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Archive for November, 2013

Digital Projection Appoints Erica Strickland as Training Manager, Americas

Atlanta, GA – 11/11/2013 – Digital Projection International (DPI), an Emmy® Award-winning manufacturer of high-performance projection systems, is honored to introduce Erica Strickland as DPI’s Training Manager for the Americas. Strickland joined DPI as an Applications Engineer in February, 2012, developing her technical skills within DPI's Application Support team. Many of DPI's integrator and consultant partners have already benefitted from Strickland’s problem solving acumen, and the company is thrilled by the prospect of her bringing that same drive to DPI's training and education opportunities.

Strickland will plan and execute training courses for DPI’s manufacturer representative partners, consultant network and internal employees in North and South America. She will also create engaging training materials and update the online training portal to ensure DPI’s product education is captivating as well as easily accessible. Those interested in attending an upcoming training session can click here to view the newly redesigned Training Portal for more information.

Mike Levi, president of Digital Projection Inc., commented, “We are proud to be promoting Erica to the role of Training Manager for the Americas. Given her previous role as one of DPI’s Application Support Engineers, Erica is acutely connected with the diversity of details that relate to the successful deployment of projectors within applications – from simple to complex.” “This experience,” Levi continued, “along with her depth of knowledge of the DPI product line, provides Erica with the background and resources to be an exceptional training resource for our customers.”

Regarding the promotion, Strickland commented, "I am thrilled by this new opportunity. I've always been passionate about teaching and I'm eager to participate in the evolution of DPI's Training Program."

Erica Strickland, Training Manager for the Americas at Digital Projection International, can be reached at 770-420-1350 and via email at estrickland@digitalprojection.com.

- ENDS -

 

About Digital Projection International

Founded in 1989, Digital Projection International (Digital Projection) has been instrumental in the development and application of Digital Light Processing™ technology by Texas Instruments for projection systems. Digital Projection International introduced the world’s first 3-chip DLP® projector in 1997, and has since delivered expert system engineering and world-class customer services, thus maintaining its position as a digital imaging pioneer.

Digital Projection International’s groundbreaking projection research and development has garnered the admiration of industry professionals around the world. This has earned the company many awards, including two Emmy® Awards for Outstanding Achievement in Engineering Development by the Academy of Television Arts and Sciences. Digital Projection remains the first and only projector manufacturer to win the coveted award.

Today, Digital Projection International manufactures and distributes an extensive line of ultra high-performance 3-chip and single-chip DLP® projection systems. These projectors are the reference standard for demanding applications such as large-venue, live-event staging, fortune 5000, education, medical and scientific research, command and control, digital cinema, commercial entertainment, worship and elite home cinema.

For further information, please visit www.digitalprojection.com or contact:

Press Enquiries

Michael Bridwell, Director of Marketing

Digital Projection Inc.

T:(770)-420-1350

E:mbridwell@digitalprojection.com

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Austrian Space Forum’s Mission Control Relies On HARMAN’s AKG Headsets For Mars Mission Simulations

VIENNA, Austria – During World Space Week, more than 1,000 events in 80 countries celebrated space exploration with the motto, “Exploring Mars. Discovering Earth.” Headquartered in the Austrian Space Forum’s mission control room, each event was tactfully coordinated to help educate researchers, students and space enthusiasts on the science behind future missions to Mars. With 20 sets of HARMAN’s AKG HSC271 headsets and K171 MKII headphones, field tests, simulated Mars expeditions and international communications were successfully accomplished and transmitted.

The headsets were used for the flight controller consoles at Mission Control, in addition to teleconferences in classrooms worldwide on every continent with the exception of Antarctica.

“Like in any space mission, real or simulated, communication is everything. Loss of communication is one of the worst things to happen on a mission, whether it’s a space walk or during a critical experiment,” stated Dr. Gernot Groemer, President, Austrian Space Forum. “The AKG headsets were not only high quality from a manufacturing point of view, but also provided a high degree of ergonomics and crystal clear audio quality for those wearing the sets for hours at a time. The technology’s ability to block the noise from neighboring consoles was also very helpful for our missions.”

The space organization researched and deployed a vast communications program for the World Space Week celebrations, ensuring redundancy of the communications within Mission Control. With numerous missions in progress during the events, several field teams around the world were simultaneously transmitting into Austria. It was necessary for flight controllers to speak to their teams with clear audio without disturbing their neighbors, who also were directing missions. “With normal, off-the-shelf headsets, this would have been a recipe for disaster,” continued Groemer.

Throughout 2013, the Austrian Space Forum was testing several technology candidates for a new organization-wide headset. The flight directors decided on AKG headsets permanently.

Activities during the week included the WSW 2013 Mission to Mars – a 4-day simulation of a human Mars expedition at the Mars Desert Research Station in Utah and a 5-person crew led by Dr. Jon Rask from the Space Biosciences Division at NASA Ames Research Center in California. Other highlights included field tests of the ExoMars Rover in Chile, rover testing by teams in the US, Poland, Germany and Hungary, as well as laboratory tests of the Gandolfi space suit in France and the Aouda.X spacesuit in Austria.

For more information on the AKG HSC271, please visit http://www.akg.com/HSC271-828.html?pid=926, and K171 MKII, http://www.akg.com/K171+MKII-827.html?pid=1145.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

VMP Launches 19-Inch, 27U Rack Enclosure at 2013 ISC East

STEVENSVILLE, Md., Nov. 12, 2013 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the security, commercial, residential, and pro audio/video markets, is proud to announce the launch of the EREN-27 19-inch Equipment Rack Enclosure at ISC East 2013, held in New York from Nov. 20-21 at the Jacob Javits Convention Center, booth 442. Now shipping, the EREN-27 has an MSRP of $859.00.

“The cost-effective, portable, and fully welded EREN-27 will also be available as an 18U unit and has been designed for installations where protected components are a necessity,” explained Keith Fulmer, president of VMP. “The EREN-27, which comes complete with integrated cooling fans and lockable, removable side panels (with optional locks), allows for the organization of multiple electronic components, while at the same time protecting them from thermal issues, as well as damage or theft.”

The EREN-27 also comes preloaded with five EIA Standard 2U vented shelves and five 2U blanks, and works with all standard 19-inch rack equipment and accessories. Rugged and sturdy, the EREN-27 has welded steel construction and a black powder coat finish.

Additional EREN-27 specifications include:
- 27U Rack Enclosure – 600mm x 600mm
- Rails threaded with standard 10-32 threading
- Adjustable front and rear rails
- Vented top and bottom
- Pre-installed cooling fans
- Top and bottom cable routing knockouts
- Reversible hinged front and rear doors
- Casters and leveling feet
- EREN-27E – Same as above except without preloaded shelves and blanks

“The EREN-27 has been designed for use with a multitude of audio, video and communication components,” added Fulmer. “With numerous shelved and a sturdy weight capacity of 1,000 lbs., the installer and end-user has a tremendous amount of available space to make for a fully mobile, fully enclosed AV rack system.”

For more information on the EREN-27, please visit www.videomount.com or call toll free 877-281-2169. If you need help choosing the right mount for your application, try the Video Mount 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 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 the increasing popularity of flat panel technology, both LCD and Plasma, as well as other 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 the business.

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Hisense Launches Aggressive Priced Feature-Loaded 4K UHD

Suwanee, GA – November 12, 2013 — Hisense today announced pricing and immediate availability of its new 55” T880 4K Ultra High Definition SMART TV. Designed and engineered to break price and technology barriers, the T880 is entering the competition at $1,999.

Landing punches above its weight – the T880 offers Connected TV, built in WiFi, an Opera Web Browser, four HDMI/HDCP Inputs, one of which is true UHD and a USB Digital Media Player, all in an elegant narrow frame. It also comes pre-installed with Netflix, Vudu HD Movies, YouTube, Vimeo, Pandora, Twitter, Facebook, Picasa, AccuWeather and Vudu Apps. Featuring an LED backlight LCD with ULED dimming and a 178-degree viewing angle, every seat is the best in the room.

“Watching television is often an escape from reality, and our UHD technology truly enables the viewer to feel like they’re right in the action and part of every moment,” said Jonathan Frank, Vice President of Marketing, Hisense USA. “As one of the largest CE manufacturers in the world, our products aim to enhance the overall viewing experience from start to finish – at an ideal price point for budget-conscious buyers looking for the latest and greatest TV technology.”

With four times the resolution of current Full HD, the T880’s 4K Ultra HD picture comes to life with a resolution of 3840 x 2160 and over eight million pixels of incredible detail and beautifully natural motion powered by Hisense’s Ultra SMR 120 Smooth Motion Rate. Paired with Hisense’s LED technology and PureColor Reproduction, the color range is precise, accurate, and so life-like you would think you were part of the script.

For more information please visit: www.hisense-usa.com. You can also find us on Facebook at www.facebook.com/HisenseUSA or follow us on Twitter and Instagram @Hisense_USA.

About Hisense USA Corporation
Established in 2001, Hisense USA Corporation is a wholly owned subsidiary of the Hisense Company Ltd., headquartered in Qingdao, China.

Hisense USA offers a broad range of technology driven consumer electronics products that are manufactured and distributed across North American, including televisions, refrigerators, air-conditioners, dehumidifiers, beverage coolers and freezers. Hisense USA sells into national retailers across North America, including Walmart, Sams.com, hhgregg, Canadian Tire and more. The Company has established R&D centers in Atlanta, Georgia and San Jose, California to enable localized product development and innovation.

Hisense Company Ltd. has production facilities in China, South Africa, Algeria, Egypt as well as Mexico and is one of the largest television manufacturers in the world with over 10 million televisions produced per year. The Company has sales offices in North America, Europe, Australia, South Africa, the Middle East and Asia while exporting products to over 130 countries and regions throughout the world.

Main Light Industries Acquires Wireless Solution’s W-DMX BlackBox F-1 G4 Transceiver Via A.C.T Lighting

Main Light Industries, Inc., the Wilmington, Delaware-based firm, which has become one of the largest rental houses in the country, has invested in Wireless Solution’s W-DMX BlackBox F-1 G4 transceiver. A.C.T Lighting is a North American distributor for Wireless Solution Sweden AB, the world’s leading manufacturer of wireless lighting control equipment.

Main Light was prompted to purchase the W-DMX when it was looking for a wireless solution to work with its Clay Paky Igloos as well as other wireless units in its inventory. Igloos are tough, sturdy, dome-shaped enclosures that offer complete protection against rain and humidity and maintain a perfect working temperature for fixtures even in hot or sub-zero conditions.

“We tested various wireless DMX products, and Wireless Solution’s W-DMX box proved to be the most reliable,” says Main Light’s head of client relations, John DiEleuterio. “We will primarily be using it for festivals and outdoor events. The Igloos are a perfect complement to and protection for the more compact line of Clay Paky fixtures, and the W-DMX on board allows them to be more easily used in remote locations.”

Wireless Solution’s W-DMX range of products is the consistent choice of top professionals in the lighting industry. It is the only company to offer dual-band 2.4 and 5.8GHz (optional) with RDM and adaptive frequency hopping in both OEM single PCB or Standard Tranceivers with FLEX function to change a unit to be both transmitter and receiver. The W-DMX BlackBox F-1 G4 comes standard with RDM. All F-Models are both transmitters and receivers and offer a full FLEX with optional anything in/anything out (for example: DMX in, Art-Net out or s/ACN in, DMX out).

Some of Main Light’s clients have already deployed the W-DMX, in conjunction with Clay Paky Igloos, for projects. Len Applefeld, lighting director at the Merriweather Post Pavilion in Columbia, Maryland, used the Clay Paky Igloos on Virgin Mobile FreeFest 2013. He said, “The onboard W-DMX was a great feature to have. We had six Igloos on top of the stage roof, and the W-DMX saved us a lot of time by not having to run data.”

Rob Hendry with BEW Productions recently used them for a Halloween event on the Battleship New Jersey on the Delaware River off Camden, New Jersey. “A last-minute addition of Clay Paky Sharpys housed within Igloos were used on the massive cannon turrets of the battleship,” DiEleuterio explains. “Due to the amount of steel on the ship and no sight line, Rob was hesitant to use wireless DMX at first. But the Clay Paky Igloos synched up flawlessly, which he said made for a very pleasant first experience with wireless DMX.”

Main Light, which has increased its inventory of Clay Paky lighting fixtures annually via A.C.T Lighting (the company is the exclusive North American distributor for Clay Paky), found its new Wireless Solution’s W-DMX purchase marked another positive encounter with A.C.T Lighting. “We expect and receive nothing but the best in the way of support when it comes to dealing with A.C.T,” DiEleuterio reports.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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Yamaha CL Digital Console Update V 1.7 Available in December

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. announces the December availability of Version 1.7 software upgrade for the Yamaha CL Series Digital Audio Console. The upgrade, available via free download, is based on significant end user input and will provide enhanced efficiency and versatility along with significant improvements that will be especially valuable for mixing engineers in festival and similar complex event setups. Several of the features implemented in V 1.7 will make the CL an even better console choice for festivals, since many of the new features are already familiar to PM5D users.

New CL V 1.7 features include Selective Load/Save for set up data such as scene memory, libraries, etc., can now be individually loaded from or saved to USB memory providing an efficient way to load complex setup data. The HA Option for changing input patches now makes it possible to select whether the end user wants to use the HA settings from the patched port as is, or copy the channel HA settings to the patched port in order to quickly change input patches when mixing in a fast-paced environment without having to copy HA settings.

“As with all Yamaha Commercial Audio products, updates are implemented based on suggestions primarily from our end users,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “Their input is quite essential, now, and for future generation of products.”

CL V 1.7 updates also include: in the Sends On Fader mode, the assignable encoders (Gain/Pan/Assign knobs) can now be used to adjust channel level and panning for sends to stereo buses. Custom Fader Bank setups can be stored to, and recalled from, individual scenes. At busy events that involve multiple engineers, this feature can make it easy to change custom fader bank settings without having to switch users. And, the sends from input channels to buses on which the send point is set to PRE, can now be assigned to DCA groups for muting via a DCA Mute Option for PRE sends.

Other new features in CL V 1.7 include improved Channel Name Display In the Sends On Fader mode where channel ON/OFF status is now indicated in the channel name display. Additionally, a “black” 9th color has been added for the Channel Color Bar. More points are available in the Metering Point field on the meter display with the addition of “Pre GC Meter” and “Post Digital Gain Meter”.

Also in CL V 1.7, the Analog HA gain and Digital HA gain indication have been improved and are both displayed in the Selected Channel View Gain/Patch field at all times. The HPF status of R Series and similar external HA units are shown in the Gain/Patch field as well. DCA/MUTE group and mute name display are now shown in the DCA/Mute Group Assign Mode pop-up display. Improved Channel Link display indicators in the CH Link Mode pop-up display will make it easy to see current link group settings.

In addition to the above new features, CL V 1.7 includes Extended Cue monitor adjustment range that extends from -30 dB to +20 dB. It is now possible to specify whether latched or unlatched external switches are connected to the GPI input ports. And, when mounting I/O devices on the Dante network, the device type can now be detected without the description in the device label, allowing for better customization of names.

For more information on Yamaha CL V 1.7, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

2013 Hollywood Post Alliance Award Winners Announced

Gala Event Spotlights Leaders and Innovators in Post Production

(Los Angeles, CA) The 2013 HPA Awards(r) took place tonight, celebrating talent and innovation in 12 creative categories as well as in three special honors. The HPA Awards recognize individuals and companies for outstanding contributions made in helping to create features, television programs, spots, and entertainment enjoyed around the world. Presented by the Hollywood Post Alliance(r) – the professional organization for the post production community – the 8th Annual HPA Awards took place at the Skirball Cultural Center in Los Angeles, in front of a sold out audience of industry insiders and luminaries.

As announced earlier, Avid was honored with the prestigious Charles S. Swartz Award for Outstanding Contribution in the Field of Post Production. Avid President and CEO Louis Hernandez, Jr. accepted the Award on behalf of the company. Other special awards were presented, which included honors for Engineering Excellence, and the HPA Judges Award for Creativity and Innovation in Post Production.

The winners of the 2013 HPA Awards are:

Outstanding Color Grading – Sponsored by Dolby Laboratories

Outstanding Color Grading – Feature Film

“Life of Pi”
David Cole // Technicolor

Outstanding Color Grading – Television

“Castle – Hunt”
Anthony Smith // Encore

Outstanding Color Grading – Commercial

Under Armour “Brought To You By Under Armour”
Tom Poole // Company 3

Outstanding Editing – Feature Film

“Argo”
William Goldenberg, A.C.E.

Outstanding Editing – Television

“Breaking Bad – Dead Freight”
Skip Macdonald, A.C.E.

Outstanding Editing – Commercial

Nextel/Ferrari “Combustion”
Doobie White // Therapy Studios

Outstanding Sound – Feature Film

“Argo”
Erik Aadahl and Ethan Van der Ryn
John Reitz and Gregg Rudloff // Warner Bros. Sound

Outstanding Sound – Television

“Game of Thrones – The Climb”
Tim Kimmel, Paula Fairfield, Brad Katona, Jed Dodge, Onnalee Blank and Mathew Waters // Todd AO

Outstanding Sound – Commercial

Honda “Hands”
Anthony Moore // Factory

Outstanding Visual Effects – Feature Film

“Pacific Rim”
Lindy DeQuattro, Eddie Pasquarello, Nigel Sumner, Derrick Carlin and Chris Lentz // Industrial Light & Magic

Outstanding Visual Effects – Television

“Game of Thrones – Valar Dohaeris”
Joe Bauer and Jabbar Raisani
Jörn Grosshans and Sven Martin // Pixomondo
Doug Campbell // Spin VFX

Outstanding Visual Effects – Commercial

Galaxy “Chauffeur”
Simon French, William Bartlett, Stephen Cullingford and Grant Walker // Framestore

A number of special awards, which had been announced earlier, were bestowed during the evening including:

Charles S. Swartz Award for Outstanding Contribution in the Field of Post Production

Avid(r)

HPA Engineering Excellence Award sponsored by NAB Show

* DTS, Inc. – MDA
* NVIDIA – NVIDIA GRID(tm) Visual Computing Appliance (VCA)
* Sony Pictures Imageworks and The Foundry – FLIX
* Telestream – 16 bit 4:4:4:4 Transcoding Technology

HPA Judges Award for Creativity and Innovation in Post Production
Park Road Post Production – Next Generation Feature Film Workflow: Enabling HFR 48FPS Stereoscopic 3D On Set to On Screen

For further information about the Hollywood Post Alliance, contact: 213.614.0860, or visit http://hollywoodpostalliance.org/.


About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance.

The HPA Awards were presented with generous support from Premier Sponsor: NAB Show; Foundation Members: Avid, Company 3, Deluxe, Dolby Laboratories, EFILM, Encore; Bronze Sponsor: Sohonet and Brand Sponsor: NVIDIA

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Media Contact:
ignite strategic communications
p: 818.980.3473
Christine Purse, chris@ignite.bz or
Mimi Rossi, mimi@ignite.bz

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Kodak Goes Behind the Lens with Sean Bobbitt & Delbonnel at Camerimage Festival


(BYDGOSZCZ, Poland) – Kodak is hosting back-to-back conversations with renowned cinematographers Sean Bobbitt, BSC and Bruno Delbonnel, ASC, AFC at the 21st edition of Camerimage, the international film festival of cinematography, on November 21 at 7:00 (CMT) in the Opera Nova, first floor seminar room. Both Bobbitt and Delbonnel have films competing in the main competition: Steve McQueen’s 12 Years a Slave and the Coen brothers’ Inside Lewelyn Davis, respectively. Each discussion will be followed by an audience Q&A.

Bobbitt, a BAFTA and Emmy(r) nominee, recently shot Killing the Messenger, The Place Beyond the Pines, 12 Years a Slave, Shame and Hunger. The latter three of those movies were done with McQueen.

Delbonnel collaborated with director Jean-Pierre Jeunet on Amelie and A Very Long Engagement, and earned Oscar(r) nominations for both films. His credits include Dark Shadows, Harry Potter and the Half-Blood Prince, The Cat’s Meow, Infamous and Across the Universe, which garnered the Silver Frog at Camerimage in 2007.

“Camerimage is a wonderful opportunity for the cinematography community to share ideas and philosophies, as well as celebrate the art itself,” says Andrew Evenski, president of Kodak’s Entertainment Imaging business. “We are proud to be part of the 20-plus year history of this unique festival.”

This year’s festival opens November 16 with a screening of Saving Mr. Banks which was photographed by John Schwartzman, ASC on Kodak film.

For updates on what is happening at the festival, follow Kodak on Facebook and Twitter. For more information about the festival, visit http://www.camerimage.pl, and for more information about Kodak’s motion picture films, visit www.kodak.com/go/motion.

(Note: All participants are subject to availability)

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About Kodak’s Entertainment Imaging Business
Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion.

Media Contacts:
ignite strategic communications
Sally Christgau: direct 415.238.2254 / sally@ignite.bz
Lisa Muldowney: direct 760.212.4130 / lisa@ignite.bz

IABM Brings Benefits of Membership to Inter BEE 2013

Association Will Host Three IABM Members Exhibiting at Their First Inter BEE Show and Provide Keynote on Key Business and Technology Developments

GLOUCESTERSHIRE, U.K. — Nov. 11, 2013 — The IABM (International Association of Broadcasting Manufacturers) today announced that it will be exhibiting at Inter BEE 2013, Nov. 13-15 in Tokyo, to support association members at the show — both new and experienced exhibitors — and to share its expertise and data on the state of the industry.

To foster the participation of its members in important events such as Inter BEE, the IABM is hosting three new exhibitors on a pavilion adjacent to the IABM stand (#6112). Continuing the IABM’s work to equip industry members with the latest data and forecasts, John Ive, director of business development and technology at the IABM, will deliver a keynote titled “Key Business and Technology Developments in the Broadcast and Media Industry” on Thursday, Nov. 14 at 10:30 a.m.

“The IABM is dedicated to supporting our global membership in ways that encourage further growth and success, and our presence at Inter BEE 2013 will reflect that focus,” said IABM Director General Peter White. “In addition to introducing several companies to Inter BEE and helping them to build valuable industry connections, we will provide all attendees with the opportunity to learn more about the impact that changing technology is having on our business.”

Ive’s keynote will examine the rapid evolution of the broadcast and media industry, particularly with respect to improvements in image quality and much greater use of IT technology. His presentation will give attendees an overview of the current business climate for technology suppliers to the broadcast and media industry and identify the key enablers contributing to the technology revolution. Looking ahead, Ive will discuss what is on the horizon and which initiatives are most likely to succeed. He will also take a practical view in examining new end-user priorities when making purchase decisions.

Information about the IABM is available at www.theiabm.org.

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About the IABM:
The IABM, the International Association of Broadcasting Manufacturers, is the authoritative voice of the broadcast and media technology supply industry worldwide. Its wide range of services to members encompasses market research and intelligence, training, expert representation at standards bodies and broadcasting unions, executive networking opportunities, and preferential purchasing. A presence at every major broadcast tradeshow, the IABM also provides a valuable channel for communication among broadcast manufacturers, government, and regulatory bodies. Additional IABM activities include awards programs for innovation and scholarships designed to stimulate the development of the broadcast and electronic media industries on an international basis. For more information, please visit www.theiabm.org.

All trademarks appearing herein are the property of their respective owners.

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Martin Audio MLA Goes Above And Beyond At “Ally Pally”

Capital Sound easily overcame Alexandra Palace’s notoriously challenging acoustics in late October when they brought in their Martin Audio MLA Multi-cellular Loudspeaker Array to the glazed venue for the first time.

Notorious among the sound community for producing violent reflections inside the venue (and receiving noise complaints from the neighbors), would the Above & Beyond Group Therapy 050 live radio broadcast prove too great a challenge for the award-winning sound system, which promises ultimate pattern control? As for A&B, this was to be one of the biggest events in the dance music trio’s calendar.

So just how unforgiving is Ally Pally? In the words of Capital Sound account manager, Martin Connolly, “The Great Hall is a beautiful space; but when it was built in 1873, no one ever envisaged that the building would need to play host to the high volume of a modern day concert. Unfortunately, the amazing domed glass roof is only a minimal barrier to sound propagation.”

Martin Audio R&D Director, Jason Baird, puts it more succinctly, stating: “Just think of a marble and glass shoebox, 130 ft. wide, 52 ft. high and 278 ft. deep.”

Above & Beyond, who operate both full band and DJ set-ups (but in this case were operating in the latter mode), had wanted to use MLA, and when they brought in Loudsound’s Dan Craig he readily agreed, having worked successfully with MLA during the Field Day and deadmau5 shows at Hackney’s Victoria Park, as a precursor to this summer’s Hyde Park British Summertime Festival.

Capital Sound Technical Manager Ian Colville immediately set to work on designing the system, with Jason Baird providing supportive input. “We have used Martin Audio W8LC’s here in the past, but whatever system we’ve used, it has always required delays. This time we felt it was time to put our faith in MLA and do away with delays.”

For both Dan Craig, and promoters, Lock ‘N’ Load Events, the decision was fully vindicated. Craig reported that by operating to a 98dB threshold inside, production didn’t receive a single noise complaint. Yet the greatest ‘illusion’ was inside the venue, where by cleverly mapping the venue to optimize and ‘hard avoid’ selected areas, the clarity of the signal gave a distinct impression that the various DJ’s were playing a whole lot louder. And with the venue once again hosting a steady flow of events, with Cap Sound as one of their main service providers, this could prove highly significant.

“We had observed this characteristic from Day 1,” admits Colville. “If a venue is completely resonant free then the sound appears louder.” While the complete system design is conceived ahead, the system tech will always make late adjustments on the fly, he said, such as towing in the PA a fraction. In this case once production got on site, they found the venue was not quite as long as drawings had indicated and so certain measurements needed to be re-evaluated.

Fortunate then, that the system tech on this occasion was Toby Donovan, who worked as the MLA tech on the highly successful Hyde Park concerts.

“I have never encountered a system quite as clever as MLA,” he said. “But you still have to use common-sense in the physical world.”

For this show the L/R system was rigged with 11 MLA elements per side (atop a single MLD Downfill) with two W8C’s each side for outfills and eight W8LM as front fills. The PA was flown fairly high (with slight downward tilt) but then towed in marginally to keep it off the walls, using Delta plates and three motors per hang. “We only needed about 1° to avoid distracting reflections; it’s what we would generally do in noise sensitive venues,” said Donovan.

“We also needed to minimize spill all round—the rear rejection with this system is really good.”

The SPL profile was built over a 5dB spread—using zero at the mix position, +2dB at the crowd barrier and -3dB 275 ft. back at the rear curtain.

With ‘Hard Avoid’ applied uniquely to this back wall the design also utilized the Audience and Non-Audience zones with the appropriate optimization settings—the latter tapering off at the stage (from the drape line to the back wall behind).

Having the 14 MLX subs arranged in a broadside cardioid array allowed Donovan to enter delay times and change the dispersion control—using the software to electronically curve the sound into an arc. “Due to the narrow width of the venue, we were only running at 90°, so this was a pretty tight LF beam,” he noted.

Toby Donovan confirmed the belief of the entire Capital sound crew. “Such was the coherency and lack of distortion, that everyone I spoke to couldn’t believe we were only running at 98dB. It was exactly the same on the Joe Satriani tour where we were running at 99dB but sounding like 103dB. Our ears deceive us into thinking that it’s so much louder.”

All of which was to the benefit of Above & Beyond’s Group Therapy 050 show, fronted by the trio of Jono, Tony and Paavo and also featuring support from renowned DJ’s Arty, Andrew Beyer, Boom Jinx and Guy J.

Paavo Siljamäki, for one, was delighted with the outcome. He stated, “[Capital Sound] made one of the most difficult venues in London sound incredible. Never before in my touring career (with over 500 gigs behind me), has the sound in a venue been such a talking point. I had lots of sound engineer friends complimenting us on the way the place sounded,”

Martin Connolly can also reflect on a highly satisfactory outing. “When we supported Subculture and Come Together at this venue for Lock ‘N’ Load Events two years ago with a hybrid system it worked well.

“But the sound was no match for this. When you are not battling against reflections or ambient noise and can aim the sound off the walls, you will always appear to get more volume from the system at sensitive sites like this. Everyone agreed, particularly Seamus [Morley], the tour manager, who described the sound as ‘epic’ and confirmed that we had made absolutely the right choice of PA.”

Photo credit: Photo by Sebastian Matthes/manox.net”

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

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