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Archive for November, 2013

SWEDISH COMPOSER AND PRODUCER ANDY PRICE DISCOVERS METRIC HALO PLUG-INS

LOS ANGELES, CALIFORNIA/GOTHENBURG, SWEDEN – NOVEMBER 2013: “Ever since I can remember I’ve been making music,” said Swedish composer and producer Andy Price. “I started recording when I was twelve years old using a couple of cassette tape decks and a cheap toy keyboard. I used one tape deck to record drums, and then played the drum track back while I recorded keys on the second tape deck. A few years later, I traded my scooter in for an old Korg that I still use to this day!” Clearly, the music bug bit Price early and deep. Today, he splits his time between Los Angeles and his native Gothenburg, producing and writing with artists such as Cheryl Cole, Girls Aloud, Dot Jr, Ministry Of Sound, and Sasha Keable (just to name a few) and is in the studio right now working hard to finish songs with Tokio Hotel, Aura Dione, Jana and more. The breakout hit that put him on the path he now enjoys was “Lyracis” and the video for the single, “Speakerphone” got over a million YouTube views in just a few weeks.

Several years ago, Price read an online review of Metric Halo’s ChannelStrip plug-in, and, curiosity piqued, gave it a spin. “ChannelStrip has been a huge part of every song I’ve created since then,” he said. While Price is most celebrated as a producer and songwriter, the nature of the market leads him to mix most of the material he works on. It’s a task he enjoys, and it affords him the creative freedom to fully realize his artistic vision. He has since expanded his Metric Halo palette to include HaloVerb and Precision De-Esser. “I have an obsession for vintage gear and the classic sound of older records,” he continued. “Metric Halo’s plug-ins are unique because they deliver that classic analog sound with all of the convenience and flexibility of a plug-in. I would say that Metric Halo is my foundation when mixing. A Metric Halo plug-in is on at least 80% of my channels!”

ChannelStrip is Price’s “tool of all tools.” Almost every track needs some kind of help in the frequency or dynamics domain, and ChannelStrip addresses both aspects within one scalable plug-in. With the newest version, ChannelStrip 3, Metric Halo has added SpectraFoo spectrum analysis to provide visual feedback for changes made to the main signal or to the side-chain signal. “It seems that ChannelStrip is always my starting point for a mix – getting things into decent shape; and my finishing point – making the fine corrections once everything is dialed in,” Price said. “Importantly, it’s very fast and intuitive. It’s easy to find the right settings. Also critical is its warm, analog sound and punchiness that I can’t get with any other plug-in.” Almost all of Price’s template channels include an instantiation of ChannelStrip.

Price’s introduction to Metric Halo HaloVerb and Precision De-Esser is more recent. “HaloVerb is my new favorite reverb,” he said. “It has something magic in it that works especially well with vocals or any signal that needs to ‘pop.’ I feel like it has the character of a great room – a real room – that’s unique among reverb plug-ins. Similarly, Precision DeEsser is the only de-esser that I’ll use now. It gives all of my vocals a noticeably warmer output, which is something that I’ve never considered or experienced with any other de-esser. I sometimes even throw it on the master bus together with ChannelStrip 3 to clear out anything edgy or grating. ChannelStrip 3 comes first with an overall high-end boost, followed by Precision DeEsser to give a crisp, but warm, sound to the overall mix.”

Price confesses that his role is an imprecise mixture of musician, composer, engineer, and producer. “Most people say that I produce records and write songs,” he said. “But from my perspective, I just have fun and play with sound all day. I go into the studio and it’s just a big blur. Then some hours later, hopefully we have a song!”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

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KIRO-TV Travels to Panama Canal for ENG Shoot with Zylight F8 LED Fresnel

LOS ANGELES – When the multi-billion dollar expansion of the Panama Canal is complete in 2015, larger ships will be able to go through the waterway and potentially bypass Seattle and other West Coast ports. As part of a larger story about the expansion’s potential local economic impact that aired on Nov. 20, KIRO-TV, the Cox Media Group-owned CBS affiliate for Seattle-Tacoma (DMA #12), sent a news team to tour the Panama Canal and talk with shipping industry professionals from the region.

Terry Griffin, bureau chief photojournalist, left his heavier, more expensive HMI lights at the station and instead packed the Zylight F8 LED Fresnel. The lightweight F8 collapses to less than four inches thick for easy transport and storage, which was helpful during the international trip in early October.

“Traveling 4,000 miles hauling gear can be both cumbersome and expensive,” Griffin explained. “A nine-pound light in my suitcase versus a 20-pound light in an additional checked bag saved excess baggage to keep track of – or lose – plus weight and fees.”

According to Griffin, using the F8 avoided several problems on location, including a lack of power outlets that would have rendered his AC-only HMI lights useless. “There was zero AC power available to us on the massive canal construction zone for our interview,” he said. “Using my 90-watt Anton/Bauer camera battery to power the F8 at 100 percent gave me an hour and six minutes of beautiful 5600K light. Having to only take one battery type charger for both light and camera was a huge bonus.”

Griffin was “incredibly pleased” with the F8, particularly when dealing with the harsh lighting from the midday equatorial sun. “The F8 was the perfect fill light to the noonday sun key light at the equator,” he said. “Zero heat, zero cables – the F8 solved my lighting dilemma with added bonuses. It’s a great tool in the ENG/EFP kit for any TV photojournalist.”

Available in daylight (5600K) or tungsten (3200K), the F8 maintains single shadow traditional Fresnel beam shaping through an eight-inch SCHOTT glass lens, and offers a patented focusing system for spot and flood operations. With a CRI (color rendering index) of up to 97 or better, the fully dimmable F8 offers and adjustable beam spread (16-70 degrees) for even coverage for widescreen productions. Its LED engine with quantum dot technology draws only 95 watts, but has close to the light output of a traditional 1000-watt Fresnel.

ABOUT ZYLIGHT LLC

Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

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Sennheiser Petitions FCC to Compensate Owners of Wireless Microphone Equipment as Spectrum Faces Repacking for Second Time

Pending Spectrum Auction Jeopardizes Future Use of Wireless Microphones Operating in the 600 MHz Range, Unfairly Forcing Content Creators to Reinvest Again in Wireless Equipment

Old Lyme, Conn., – November 26, 2013 – Audio specialist Sennheiser announced that it has recently filed comments with the Federal Communications Commission (FCC) in light of the pending spectrum auction scheduled to take place in 2014. The government auction, which jeopardizes the future use of wireless microphones and monitors operating in the 600 MHz range, will force many U.S. based content creators — including broadcast, film and live production professionals — to attempt to stage their shows using little more than half of the currently available UHF spectrum.

In the document filed on November 4th, Sennheiser argues that the winners of the spectrum auction should compensate owners of wireless microphone equipment that will be rendered obsolete as a direct result of the planned spectrum repacking. Currently, the FCC has not announced any plans to compensate wireless microphone owners, who play a critical role in U.S. content creation and who will have to make significant investments in new equipment for the second time within a few years.

“Wireless microphones are an essential ingredient of content creation in the United States,” commented Joe Ciaudelli, spectrum affairs, Sennheiser Electronic Corp. “Currently, the United States is the number one content creator in the world when it comes to broadcasting, film production and live events. The A/V professionals that produce this content, which is enjoyed by both domestic and international consumers, depend on the 600 MHz frequency spectrum each day. Now they are being told that they must vacate this UHF space, and with no contingency or recourse to recover their equipment investments. This is grossly unfair, especially considering that this will be the second time this has occurred within a few years. This time mics and monitors won’t be able to simply be relocated into lower portions of the UHF because it is already packed with replacement mics for ones rendered obsolete by the 700 MHz reallocation. TV stations currently operating in 600 MHz will also be relocated to lower channels, exacerbating the congestion.”

“Not only does the pending spectrum repacking threaten to diminish U.S. leadership in content creation, it creates an unecessary hardship to many thousands of audio professionals by forcing them to reinvest in compliant equipment,” he continued. “While adverse effects of the spectrum repacking will inevitably occur, simple fairness says that the auction winners who will derive revenue from the auctioned spectrum should provide compensation.”

Currently, the vast majority of U.S.-based major film productions, television broadcasts and major concert events in the United States rely heavily on the 600 MHz frequency range. Eliminating access to this not only significantly increases congestion in the 500 MHz frequency range, but also places unprecedented technical demands on both the equipment and operators working in this space. The FCC has also received letters of support for Senn-heiser’s position from industry leading companies including Shure, Audio Technica, Lectrosonics, and CP Communications. “We encourage others to write to the FCC as well,” states Ciaudelli.

Following is an excerpt from Sennheiser’s recent filing that illustrates the role wireless equipment plays in the U.S. commercial, political and economic arenas:

“Wireless microphones are ubiquitous in all aspects of the entertainment business, in news reporting, in sports, and in U.S. commercial, civic, and religious life. They are essential to the production of virtually all non-studio broadcast events, and to nearly all studio-produced programs as well. These include team sports from local college broadcasts to the Super Bowl, the World Series, the Final Four, and the Stanley Cup; the Democratic and Republican political conventions; post-election national and local coverage; the Oscar, Emmy, and Grammy Awards shows; events such as the Olympics, NASCAR races, the Kentucky Derby, and major golf and tennis tournaments; and on-the-scene news reporting of all kinds, both local and national. These broadcasts routinely attract millions of viewers.

Motion-picture production, from Hollywood blockbusters with nine-digit budgets down to student work at the local community college, relies heavily on wireless mi-crophones for clear, accurate audio. Live events, from Broadway productions to stadium-sized outdoor concerts, need wireless microphones to reach the back row. Presenters in auditoriums, lecture halls, and houses of worship find them indispensable.”

Sources:
(*) Stephen E. Siwek, Copyright Industries in the U.S. Economy: The 2011 Report at 15 and Appendix A (Economists Incorporated 2011). Available at http://www.ei.com/downloadables/2011CopyrightSiwek.pdf

(**) U.S. Census Bureau, U.S. Bureau of Economic Analysis, News: U.S. International Trade in Goods and Services, November 2012 at 3-4 (U.S. Dept. of Commerce released Jan. 11, 2013). Available at http://www.census.gov/foreign-trade/Press-Release/current_press_release/ft900.pdf

About Sennheiser:

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

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

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Communication Specialists Leverages Riedel Gear and Expertise for Record-Breaking London Cycling Event

LONDON — Nov. 26, 2013 — Riedel Communications, a leading provider of real-time video, audio, data, and communications networks, today announced that it supplied an Artist digital matrix intercom system and terrestrial trunked digital radio (TETRA) infrastructure to Communication Specialists Ltd. (CSL) to enable communications throughout a series of professional and amateur cycling events that included 65,000 riders over a single weekend in August. The Riedel equipment facilitated reliable integrated radio communications over 100 miles of roads, from central London to the Surrey countryside.

“Riedel is a tremendously professional company that offers planning, preparation, and delivery that is second to none, and the company’s technical team on the ground works magic in ensuring that installed systems perform optimally at all times,” said Steve Napier, project manager at Communication Specialists Ltd. “We really enjoyed joining forces with Riedel for the event and look forward to working together again.”

Representing the U.K.’s largest ever mass-participation cycling event, amateur riders completed the 100-mile challenge on the same closed roads covered by the event’s professional racers, with the added incentive of raising money for good causes. The best action of the day was broadcast live on TV in the U.K. and internationally to an audience of millions.

In delivering a complete communications system that supported diverse race elements ranging from organization to security to production, CSL selected and constructed seven antenna sites — including one at BT Tower — throughout the route, as well as a 3G backup. Working alongside CSL technicians, the Riedel team specified, installed, and supported a digital radio backbone including the Artist intercom system and more than 1,200 TETRA radios and accessories. The resulting solution covered 11 zones extending into the countryside.

Further information about Riedel and the company’s products is available at www.riedel.net.

# # #

About Communication Specialists Ltd.
Communication Specialists Ltd (CSL) are world renowned for providing reliable communications solutions, including commercial and private two way radio and wireless systems. CSL specifies and installs central radio communications throughout the United Kingdom, Europe, Africa and Asia with leading edge products from their partners Codan and Hytera. CSL offers unique solutions for any event large or small including communications for schools and much larger field projects such as the installation of Codan in United Nations vehicles. For more information visit http://www.comm-spec.com.

About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

Photo Links:
www.wallstcom.com/Riedel/Riedel-London-Cycling-1.jpg
www.wallstcom.com/Riedel/Riedel-London-Cycling-2.jpg
www.wallstcom.com/Riedel/Riedel-Surrey-100-Classic-Routes-2013.jpg

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Wohler Names Andy Stanton Head of Sales for the Company’s Monitoring Products in the Asia-Pacific Region

SAN FRANCISCO — Nov. 26, 2013 — Wohler Technologies today announced the appointment of Andy Stanton as head of sales for the company’s monitoring product line in the Asia-Pacific region. Stanton will handle Wohler’s direct sales activities while strengthening and expanding the Wohler dealer and integrator network across Asia-Pacific markets.

“Andy is both well-known and well-respected in the broadcast industry, and he joins our sales team not only with a strong foundation spanning broadcast, post, and new media sectors, but also with a remarkable depth of experience working in Asia-Pacific markets,” said John Terrey, vice president sales at Wohler. “He understands how to capitalize on new business opportunities in this area while maintaining and expanding relationships with existing customers. We believe he will be a valuable addition to our worldwide sales team.”

Stanton began his career as an engineer at the Australia Broadcasting Corporation (ABC) in 1975 and since has worked in broadcast, postproduction, and new media enterprises. Much of his business experience has focused on bringing new solutions and technologies into the Asian marketplace. In sales and management roles with companies including OmniBus(R) systems, Odetics Broadcast, Discreet Logic, and Abekas, Incorporated, as well as his own consulting firm, ITS, he has focused on building business opportunities for leading-edge technologies in Asian markets; on establishing and training the distributor/channel network in these regions; and educating the customer base as to the value of media technologies to their business models.

Based in Thailand for more than 20 years, Stanton has experience working in India, Sri Lanka, Thailand, Laos, Cambodia, Malaysia, Singapore, Indonesia, Brunei, the Philippines, Hong Kong, Macao, Taiwan, Australia, China, Korea, and Japan.

Information about Wohler and the full Wohler product family is available at www.wohler.com.

# # #

About Wohler Technologies Inc.
Wohler’s tradition of innovation began with the creation of the industry’s first in-rack audio, video, and data monitoring category, and continues today through its development of signal management and monitoring solutions for video, audio, captioning, and loudness applications. Wohler’s 2012 acquisition of RadiantGrid Technologies extends this award-winning product line to include the Wohler RadiantGrid Intelligent Media Transformation Platform(TM) for efficient file-based content creation and distribution, quality control, and faster-than-real-time transcoding and standards conversion. This new offering, combined with the company’s proven, cost-effective confidence monitoring, compliance recording, and content management solutions, ensures high-quality media production across any platform and delivery to any device. More information about Wohler is available at www.wohler.com.

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

Photo Link: www.wallstcom.com/Wohler/Wohler-AndyStanton-Head-of-Sales-Monitoring-Product-Line-APAC.jpg
Photo Caption: Andy Stanton, head of sales monitoring product line APAC at Wohler

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Christie Digital Projectors Power Immersive MoMA Exhibition

Christie® projectors have been selected by The Museum of Modern Art (MoMA) for their presentation of the exhibition Isaac Julien: Ten Thousand Waves, a moving image installation by the renowned artist and filmmaker on view in the Donald B. and Catherine C. Marron Atrium from November 25, 2013 through February 17, 2014. Working with MoMA, Christie partner Michael Andrews Audio Visual Services (MAAVS) selected eight Christie WU14K-M WUXGA DLP® projectors and one Christie HD14K-M 1080 HD DLP® projector to meet the needs of the exhibition and realize the ambitious vision of the artist.

Ten Thousand Waves premiered at the 2010 Sydney Biennial, and has been exhibited internationally to wide acclaim. The original inspiration for the 50-minute presentation was the Morecambe Bay tragedy of 2004, in which 23 Chinese cockle pickers drowned on a flooded sandbank off the coast of northwest England. The Christie projectors will display the installation’s beautifully crafted visuals, which incorporate images of archival footage recorded by a police helicopter the night of the tragedy, accompanied by audio recordings of distress calls from the scene. With this tragedy at the center of the work, Julien poetically interweaves images of contemporary Chinese culture with its ancient myths.

Christie Delivers for MoMA and the Artist
The technology used to present Ten Thousand Waves is essential to its exhibition at MoMA. A total of nine Christie projectors will display the work onto nine doubled-sided screens ranging in sizes from 16 feet wide up to 23 feet wide, all hung at multiple levels and locations throughout the atrium. The exhibition is intended to be viewed not only from ground level, but also from the upper floors, which themselves are at various heights and angles to the display and look down on the space. These multiple perspectives encourage audiences to move through, and interact with, the sights and sounds of the installation from their personal points of view.

Eight Christie WU14K-M projectors light up eight screens of various sizes, while one Christie HD14K-M projector lights up the ninth, and largest, screen. The intricacy of these arrangements required the use of cutting-edge audio-visual display technology to deliver powerful and bright images, as well as crisp and clear sound, to create a large-scale immersive experience. The projectors also had to be exceptionally bright to overcome the challenges of the high ambient light environment.

According to Michael Wright, President of Michael Andrews Audio Visual Services, it was paramount that the state-of-the-art display technology chosen run smoothly and bring all aspects of the installation together to achieve its full visual impact. The Marron Atrium is an expansive, high ceilinged, public space where the museum has less control of ambient light and sound, requiring a technological solution that could overcome these challenges.

“We choose Christie high performance projectors because they offer the most reliability and flexibility, and always deliver the excellence our customers demand in their visual displays,” said Wright. “The installation required full design flexibility, so that they could be arranged to fit the artist’s needs within the atrium space. Since the moving images are projected from challenging angles, the projectors also needed to match the images and colors flawlessly, making the Christie M Series a perfect fit for this project. Working on such a large scale and with so many projectors, the museum used the new Christie InControl™ App to individually control and calibrate every aspect of each projector wirelessly.”

“At Christie, we help our customers create and share the world’s best visual experiences, and we proudly support the works of innovative artists such as Isaac Julien, who are experimenting with unique ways to tell their stories to the world,” said Mike Garrido, senior product manager, Business Products, Christie. “Ten Thousand Waves is a great example of how advanced visual display technology can help facilitate an artist’s creative vision, and we are thrilled to provide Christie projectors for this exciting project at MoMA.”

Part of the Christie M-Series 3-chip DLP® projector platform, the Christie WU14K-M and Christie HD14K-M offer high resolution (1920 x 1200 WUXGA and 1920 x 1080 HD respectively), and feature embedded warping, blending, and color matching capabilities for ultimate design flexibility. Drawing a maximum power of 1500W with two lamps instead of four, they are also highly efficient, with low operating costs.

Nationwide Video to Expand U.S. Presence with Two New Locations in Las Vegas and Washington, D.C.

Leading audio and video equipment subrental supplier Nationwide Video announced a major expansion plan in the U.S., with two new locations opening January 2014 in Las Vegas and Washington, D.C. The two locations, which are now accepting orders for January, join Nationwide Video’s existing offices located in Atlanta, Detroit, Los Angeles, and the New York/New Jersey area, growing Nationwide Video’s current footprint to six key locations in major event hubs across the U.S. The expansion will offer customers faster and more convenient access to Nationwide Video’s diverse inventory of pro A/V equipment, including high-quality projectors, cameras, lighting, digital displays and video gear.

“By opening up these two new locations in D.C. and Las Vegas, our goal is to increase our ability to support and respond quickly to the needs of our rental staging industry clients so they can in turn deliver on the requirements of their clients,” said Bret Tracey, president of Nationwide Video. “We are focused on continually expanding our affordable, client-focused solutions of high-quality, well-maintained gear, along with equipment knowledge and expertise.”

Tracey noted that customers will continue to receive consistent, high-quality customer and technical service, strong gear offerings as well as budget flexibility. Nationwide Video’s two new locations will allow them to be on the ground and ready to serve event stagers local to Washington, D.C. and Las Vegas, as well as those rental staging companies who will be traveling to these major event locations to execute events. With Nationwide Video in D.C. and Vegas, customers will have local and immediate access to a deep and diverse selection of quality equipment – round-the-clock, seven days a week – while also minimizing the associated costs of shipping gear.

Along with the opening of its two new offices, Nationwide Video will launch a new, brand-consistent URL, www.nationwidevideo.com, while its current URL, subrent.com, will remain active to ensure service to existing clients is not disrupted.

“We strive to provide the highest level of service to all our customers, along with the latest technology and event staging solutions, as well as our expert technical support and consultation,” said Tracey. “We appreciate our customers’ support and want to make it even easier for them to make Nationwide Video their trusted subrental gear partner time and time again.”

About Nationwide Video
Headquartered in Wixom, MI, Nationwide Video is a leading wholesale subrental supplier to the rental and staging industry in the United States. Their regional warehouses are located in Atlanta, Detroit, New Jersey, Los Angeles, Las Vegas, and Washington, D.C. Nationwide Video’s inventory includes projection, audio, display and lighting equipment such as LCD and DLP® projection and lensing, SD and HD cameras, camera sport lenses, heavy duty tripods, LED solutions, Christie® MicroTiles®, switching racks, engineering racks, switching-edge blending systems, DVI fiber, routers and much more. Customers can contact Nationwide Video using its regional 1-800 contact numbers noted on www.nationwidevideo.com for 24/7/365 customer and technical support. Nationwide Video also offers freight-free standard shipping in the continental U.S., helping to simplify the subrental experience for its customers and investing in its partnerships. Nationwide Video staff are dedicated to providing equipment that has been quality tested, ensuring customer orders are show-ready upon arrival. While Nationwide Video is located in the U.S., they ship internationally and ensure that customers’ gear orders arrive on time and in excellent condition.

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The World’s First Commercial Outing for Martin Audio MLA Mini


In October, Martin Audio’s MLA Mini stepped out onto the world stage in its first commercial outing, and took on one of the most challenging venues around. The event was the annual conference of the UK retail giant, SPAR, and the venue was Westpoint, otherwise known to those in the sound community as a ‘soulless shed’, just off the M5 in Exeter.

While Westpoint offers acres of space for trucks, and therefore easy load in, the venue itself, originally designed for the trading of Devon’s finest livestock, is known for having a reverberation time of at least 7 seconds. With MLA and MLA Compact having taken on and tamed some of the most challenging spaces in the globe, MLA Mini had an enviable reputation to uphold.

The pressure was further compounded because this event is a major cornerstone in the calendar of Plymouth based Pyramid AV, under the directorship of Nic Black. The production team at Pyramid have been producing events for SPAR for some years now, and there is a deep-rooted measure of trust between client and supplier of the sort that doesn’t need a new piece of technology coming along and screwing things up.

Armed with 24 brand new MLA Mini, six MSX subs and three flying frames, the challenge fell to front of house engineer, Simon Honywill and Applications Engineer for Martin Audio, Andy Davies.

The system was deployed in three hangs, with two main purposes––one was full range, intelligible coverage of speech and music for the seated conference area at one end of the hall, and the other was coverage of the entire hall for general announcements throughout an exhibition––measuring approximately 260 x 160 feet. Simon and Andy opted for an 8 deep, left/right configuration for the conference, which was flown upstage of a thrust where all presentations would take place, and a central third hang of 8, approximately 100 ft. out into the hall. The third hang was optimized to cover approximately 165 ft. to the far end of the hall, and the left/right was loaded with two optimizations, one to cover just the seated conference and the second to work with the central hang to cover the entire hall.

Did it work? Simon was enthusiastic in his praise. “I would go so far as to say that Westpoint has never sounded so good. It was actually gorgeous to behold. This little system has something that I have never heard in a small format line array before, real depth and control across the entire spectrum, and a genuine ability to throw some distance. It is warm, smooth and extremely well behaved, requiring little or no EQ on all the head mics, except for a bit of LF roll-off. There was loads of gain before feedback, and I was actually enjoying the very simple task of mixing a little playback, speech and VT––everything sat just right.”

Indeed, MLA Mini exhibited all the qualities of the ideal system for any organization involved in the corporate world. Apart from sounding really beautiful, it flies, goes on a stand, is light, small, looks really tidy and you can guarantee great coverage and masses of gain before feedback. As Simon added, “Problem voices will be a thing of the past as you can open up mics like never before, even with some of the top end conventional small format systems. I would recommend it to anybody who takes their corporate work seriously.”

Having the final word was Nic Black, who had everything to lose from this outing: “Having the Mini MLA system at Westpoint this year reaffirmed that it is possible to have beautiful sound in a challenging space. It was a great opportunity to have demonstrated the simple fact that well engineered audio can enhance the experience of the listener. We have had much positive and complimentary feedback regarding the sound and it was without doubt the best we have had.”

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

Meyer Sound Constellation Tailors Acoustics at California’s Antelope Valley College

Antelope Valley College’s Performing Arts Theatre in Lancaster, Calif. is using a Meyer Sound Constellation® acoustic system to support its diverse schedule of events. At the press of a button, venue operators can adapt the auditorium’s acoustical characteristics to suit performances for the resident Antelope Valley Symphony Orchestra, Shakespeare plays and opera.

“Constellation’s effect is often subtle, but when applied in just the right amount, it is very effective and sounds remarkably natural,” says David Newby, artistic director and conductor for the resident Antelope Valley Symphony Orchestra and Master Chorale. “We always apply some enhancement for the orchestra, and usually select a preset with a bit longer reverberation for the chorus, particularly when singing a capella. I’m very satisfied with the results.”

The audio system in the theatre incorporates Constellation and sound reinforcement. Both of these systems are driven by Meyer Sound’s D-Mitri® digital audio platform, which features the patented VRAS™ acoustical algorithm. Constellation uses 16 miniature cardioid microphones distributed on stage and throughout the room, in addition to 14 Stella-4C and 29 Stella-8C installation loudspeakers and four UMS-SM subwoofers. CQ-2 and UPQ-2P loudspeakers, UPJ-1P VariO™ loudspeakers, and a 700-HP subwoofer are used for both sound reinforcement and Constellation. Constellation lateral and overhead loudspeakers are matrixed by D-Mitri for theatrical sound as well.

“Constellation is mainly used by the Antelope Valley Symphony and Master Chorale, but we’ve also used it for voice lift on a Shakespeare play, where it gave the dialogue the extra energy needed to carry it through the room,” says Chester McCurry, manager of the 400-seat theatre. “We even used it on a tap dance number instead of floor boundary mics, and it worked out great.”

The reinforcement system can operate simultaneously with Constellation or independently. “When we had opera in here, we couldn’t use the stage shell, so we added a touch of Constellation along with the body mics’ signal through the PA, and the two worked quite well together,” says McCurry.

Passive and active acoustic systems were specified by acoustical consultant Roger Noppe of Chatsworth, Calif.-based Purcell-Noppe Associates and installed by Sound Image of Escondido, Calif. Theatre consulting and AV design was handled by Ian Hunter, senior consultant at San Francisco-based The Shalleck Collaborative.

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Modern Touch Installs Meyer Sound MM-4XP at Four Seasons Graffiti Lounge in Cairo

In Egypt’s Four Seasons Hotel Cairo, the Graffiti Bar and Lounge has created a guest environment that is both relaxing and lively, depending on the time of the day. To ensure optimal audio quality for Graffiti’s requirements, Cairo-based Modern Touch has installed a discreet yet powerful Meyer Sound system based around the MM-4XP self-powered loudspeakers. The system works in conjunction with a series of 4K-ready atmosphere media display panels that deliver a variety of high-quality visuals.

“Graffiti Lounge is a new concept for the Four Seasons, and is intended to be fresh, funky, and colorful,” says Magued Makram, co-founder and managing director of Modern Touch. “People can sit and enjoy a drink over ambient background music, but as the evening progresses, the mood heats up with DJ sets and live performances.”

Graffiti Lounge’s system consists of 22 MM-4XP loudspeakers and one MM-10 subwoofer. A Galileo® loudspeaker management system with one Galileo 616 processor supplies system drive and optimization. The system was installed by Modern Touch engineer Hany Naguib.

“Self-powered loudspeakers cut down on rack space,” says Makram. “And it’s also highly beneficial that the MM-4XPs are so compact and easy to mount. They have a max peak SPL of 113 dB, which allows the system to cover everything from very minimal background music to full-on DJ sets.”

The loudspeakers fit seamlessly into the lounge’s sleek aesthetic, which is balanced by the two sets of atmosphere media display panels. The panel configurations display elemental visuals, such as waterfalls and sunrises.

“This project was really the brainchild of Rony Gad El Rab, the Four Seasons’ food and beverage director,” says Makram. “He’s very content with the system, to the extent that he shows everyone passing through the lounge what it can do.”

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