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Archive for November 4th, 2013

JVC Introduces Cost Effective, Full HD VN-H557U Indoor PTZ Security Camera

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced the VN-H557U network HD indoor PTZ dome camera, a cost effective, ONVIF Profile S-compliant unit equipped with a wide angle zoom lens (6.3-63.3mm) for excellent area coverage and Easy Day/Night functionality for 24-hour surveillance.

With its 2 megapixel CMOS imager, the VN-H557U delivers 1920×1080 full HD resolution, while its Super LoLux HD™ technology provides superior low-light color reproduction. The built-in lens includes 10x optical zoom and 10x digital zoom with automatic or manual iris control. The security camera also offers 350-degree, non-endless pan/tilt, along with 100 preset positions, auto return, auto flip, and auto pan.

“The new VN-H557U provides very wide, full HD imagery and automatic day/night performance at a very attractive price point,” said John Grabowski, national sales and marketing manager, JVC Security Division. “We designed the camera for a variety of applications, so it’s a great choice for casinos, airports, schools, offices, and retail stores.”

A built-in SDHC card slot allows flexible local recording options. Other features include privacy mask for up to eight areas, motion detection, 3D digital noise reduction, alarm in/out, and two-way audio communication. Multi-codec support includes M-JPEG, H.264 Baseline Profile, and H.264 High Profile, and the camera is compatible with third-party VMS products such as Exacq Technologies and Video Insight. Power options include power over Ethernet (PoE), plus 24V AC or 12V DC.

The VN-H557U has a suggested list price of $1,475 and will be available this month.

ABOUT JVC PROFESSIONAL PRODUCTS

JVC Professional Products Company, located in Wayne, New Jersey, is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC Kenwood Corporation, and a leading supplier of IP network and analog security cameras and monitors for the video security industry. Its V.Networks product line of has earned a solid reputation for quality and reliability, and provides superior picture quality for thousands of installations worldwide. For more information about this, or any other JVC professional product, contact JVC at (800) 582-5825 or visit JVC’s Web site at http://pro.jvc.com.

Meyer Sound Gives Houston Airport Terminal B the Self-Powered Advantage

At the new Terminal B at Houston’s George Bush Intercontinental Airport (IAH), a self-powered 48 V Meyer Sound loudspeaker system in the south concourse has raised the bar for audio fidelity and flexibility. Despite large reflective surfaces and tall ceilings, announcements and music are projected with a crispy clarity rarely heard in transportation facilities.

“The audio quality, intelligibility, and uniformity of coverage are distinctly better than most terminals across the country,” says Ulf Lueders, Terminal Services group manager of the Houston Airport System (HAS). “With this upgrade, travelers can enjoy the various concessions without having to worry about missing a flight announcement. Higher quality also allows the concourse operator to choose from a wider variety of background music, without being restricted to the ‘elevator music’ compatible with lower fidelity systems.”

Both airport management and the concourse operator, United Airlines, worked to offer across-the-board improvements in traveler experience. Improving audio quality in the concourse proved a challenge, as the 27-foot high ceiling, the room’s large size, and the expansive glass area presented acoustical difficulties. To control unwanted reverberations, Houston-based HFP Acoustical Consultants designed both the room’s acoustical treatments and the Meyer Sound self-powered loudspeaker installation as a balanced, integral system.

“Self-powered loudspeakers, with amplification and signal processing inside the cabinet, provide inherently better audio reproduction,” explains HFP’s Bill Schuermann. “Without the transformers and long cable runs typical of airport systems, they provide flatter frequency and phase response, lower distortion, and extended bass. The result is remarkable intelligibility with a natural voice quality, and far superior musicality.”

The principal Meyer Sound system comprises 60 UPM-1XP 48 V loudspeakers, 44 MM-4XP self-powered loudspeakers, and two Stella-4C installation loudspeakers, with a Galileo® loudspeaker management system with seven Galileo 408 processors providing system optimization. LD Systems of Houston installed the system.

“If conventional systems have to be rezoned to accommodate a new floor plan, you usually have to change wiring in the ceiling,” Schuermann explains. “But with self-powered systems, all the changes can be quickly accomplished inside the equipment room.”

“We’ve raised the bar with Terminal B south,” says Lueders. “It is certainly the airport’s prime location as far as audio quality and coverage is concerned.”

IAH Terminal B south concourse was designed by Cheryl Gajeske and Ivan Pire of Houston-based PGAL. The $97 million project opened in 2013 with 15 active gates for United Express regional flights, with expansion to 30 gates planned by the end of the year.

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Meyer Sound Assumes Canadian Sales Distribution and Hires Franck-Olivier Fabry as Sales Manager

To further strengthen its support for Canadian customers, Meyer Sound has assumed distribution responsibilities for Canada and appointed Franck-Olivier Fabry as the new sales manager. Working closely with the Berkeley, Calif. headquarters, Fabry is tasked with supporting the Canadian customer network by facilitating sales, technical assistance, and design services.

Fluent in both English and French, Fabry comes to his new post with over 14 years of experience in pro audio sales, much of it in the Canadian market. For 12 years, he held top-level sales positions at Bosch Security Systems (previously Telex Communications), where he handled sales for lines such as Electro-Voice, Dynacord, Midas, Klark Technik, and Bosch in Canada, the United States, Latin America, Africa, and the Middle East. Fabry also directed global sales efforts at Williams Sound.

GerrAudio was formerly the Canadian distributor for Meyer Sound. “We are grateful for the dedication and hard work of GerrAudio in the past 25 years,” says Antonio Zacarias, Meyer Sound’s vice president of worldwide sales. “As Meyer Sound takes over Canadian distribution and with Franck’s wealth of industry experience, we are in a great position to build upon our momentum in Canada and provide customers with more direct access to our full range of services.”

“Meyer Sound’s product quality is respected worldwide, and no other company provides customers with such a high level of comprehensive support,” says Fabry. “I believe that success comes naturally when we’re enthusiastic about what we do, and I look forward to bringing new energy and passion to serving the company’s Canadian customers and consultants.”

Born in Paris to French and Swiss parents, Fabry lived in both countries before moving to the United States. He holds bachelor’s and master’s degrees in business from France’s Ecole Supérieure de Commerce de Toulon and the University of Aix-en-Provence, respectively.

Fabry will be based out of the Minneapolis-St. Paul metro area. He can be reached at ffabry@meyersound.com or at +1.855.641.3288.

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Michigan’s NCG Eastwood Cinemas Installs Meyer Sound System for “Xtreme” Screen

The 18-screen multiplex NCG Eastwood Cinemas in Lansing, Mich. has selected a Meyer Sound cinema loudspeaker system for its premium “Xtreme” screening room.

“It’s an amazing sound system,” says Mark Henning, chief operating officer for NCG Cinemas. “In a recent trailer, the explosions and gunshot effects—with sound going from one corner to another—were just phenomenal. I also remember a scene from ‘The Hobbit’ inside a cave, with footsteps in water and water dripping from the walls. The clarity and detail were astonishing.”

The installation comprises three Acheron® 100 and three Acheron LF screen channel loudspeakers, 10 X-800C cinema subwoofers and 26 HMS-10 cinema surround loudspeakers. The system is driven and optimized by a Galileo® loudspeaker management system with three Galileo 616 processors.

Ken Angst of Washington, Mich.-based Audio Imaging Specialists served as system integrator. “They were looking for the highest quality audio, and I knew that Meyer Sound’s self-powered technology makes a substantial difference,” says Angst. “It sounds absolutely awesome in that room. It was an honor to put it together.”

The Eastwood audio system was pre-wired for its future implementation of the Dolby Atmos format.

The “Xtreme” screening room was built from the ground up as an addition to Eastwood’s existing 18-screen complex. In addition to the Meyer Sound system, the room features a Christie digital projector, a 74-foot wide screen, a RealD 3D system, and premium seating—including a number of reclining love seats.

“The Meyer Sound audio quality certainly is impressive, and our customers have noticed the difference,” says Henning. “Without question, along with the screen and the seating, it completes our full ‘Xtreme’ movie-going experience.”

Headquartered in Owosso, Mich., NCG Cinemas operates 14 theatres with a total of 137 screens, primarily in smaller cities and metropolitan suburbs in Michigan, Georgia, Tennessee, and Indiana.

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SMPTE Presents Journal Certificates of Merit to Meyer Sound’s Schwenke and Soper

SMPTE (The Society of Motion Picture and Television Engineers) has just awarded the Journal Certificates of Merit to two Meyer Sound staff for their technical paper “Further Investigations into the Interactions between Cinema Loudspeakers and Screens.” The paper was co-authored by Meyer Sound’s Roger Schwenke, staff scientist, and Pete Soper, engineer, along with Brian Long, engineer at Skywalker Sound, and Glenn Leembruggen, principal of consultants Acoustic Directions and ICE Design in Australia.

The 27-page paper presents a thorough investigation of the acoustical interaction between loudspeakers and cinema screens of both perforated and woven construction. By employing both large sections of screen in front of loudspeakers in an anechoic chamber and smaller sections inside a plane wave tube, the authors were able to present a more detailed evaluation of the screen materials’ effect on sound transmission into the room, as well as any effects of sound reflected back into the loudspeaker.

The results of the research should lead to improved optimization techniques for cinema sound by providing new insights into the selection of screen materials, setting of distance between loudspeaker and screen, and DSP tuning and measurement procedures. The paper is available for purchase here.

The awards were presented by SMPTE President Wendy Aylsworth at the society’s annual Honors and Awards Ceremony, held on October 24 at Loews Hollywood Hotel in Los Angeles.

As a sustaining member of SMPTE, Meyer Sound manufactures cinema loudspeaker systems that have been installed in exhibition venues around the world. Postproduction installations include INK Production, 20th Century Fox, Skywalker Sound, and 40 other sound design rooms and dubbing stages.

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Discover Video Introduces H.264 Multi-Channel Video Encoder for Live Streaming

Discover Video today announced its new H.264 MCE – Multi Channel Encoder for streaming HD or SD channels live. The MCE is ideal for organizations that need to deliver multiple streams simultaneously and need a low cost, high performance, and reliable live audio/video streaming encoder.

The MCE is available in various configurations which include six channel SD, single channel HD, two channel HD, and four channel HD. In addition to supporting multiple video inputs the MCE can provide multi-bit-rate streaming for any channel, allowing an organization to customize streams for various devices, including mobile tablets and smartphones.

“This innovative multi-channel encoder is ideal for organizations such as community TV stations, schools, government agencies, or enterprises that need to deliver live TV channels internally and on the public Internet”, said Rich Mavrogeanes, CEO and president of Discover Video. “It is amazing how easy it is to use. Just plug it, turn it on, and watch the high quality streams on any device”.

The MCE can also record in two modes; full motion video, or in snapshot mode where it automatically creates periodic images of the live video. Recordings can be automatically uploaded to a Discover Video DEVOS system, to a Content Delivery Network, or to virtually any third party system. The price starts at about $1000 per channel.

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Audio-Technica Debuts BP894 MicroSet® Subminiature Cardioid Condenser Headworn Microphone

— New BP894 features a rotating capsule housing with talk-side indicator for use on either ear —

— MicroSet® models are ideal for church/house of worship, educational and commercial applications, including corporate A/V presentations, broadcast and theater sound reinforcement requiring outstanding audio quality and inconspicuous design —

STOW, OH, November 1, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, has debuted its BP894 MicroSet® Subminiature Cardioid Condenser Headworn Microphone. Inspired by A-T’s popular BP892 MicroSet, the BP894 features a rotating capsule housing with talk-side indicator for use on either ear and perfect polar pattern placement. The MicroSet BP894 takes headworn microphones to the next level, by allowing the cardioid capsule to be aimed directly at the sound source (i.e. the microphone faces the mouth, rather than facing forward like other options on the market). The uniform pickup pattern provides excellent rejection of outside noise, with exceptional gain-before-feedback when used with live sound systems and stage monitors.

Featuring an inconspicuous and ergonomic design, the BP894 MicroSet (available in black and theater beige) rests comfortably behind the ear and can be worn for hours without fatigue. Its contoured earpiece stays in place even on the most animated performer/presenter and does not interfere with the user’s eyeglasses. The BP894 comes with the AT8464 Dual-Ear Microphone Mount which can be attached to provide maximum stability. The microphone provides superior intelligibility and clean, accurate reproduction for the most demanding church/house of worship user, lecturer, broadcaster or theater performer. With its high-SPL capability (135 dB), it is particularly ideal for high-volume motivational speakers/lecturers, pastors and stage actors. Frequency response is 20Hz to 20kHz.

The BP894 will be available starting in October in the following configurations:

BP894 MicroSet Subminiature Cardioid Condenser Headworn Microphone with AT8539 Power Module; US MSRP $639.00.
BP894-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with AT8539 Power Module; US MSRP $639.00.
BP894cW MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 4-Pin Connector (HRS-type); US MSRP $499.00.
BP894cW-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 4-Pin Connector (HRS-type); US MSRP $499.00.
BP894cT4 MicroSet Subminiature Cardioid Condenser Headworn Microphone with TA4F Connector; US MSRP $539.00.
BP894cT4-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with TA4F Connector; US MSRP $539.00.
BP894cL4 MicroSet Subminiature Cardioid Condenser Headworn Microphone w/Lemo Connector; US MSRP $579.00.
BP894cL4-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with Lemo Connector; US MSRP $579.00.
BP894c MicroSet Subminiature Cardioid Condenser Headworn Microphone; Unterminated; US MSRP $479.00.
BP894c-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone; Unterminated; US MSRP $479.00.
BP894cLM3 MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 3.5 mm Connector; US MSRP $539.00.
BP894cLM3-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 3.5 mm Connector; US MSRP $539.00.

For more information, please visit www.audio-technica.com.

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Veteran Musician Jon Butcher Hits the Road with the Bose® L1® Model II System

The L1® Model II system helps Butcher achieve an accurate acoustic guitar sound while performing his “unplugged” iteration Two Roads East

Framingham, Massachusetts, October 31, 2013 – For decades, songwriter and guitarist Jon Butcher has been thrilling audiences with his brand of rock and blues, criss-crossing the country with his electric act Jon Butcher Axis and, more recently, an acoustic show Butcher calls Two Roads East. “In recent years, I divide my touring schedule for any given year so it’s nearly 60/40 electric/acoustic,” he notes. Finding the right sound system solution for an acoustic guitar with pickups can be a challenge, as any acoustic performer knows, but Butcher has been able to dial in the perfect sound with the L1® Model II portable system and B2 bass module from Bose® Professional Systems Division. He uses two L1 systems, arranged at 45 degrees, each with a B2 bass module, placed behind him on stage.

He states, “The L1 system has really focused my guitar sound and allowed me to play in such a way that is full and vibrant with none of the thin and unarticulated acoustic guitar sounds that most guitarists have been wrestling with their entire career. Anybody who plays acoustic guitar knows what I’m talking about — its a bear to get the thing to sound authentic and organic in person, because you know that is the nature of piezoelectric pickups. But the L1 Model II System has been articulate, inviting and spatially-wide. I continue to use it for those reasons.”

Butcher has been using L1 systems since around 2009, when he traveled to the east coast from his home in California to record with occasional collaborator Charlie Farren. “Charlie introduced me to the original L1 system,” notes Butcher. “I was immediately drawn to the system. It solved so many problems for me. On the road with Two Roads East, sometimes I use a percussionist, and I use both a Taylor and a Martin acoustic guitar. The L1 Model II works great for all of these scenarios. The guitars don’t sound condensed and honky, but rich and spatially-wide. I have been gigging with the L1 system for that reason alone. It gives the instruments character and allows them to breathe.”

He also feels a strong connection to the music and the audience through his use of the L1 system. “The instruments sound the way they should, and the people in front of you are hearing what you want them to hear. And as a performer, standing next to the L1 system, it allows me to feel the music in the way that I need to so it sounds authentic to me. And then I can communicate that to the audience, and it’s a better performance for everyone present. There are all types of systems out there. I stick with the L1 system because it furnishes a natural, pleasing, warm, broad sound.”

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DPA Microphones Enhances Main Stage Talent at Annual Monterey Jazz Festival

MONTEREY, CALIFORNIA, NOVEMBER 4, 2013 – The Monterey Jazz Festival is one of the longest consecutively running jazz festivals and has featured some of the most riveting performances from such music industry icons as Billie Holiday, Etta James and Louis Armstrong since its inception more than 50 years ago. Since then, the bar has been set high, so that show audiences, which have grown to more than 8,000 at the arena stage alone, now expect the legacy to live on with outstanding performances each and every year. In order to not disappoint, sound engineers work behind the scenes to address the challenges of having to deliver clear sound in an open arena setting with minimal visibility of mics. DPA Microphones’ d:screet™ 4060 Omnidirectional offers just the solution, as its low-profile, natural sound accommodates engineers for every performance or environment.

The activity backstage at the annual Monterey Jazz Festival is usually chaotic as several guest engineers rifle through the festival’s audio inventory to select mics best suited to each performance. Among them is Nick Malgieri, one of the festival’s freelance audio specialists, who always reaches for the mic he says he trusts most, the DPA d:screet 4060. With the ability to amplify the most natural sound, the miniature mic is low profile so as not to distract the performers or audience members.

“I was really happy I was responsible for the main stage, because I had first pick of what mics I wanted to use,” says Malgieri. “I have been using DPA at this event for a few years now. Because jazz musicians all have opinions on microphone placement, and prefer something low profile, I love the DPA 4060. It removes that visual barrier for performers and audiences, so they don’t even notice the microphone is there. That means I get to really do my job and put the mics where I want them.”

Originally designed for the live theater setting, and for close-miked instrument applications, the sound quality of the DPA 4060 is an accurate omnidirectional pattern, and therefore does not need to be aimed directly at the instrument to achieve quality pickup. While Malgieri uses the 4060 primarily for the piano, he relies on it to meet his needs amplifying the pure sound of many diverse instruments at the jazz event.

“Every year there’s at least one act that is a large band, especially with a lot of percussion, and loud stage volume,” continues Malgieri. “Traditionally it’s a really difficult environment for sound engineers, particularly monitor engineers. For the DPAs to work well in that environment really speaks to their versatility.”

Malgieri often finds himself sharing his setup with fellow engineers backstage, who at first may question his choices until they hear the difference in a live performance.

“The 4060’s achieve great gain before feedback,” he explains. “Some engineers underestimate the power of an omnidirectional microphone to handle the job for a large stage. They are more used to directional microphones that have less stage bleed, but once they hear the real instrumental tone on a large PA system, they realize the DPA d:screet 4060 sounds more natural than any other microphone, and then they change their minds and are eager to try DPA themselves.”

Malgieri has mixed the past several Monterey Jazz Festivals as a freelance audio specialist for McCune Audio/Video/Lighting. He originally discovered DPA Microphones while mixing in a theatrical setting, and has been a fan ever since.

Founded by San Francisco jazz radio broadcaster Jimmy Lyons in October 1958, the Monterey Jazz Festival features over 500 artist performances nonstop on eight stages for three nights and two days spread on 20 acres of land at the Monterey County Fairgrounds in Monterey, California. The annual event is one of the longest consecutively run jazz festivals.

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.

Israel’s Channel 10 Commits To HARMAN Studer Vista 9 Amidst Major Relocation

(Left to Right) In Channel 10’s news studio: Ignas Galuškinas, Studer training supervisor, Yaron Heizler, head of sound for JCS Studios (which hosts Channel 10), and Meir Kilim.

JERUSALEM, Israel – Channel 10, the third-largest TV studio in Israel, recently acquired a HARMAN Studer Vista 9 digital console from Kilim Electronics, Studer’s Israeli distributor. This upgrade in broadcasting equipment was justified by the studio’s relocation from Tel Aviv to Jerusalem, due to government regulation.

As the producers and technicians of Channel 10 were eager to convert from its old analog format to digital, they weighed many factors in choosing the best brand for their new sound setup. On both technical and financial levels, Studer came out on top, presenting its flagship Vista 9 console as the ideal solution for the new studio.

Besides its reliability and affordable price range, Studer offers unique advantages that include the reassurance of back-up, as well as technical support from the 63 year old broadcast specialists, led by MD Meir Kilim. Yaron Heizler, head of sound for JCS Studios (host of Channel 10) oversaw the integration of the Vista 9.

“Another asset which convinced the studio’s technicians was VistaMix,” said Kilim. “They were immediately impressed by this function, and it worked wonders in terms of increasing the clarity of our broadcasts.”

VistaMix was designed to clean up the mix of unscripted broadcasts such as multi-participant talk shows. Since programs of this nature inherently suffer from both microphone spill and background noise, VistaMix intelligently increases the mic gain on the active speaker almost instantly, while reducing that of the inactive ones. This solves the problem and creates a balanced mix.

“We also favored the Vistonics™ interface over any other UI we have tried in the past, since it is so quick and easy to operate,” Kilim added. “It is also very easy to understand, which is critical due to our high technician swap rates. Most of them have only operated analogue consoles until now.”

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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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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