto the flat surface of the string instruments, I was initially worried that gain and monitors would be an issue, but the microphone has been really great. We are able to get plenty of gain. Sometimes Dirk plays fiddle right in front of the monitors and we’re fine. I think that’s something that every engineer worries about, not getting gain in your monitors if you use a condenser mic, but that’s definitely not the case with the d:votes.”

After the success of the d:votes with the string instruments, Raboin chose to add to the collection with a stereo pair for Baez’s grand piano. “Another thing that’s great about the d:votes is that when I’m using them for the piano, I can arrange the mics so the piano can be played with the lid closed,” he explains. “People usually come up with all sorts of whacky solutions to accomplish this, but DPA has a mount that lets me affix the mics without any harm to even the most expensive instrument. And they still sound just as good. That was actually also one of the main selling points for Dirk.”

The small size of the d:votes play an integral part in this arrangement. The compact size also proved a valuable feature during Baez’s Australian tour, for which the crew flew, rather than drove, to each stop. To meet the travel budget, Raboin had to pack only the audio essentials into a few pelican cases. Each could not exceed the 50 pound weight limit set by today’s travel standards, and it is for this reason that the miniature microphones were helpful.

“The d:votes are so tiny, they barely take up any space or weight,” continues Raboin. “Also, while the mics are more expensive than the average condenser mic on the market, when you think about it in terms of return on investment—how many different places they can go, and so easily, because of their modularity and all the mounting options—it ultimately makes them less expensive than other solutions.”

In addition to all of Baez’s performances, Raboin also uses d:votes when he’s engineering for folk singer Judy Collins. A sound engineer for more than 15 years, Raboin has worked with artists such as Modest Mouse, Luna, Cowboy Junkies and Devendra Banhart. He also currently owns Camden Sounds, a sound company based in Amherst, Massachusetts.

Baez has performed publicly for more than 55 years and has released 30 albums, which feature songs recorded in six different languages. In addition to her musical talents, Baez is an avid social and political rights activist and has been involved with issues ranging from civil and human rights to environmental issues and war protests.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com

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Neumann’s Jürgen Breitlow to be Featured on Panel Highlighting Microphone Specifications at 135th AES Convention

Breitlow will Discuss Technical Specifications of a Microphone on Panel to Take Place on Thursday, October 17th at 11:00 a.m.

New York – October 9, 2013: Premium audio brand Neumann announced that Jürgen Breitlow, director research & development, Neumann GmbH, will be featured on a panel entitled “Microphone Specifications – Believe it or Not” to take place in room 1E12 at the Javitz Center in New York City. Breitlow will discuss the technical specifications of a microphone, among other topics during the panel.

• WHAT: “Microphone Specifications – Believe it or Not” panel, featuring Jürgen Breitlow, director research & development, Neumann GmbH
• WHEN: Thursday, October 17th at 11:00 a.m.
• WHERE: Room 1E12, Javitz Center, New York City

Breitlow is an accomplished development engineer who has been with Neumann for 13 years. The panel, which is to be moderated by Eddy B. Brixen, EBB-Consult/DBA Microphones, is being presented in association with the AES Technical Committee on Microphones and Applications. Following is an abstract:

“There are lots and lots of microphones available to the audio engineer. The final choice is often made on the basis of experience or perhaps just habits. (Sometimes the mic is chosen because of the looks… .) Nevertheless, there is essential and very useful information to be found in the microphone specifications. This workshop will present the most important microphone specs and provide the attendees with up-to-date information on how these are obtained and understood. Each member of the panel—all related to industry top brands—will present one item from the spec sheet. The workshop takes a critical look on how specs are presented to the user, what to look for and what to expect. The workshop is organized by the AES Technical Committee on Microphones and Applications.”

To learn more or register for the panel, please visit the AES website or contact Christopher Currier, Product Specialist at Neumann at (860) 434-9190 x185 or ccurrier@sennheiserusa.com.

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, Conn. 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 http://www.sennheiserusa.com.

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Sennheiser to power World’s First Large Scale Opera for Wireless Headphones, Invisible Cities, Premiering at Los Angeles’ Union Station This Month

The Industry, L.A. Dance Project and Sennheiser Push the Boundaries of Art, Imagination and Wireless Technology for an Unprecedented, Interactive Dramatic Experience

Los Angeles – October 9, 2013 – Audio specialist Sennheiser announced that its world-class professional and consumer technology will play an integral part of Invisible Cities: the world’s first large scale opera for wireless headphones. The landmark production, a collaboration among The Industry, L.A. Dance Project and Sennheiser, will stage its world premiere on Saturday, October 19th at Los Angeles’ iconic Union Station — the largest railway terminal in the western United States.

The Invisible Cities opera, written by Christopher Cerrone and based on the 1972 novel by Italo Calvino, combines historical fiction with surrealist elements to create an ‘invisible opera for wireless headphones’. The opera’s narrative, which centers on explorer Marco Polo’s descriptions of fantastical cities to Emperor Kublai Khan, transform’s Calvino’s novel into a unique experience for each participant — combining a classic art form with the ultimate in technology. By using wireless headphones from Sennheiser, audience members will be intimately connected to the storyline, while having the ability to roam freely as the opera moves throughout the terminal.

“Art-making is not just about great ideas but about ingenious execution — making a vision something real,” commented Yuval Sharon, artistic director, The Industry. “Sennheiser is literally making The Industry’s dreams come true; this production simply would not exist without their commitment to innovation and the drive for excellence that will make this such a magical experience for audiences.”

“Our world is characterized by fast-paced, interactive communication and consumers seek experiences that touch them in a much deeper and more meaningful level. Invisible Cities caters to this desire and delivers a truly innovative performance to its audience,” commented Stefanie Reichert, director strategic marketing, Sennheiser. “We have worked in close cooperation with Sennheiser global relations, including project manager Kristy Jo Winkler, to make this a seamless experience for the entire audience. Invisible Cities showcases how innovative technology and cutting-edge artistic vision drives innovation in the arts.”

While Invisible Cities is an opera at its essence, it is unconventional in many ways. For example, there is no opera house and no assigned seats — audience members are not restricted in their movement and encouraged to roam freely. Also, whereas audience members at a conventional opera typically rely solely on natural building acoustics to hear an operatic production, Invisible Cities will utilize Sennheiser’s state-of-the-art wireless technology to convey both dialog and music to listeners. Performers will be outfitted with Sennheiser wireless microphones and attendees will use Sennheiser’s RS 120 wireless consumer headphones for a complete, intimate audio experience.

At the heart of Invisible Cities‘ technical production will be Sennheiser’s new Digital 9000 wireless system, which will provide patrons with pristine, uncompromising audio for the duration of the performances. This system, which was launched last year after having been under development for over a decade, is the most advanced wireless system in the world and used in top level theatre, music and broadcasting events.

An 11-piece orchestra consisting of strings, brass and percussion will perform an original score and will be miked using a selection of Sennheiser and Neumann microphones. Singers, dancers and performers in the production will also be outfitted with Sennheiser wireless microphones, and will be able to listen to their performances and director cues using Sennheiser’s world-class in-ear monitoring system (IEMs). The performance audio will be sent to a multi-channel digital console, where it will be mixed and broadcast via wireless RF technology to attending patrons, each of who will be donning Sennheiser wireless headphones.

Bexel, based in Burbank, Calif., custom built a Managed Antenna System (MAS) that allows for extended coverage of Sennheiser’s wireless microphones, in-ear monitors and headsets.

On the audio side, Bexel also supported Sennheiser’s superb high-quality microphones with a DiGiCo SD11 paired with a DiGiCo D-Rack. The orchestra, located approximately 1,000 feet from the main hall, is connected via fiber. The DiGiCo system allows the audio mixer to con-trol the mic preamp from that distance.

We are delighted to partner with Sennheiser and the The Industry’s audio professionals on Invisible Cities,” says Rod Allen, Bexel business segment manager, Audio West. “Sennheiser, who is providing the RF integrity, along with Bexel engineering and the rest of the audio team, has a big task to make that mix relevant no matter where the main focus happens to be in the venue, because the listener has only one stereo mix to reference. It was an intriguing assignment to help launch this unique event in a working public train station with the talent roaming throughout the venue.”

For more information on Invisible Cities, including performance dates and ticket information, please visit http://invisiblecitiesopera.com/.

Photo captions:
1) The Invisible Cities opera, written by Christopher Cerrone and based on the 1972 novel by Italo Calvino, combines historical fiction with surrealist elements to create an ‘invisible opera for wireless headphones’. (Photo Credit: Dana Ross)

2) Invisible Cities, a collaboration among The Industry, L.A. Dance Project and Sennheiser, will stage its world premiere on Saturday, October 19, at Los Angeles’ iconic Union Station — the largest railway terminal in the western United States. (Photo Credit: Dana Ross).

3) Yuval Sharon, Artistic Director, The Industry, on the set at Union Station with his Sennheiser RS 120 headset and SKM 2000 transmitter. (Photo Credit: Dana Ross)

About The Industry
The Industry is a new home for new and experimental opera in Los Angeles. Founded and led by director Yuval Sharon, The Industry creates ambitious productions that expand the traditional definition of opera and explore new paradigms for interdisciplinary collaboration. Mark Swed of the Los Angeles Times writes “The Industry is quickly and dramatically becoming an essential component in American opera. It’s now indispensable to the LA scene.” The Industry’s inaugural production, Anne LeBaron and Douglas Kearney’s Crescent City, was instantly hailed as “reshaping LA opera” (Los Angeles Times) and “changing the face of music-theater in this city overnight” (Out West Arts). The large-scale multimedia production, featuring the work of six visual artists in a 25,000 sq. ft. warehouse in Atwater Village, performed over three weeks in May 2012 to capacity audiences. The Industry recently presented First Take, a west coast opera workshop showcasing excerpts from six new operatic works-in-progress by the legendary Pauline Oliveros, and rising star composer Mohammed Fairouz at the Hammer Museum’s Billy Wilder Theater. For more information visit: www.TheIndustryLA.org.

About L.A. Dance Project
L.A. Dance Project is an artist collective founded in 2012 by renowned choreographer and dancer Benjamin Millepied, along with composer Nico Muhly, art consultant Matthieu Humery, producer Charles Fabius, and film producer Dimitri Chamblas. L.A. Dance Project’s mission is to create new work and to revive seminal collaborations from influential dance makers. Pro-grams include full-length evenings in traditional theater venues as well as various modular performances in non-traditional environments. New works by the company endeavor to be multidisciplinary collaborations with various artists: visual artists, musicians, designers, directors and composers. L.A. Dance Project promotes the work of emerging and established creators, contributing to new platforms for contemporary dance. For more information visit: www.ladanceproject.com.

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 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, Conn. 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.

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Kramer Introduces the KW−11 Wireless High Definition Transmitter/Receiver Set

Kramer Electronics is pleased to introduce the KW−11, a wireless high definition transmitter/receiver set that sends the HDMI signal wirelessly, up to 40 feet (12 meters).

The KW−11 Transmitter and Receiver set is a wireless high−definition HDMI system, utilizing WHDI™ technology. The KW−11T converts the HDMI signal into a wireless signal that it transmits to the KW−11R. The KW−11R converts the wireless signal back into an HDMI signal. The units send the uncompressed video resolutions up to 1080p @60Hz with zero latency.

The KW−11 can be installed under the table or in a closet with no direct line of sight required. It features robust MIMO 5GHz technology, and a very secure AV link through its AES−128 encryption.

The transmission of the wireless HDMI signal is compatible with any copy−protected HDCP content. EDID and CEC information is supported as well. Installation and operation requires no special configuration: simply connect the KW−11T with the AV source and the KW−11R with the display.

The Kramer KW−11 is part of Kramer DigiTOOLS® family of compact, high−quality and cost−effective solutions. This wireless high−definition transmitter and receiver pair is ideal for professional video installations as well as for use with other Kramer products, for presentations, multimedia applications, home theater usage, and other short range video and audio distribution applications.

The KW−11 sells in the United States at a list price of $675.00, and is currently in stock and available from Kramer Electronics sales companies around the world. Complete product information for the KW−11 and for all Kramer Electronics and Sierra Video products can be found at www.kramerus.com.

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Asserting that the Age of Interactivity is now giving way to a new Age of Hyperactivity characterized by an always-fast, always-on Internet, Stampede Presentation Products, Inc. yesterday told attendees at its 2013 Vendor Summit that a new era of unprecedented opportunity was now unfolding — creating sales opportunities for dealers that were unimaginable a few short years ago.

The annual two-day Stampede Vendor Summit, the industry’s only event of its kind, took place October 7-8, 2013 at the Marriott Hotel in Amherst, New York and featured a mix of immersive one-on-one sales interactions between manufacturers and the Stampede sales team, information-packed presentations from InfoComm Senior Vice President John Fuchs and PMA Analyst Rosemary Abowd, a challenging vision of a future built around ‘The Internet of Things’ by AV Girl futurist Midori Connolly, and an engaging dealer panel discussion of business and technology trends hosted by New Bay Media’s Lindsey Adler and EH Publishing’s Craig MacCormack.

“At a time when the traditional AV industry is maturing, a new personalized industry is rising up to take its place, one that is built upon the ideas of connecting, integrating, and sharing devices in entirely new eco-systems built around highly customized software applications,” predicted Stampede President & COO Kevin Kelly. “This shift is challenging our industry to stop using the terms ‘audio and video’ and start using the terms ‘see, hear and control’ in order to understand the business opportunities that this shift is creating.”

Indeed, according to Kelly, Stampede has taken a number of strategic steps to empower its 11,000 dealers to take advantage of this seismic shift by consumers and professionals to connect, integrate and share devices at work, school, government and home. “In 2013 we added 20 new product lines and several new core platforms that traditional AV products can attach to,” Kelly emphasized.

“And the results of these additions speak for themselves as we conclude a fifth year of record-breaking growth — a year where earnings grew by 46 percent.” Equally important, according to Kelly, is the fact that the company’s sales grew in all three of its primary product categories — displays, projectors, and unified communications, which is by far the fastest growing segment of the company’s business. “During the Q2 period, our unified communications category sales increased by more than 239 percent over the same period in 2012 and that growth is being driven by the shift from an audio/video world view to a see-hear-control world view.”

Kelly reaffirmed Stampede’s commitment to constantly add value to every system installation it is involved with. “Value adds margin for our dealers,” Kelly told Vendor Summit attendees. “And, thus far in 2013, Stampede is adding value at an unprecedented level that cannot be matched by any other distributor in the business today. We can add this value on a consistent basis because we are focused exclusively on meeting the needs of the ProAV dealer community. We are not distracted by other industries and market segments. We devote 100 percent of our time and considerable resources to helping dealers grow their business.”

Meeting the demands of growth, however, requires an expanding commitment to maintain face-to-face training, online learning, and readily available credit facilities to qualified dealers, “all of which Stampede is committed to providing,” Kelly added. “In fact, in 2013 alone, we have increased our available monthly credit line by 28 percent, enabling us to serve as a bank to our dealer partners. In 2014 we will be opening a new southwest regional office and adding to our field sales team network to increase the number of contacts we can have with dealers and their customers. ”

Photo caption: Left to right: Jeff Willis, Senior Vice President of Stampede; Mark Wilkins, Founder and CEO of Stampede; Kevin Kelly, President and COO of Stampede.

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AES NY: Antelope to Demonstrate Orion32 Multi-Channel Interface and Host “Hanging Out (LIVE)” with Jimmy Douglas and Michael Brauer

Demonstrations to Highlight Hybrid Multi-Channel Setup With the Orion32 — Purple Audio and Rupert Neve Designs to Feature Orion32 in 500 Series Product Set-Ups

New York, October 9, 2013 — During the AES convention exhibit in New York this month, leading digital audio manufacturer Antelope Audio [Booth 3139] will demonstrate the power and flexibility of its newest multi-channel interface: the Orion32. Antelope’s U.S. Director of sales and marketing, Marcel James, will be on hand to walk attendees through the unit’s capabilities when used with hardware summing and equipment inserts, while explaining how to make full use of Orion’s powerful Control Panel and Mixer.

GRAMMY-Award winning engineer Brian Vibberts (Michael Jackson, Chick Corea) has prepared a Pro Tools mix session for this special presentation and will discuss how the Orion32 fits into a broader hybrid audio setup consisting of 3rd party equipment from Purple Audio and Rupert Neve Designs.

“Hanging Out” with Antelope at the AES Exhibit

Antelope will also host two live episodes of its new “Hanging Out” Series with multi GRAMMY-Award winning mix engineers Jimmy Douglas [Justin Timberlake, Jay Z] and Michael Brauer [My Morning Jacket, Coldplay]. These sessions — which will feature a meet and greet — will occur at the Antelope booth on Friday, October 18th at 3:00 p.m. and Saturday, October 19th at 1:00 p.m. respectively. Both episodes will stream live on the Antelope Audio YouTube Channel along with live show demos and reports.

Additionally, the Orion32 will be featured within Purple Audio and Rupert Neve Designs’ AES exhibits. These companies, which will be demonstrating new 500 series modules and other equipment, will be using the Orion32 as the primary playback device to simulate mixing scenarios using hardware summing and other techniques.

Purple Audio will be debuting it’s new mixer, dubbed MF Twenty 5 that integrates with a 500 rack, effectively making it a sidecar. The unit is targeted at home users doing hardware summing — but also prefer working with faders. The new MF Twenty 5 will be taking its input signal from the Orion32. “I will be running the Orion32 because I want all the I/O, and because we have lots of video people coming in from time to time,” he says. “The Orion32 is a very affordable converter with a full-bodied character and a sound I would describe as ‘realistic.’”

Distribution Companies Fingerprint Audio and Rupert Neve Designs have been using the Orion32 for their demonstrations of Rupert Neve Designs popular summing and processing products and the sE Mic line. Jonathan Pines, director of strategic operations for Fingerprint Audio and Rupert Neve Designs, says the Orion32 is a “game-changer” which he uses regularly in the studio for his own projects. “I use the Orion32 in conjunction with Antelope’s 10M Atomic Clock, which creates an audible improvement to the already great sound of the Orion,” he says. “Also, the Orion is incredibly easy to use and works flawlessly for me both on the studio and on the road.”

For more information, please visit the Antelope Audio website, or to learn more about the AES convention, please visit the Audio Engineering Society home page. You can access a playlist of Antelope’s “Hanging Out” episodes here.

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.

# # #

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

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