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Archive for November, 2013

LAKEHOUSE RECORDING STUDIOS – A LOCUS FOR ASBURY PARK MUSIC CREATIVITY

WSDG Studio Designed As Lynchpin For Multi-Faceted Music Collective

ASBURY PARK, NJ: In a world where dreams come easy, but are tough to fulfill, producer/songwriter Jon Leidersdorff has caught a golden ring. Committed to building a cohesive infrastructure for the music scene in his hometown, Leidersdorff discovered an abandoned warehouse in downtown Asbury Park, and envisioned it as a multi-purpose center for a collective of music business locals. Investing his own savings and securing a Small Business Association (SBA) loan from the local Asbury Park Community Bank, Leidersdorff called the Walters-Storyk Design Group to create his Lakehouse Recording Studios as the lynchpin for the complex.

“I’d recorded in Storyk-designed studios, and knew if I ever had the opportunity to build my own, that John Storyk would be my first choice designer,” Leidersdorff says. “When John and WSDG Project Manager Matt Ballos came down for their initial site visit they clearly had their work cut out for them, but they came up with amazing ideas.

Built in the 1920’s, and converted to a warehouse in the 1960’s, the building required a gut renovation to maximize its potential. “We took advantage of an opportunity to dramatically increase its flexibility, by turning its 10,000 sq. ft. footprint into an 15,000+ sq. ft. structure,” Matt Ballos reports. “Instead of adding a new floor to the roof, we opted to grow down. The key was to eliminate the ground floor truck entrance, and drop the floor 7 ½ feet. By sinking steel girders to support a 6” thick concrete slab at the 16 ft. height, we created an entirely new 5000 sq, ft, 2nd floor, which Leidersdorff split with the Lakehouse Music Academy (LHMA.) This rock solid, acoustically isolated space was ideal for the recording studios, an apartment/lounge, and the school. We then developed what became the third floor into rehearsal rooms, and additional offices.”

Lakehouse Studios offers a 740 sq. ft. North Studio with a 400+ sq. ft. variable acoustics outfitted Live Room and a 440 sq. ft. Control Room capped by a rectangular, fabric covered ceiling cloud with triangular wings, custom designed by Ballos. North Control features a vintage Neve 8024 Console, Augspurger GA115V Monitors, Protools HD 3 Accel and an extensive arsenal of outboard gear. The South Studio features a 300 sq. ft. Control Room, SSL Matrix Console, Focal Twin6 BE and Yamaha NS 10 Monitors, Protools HD Native, a full complement of outboard gear and a 140 sq. ft. live room.

“We started doing warm up sessions in August, and suddenly found ourselves in an actual gig with staff producer Pete Steinkopf (The Bouncing Souls) and Canadian super group Organ Thieves. They recorded their entire album in just eight days, and were totally blown away by the sound, look and feel of the studio,” Leidersdorff reports. “Members of the Organ Thieves have worked with producers Rick Rubin and Jack Joseph Puig in some of the best studios in the world, and they’ve been sending great clients to Lakehouse ever since those sessions.
“Asbury Park has a rich and varied musical history that runs the gamut from John Phillip Sousa to Bruce Springsteen and Jon Bon Jovi,” Leidersdorff points out. “We were fortunate to find a number of like-minded, music-related locals to rent space in the building. Russo, one of the finest independent music stores in the country; Bands On A Budget, a leading music merchandise shop; Holtz Video and Photography; CoWerks, a shared office space for music industry professionals; LHMA, an innovative music performance school and, to keep all the juices flowing, Mumford’s Café. We all share a love of music and, a desire to turn this part of Asbury Park back into a thriving business district. We were approached by Monmouth University to do a weekly lab in our studio, and we’re booking sessions with local, national and international artists. We’re both realists and optimists, and with a WSDG designed studio, we’re prepared for anything.”

“It’s gratifying to find a talented artist/businessman like Jon Leidersdorff prepared to make dual commitments to his hometown and his art,” John Storyk concludes. The home studio we built recently for Bruce Springsteen isn’t too far from Lakehouse. This area is blossoming with energy and talent, we’re delighted to have played a role in its revival.”

Photos:

1, Lakehouse Studios Lounge/Guitar Wall
2, Lakehouse Studios North Control (front)
3. Lakehouse Studios North Control (rear)
4. Lakehouse Studios South Control
5. Lakehouse Studios Live Room
6. Lakehouse Studios Live Room


Photos by Holtz Photography

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Walters-Storyk Design Group has designed over 3000 media facilities worldwide. Credits include Jimi Hendrix’s 1969’s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College,) Beth Walters, Sergio Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications.WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a seven-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Miami, Buenos Aires,Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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CRP MEDIOS Y ENTRETENIMIENTO SAC Radio Upgrades Key Broadcast Equipment with IDC’s STAR Pro Audio Solution

Ottawa, ON – In a strategic move to bring the most comprehensive radio options to over 30 million Peruvian listeners, International Datacasting Corporation (TSX: IDC) is pleased to announce that CRP MEDIOS Y ENTRETENIMIENTO SAC will upgrade its network across Peru using IDC’s STAR Pro AudioTM Receivers. IDC’s STAR system offers a technological leap forward by saving up to 60% in satellite bandwidth costs. STAR is the modern replacement for IDC’s market-leading ABR professional audio system, which is still being used to deliver content to tens of thousands of transmitter sites across the world.

CRP MEDIOS Y ENTRETENIMIENTO SAC is a long-term IDC customer, and offers a wide variety of targeted music stations, as well as the ability to advertise locally in major cities. These highly popular stations enjoy a diverse audience who tune in daily for entertainment that reflects a contemporary Latin American market. CRP MEDIOS Y ENTRETENIMIENTO SAC plans to deploy IDC’s STAR in a multi-phase approach that will work in tandem with the ABR platform until all systems are in place, allowing for a seamless transition.

“Yet again, IDC brings an exciting new solution to our family of stations that not only translates to savings for CRP MEDIOS Y ENTRETENIMIENTO SAC, but also enables growth. As a result of our experience with IDC, we know the technology and the quality of the equipment will give us outstanding performance,” said Manual Soto, COO for CRP MEDIOS Y ENTRETENIMIENTO SAC. “With IDC, we appreciate knowing that we will always have the best technology and service available for many years to come.”

The STAR Pro Audio Receivers are the latest example of IDC’s 20-year commitment to engineer long lasting, highly reliable audio receiver products that support the customer’s satellite distribution needs well in to the future. Its range is designed specifically for the distribution of audio programming over satellite, IP and ASI radio broadcasting networks. This efficient and reliable infrastructure supports the mission of IDC to deliver the highest broadcast quality as well as outstanding value for its customers.

“Our long-standing relationship with CRP MEDIOS Y ENTRETENIMIENTO SAC truly reflects our dedication to the advancement of the radio industry in Latin America,” said Doug Lowther, President and CEO of IDC. “We are confident that the STAR solution will provide an excellent upgrade that streamlines services, while lowering costs for CRP MEDIOS Y ENTRETENIMIENTO SAC.”

About International Datacasting Corporation:

International Datacasting Corporation (TSX: IDC) is a global leader in digital content distribution for the world’s premiere broadcasters in radio, television, data and digital cinema. IDC offers a broad portfolio of advanced solutions including the STAR Pro AudioTM Solution, LASERTM Targeted Ad Insertion Platform, and the Digital TattooTM DTH Over IP Gateway. The company’s products and solutions are in demand for radio and television networks, targeted ad insertion, digital cinema, 3D live events, satellite newsgathering, sports contribution, VOD, and IPTV. IDC is headquartered in Ottawa, Canada, with regional offices in Arnhem, the Netherlands and in San Diego, California. The company has installations in over 100 countries and service offices in Thailand and Singapore, and an international network of value-added partners and resellers. For more information visit: www.datacast.com.

About CRP MEDIOS Y ENTRETENIMIENTO SAC :

Founded over 44 years ago, CRP MEDIOS Y ENTRETENIMIENTO SAC is a market leader in radio communications specializing in the production, operation and sales of advertising space in Peru, with nine different radio formats (AM/FM), five of which are transmitted nationwide to over 120 stations across Peru.

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AMPAS Invites Four SMPTE Members to Serve on Science and Technology Council

SMPTE Members Represent Majority of New Additions to the Academy of Motion Picture Arts and Sciences Council

WHITE PLAINS, N.Y. — Nov. 21, 2013 – The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that four of its members — Wendy Aylsworth, Douglas Greenfield, Rob Hummel, and Beverly Pasterczyk — have accepted invitations to join the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (AMPAS).

The AMPAS Science and Technology Council was created in 2003 in response to the explosion in digital motion picture technology, which continues to transform the production, postproduction, and exhibition of movies. The council’s activities are focused on industrywide problem-solving and research projects, preserving the history of motion picture technology, and educating professionals and the public about the role of technology in moviemaking.

“SMPTE members have played an invaluable role in shaping the industry we know today, and they are among the technology and thought leaders who will guide continued development of the motion-imaging field,” said SMPTE Executive Director Barbara Lange. “We are very proud that four of the five new additions to the Academy’s Science and Technology Council are SMPTE members, and we look forward to seeing their impact on the future of motion picture technology.”

Wendy Aylsworth is senior vice president of technology for Warner Bros. Technical Operations, where she oversees the establishment of new technologies for Warner Bros. production divisions. She formerly was a member of the Walt Disney feature animation department. Aylsworth is the first woman president of SMPTE, as well as a SMPTE Fellow.

Douglas Greenfield, a returning member of the council, has been at the forefront of innovations in cinema sound for more than 30 years. He is senior director of content services at Dolby Laboratories. An active Academy member, Greenfield served as a Sound Branch governor for six years and in 2003 earned the John A. Bonner Medal of Commendation for outstanding service and dedication in upholding the high standards of the Academy. Greenfield is also a SMPTE Fellow and is the 2012 recipient of the Samuel L. Warner Memorial Medal.

Rob Hummel, also a returning council member, began his career at Technicolor Laboratories and joined Douglas Trumbull’s visual effects company during the making of “Blade Runner” (1982), an Oscar(R) nominee for visual effects. Hummel has served as senior vice president of production technology at Warner Bros.; worked in postproduction, animation, and Imagineering at Walt Disney Studios; headed animation technology at DreamWorks; and helped launch digital cinema units at Technicolor and Sony. Hummel has been a member of SMPTE since 1980. Today he is president of the digital media company Group 47.

Beverly Pasterczyk began her career with Kodak as a developmental engineer specializing in process technologies and is now the regional technical director for the Americas for Kodak’s Entertainment Imaging Division. A SMPTE Fellow, Pasterczyk has served as a SMPTE author, a section manager/officer, and a governor representing the Hollywood region.

Further information about SMPTE is available at www.smpte.org.

Photo Link: www.wallstcom.com/SMPTE/Aylsworth.zip

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About the Society of Motion Picture and Television Engineers
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world, sustain the Society. Information on joining SMPTE is available at www.smpte.org/join.

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

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Calrec Announces Major Software Upgrade With New Suite of Features

HEBDEN BRIDGE, U.K. — Nov. 21, 2013 — Calrec Audio has released a major software upgrade for its Bluefin2 range of consoles. The Apollo and Artemis platforms now include a new suite of features and enhancements that provide additional functionality tailored to the changing dynamics of modern broadcast.

“Calrec prides itself on its close working relationship with all its customers. Through conversation and feedback, we constantly update our products to suit the needs of the ever-evolving broadcast environment,” said Henry Goodman, head of sales and marketing at Calrec. “Further to this, it is imperative that we hear from those who use our consoles on a daily basis as their input allows us to create more streamlined working methods for them. It is because of these conversations and regular feature releases that Calrec finds itself in the privileged market-leading position it holds today.”

A major new feature is designed to protect Hydra2 sources and destinations when they are being addressed by multiple users across a network. Any user receiving a source can control mic gain, phantom power (48v), or SRC using their own input controls, but they are protected against making accidental changes that may affect the other users also receiving that same source. Users with connections to a Hydra2 destination are protected against other users’ unintentional changes to their connections. This protection scheme applies to direct control of sources and destinations, as well as bulk changes made through memory recalls.

The Mic Open Systems feature is used to control external devices relative to the on-air status of a signal source. Mic Open Systems can cut or dim the feed to a loudspeaker to avoid feedback or control relays for switching purposes, such as turning on “on air” lights. There are five Mic Open Systems available on the console.

The latest software also includes loudness meters to monitor and regulate average loudness levels over the duration of a program. Operators can freely assign 16 loudness meters to any source or output, and these meters can be assigned to the console’s meter upstand.

The new release also features Input 1 and 2 linking, which links the separate trim controls on each input. This capability allows users to adjust both Input 1 and Input 2 simultaneously, maintaining any offset between them.

The Replay feature allows easy switching between inputs 1 and 2 for a predetermined set of paths. This provides a quick way to play back multitrack content over the same fader paths used for recording, sometimes referred to as a virtual soundcheck. This is achieved by patching each live audio source to a path’s input 1 and the corresponding recording device output to the path’s input 2. All paths being used with the multitrack recorder are then added to the Replay Set, allowing their inputs to be switched between input 1 and 2 with a single button press.

Another addition to the software, User Configurable Mode Layouts are stored arrangements of modes on the surface panels. This feature is very useful if the arrangement of the surface layout has been altered and the user needs to get back to a familiar state quickly. With this new feature, the layout can now be configured, stored, and recalled to the user’s specification at the touch of a button.

Rounding out the major enhancements is AWACS Messaging over SNMP, which allows broadcast facilities to manage Calrec warning messages from a central location along with other manufacturers’ equipment.

Additional features include:
* Salvos — source-to-destination routing lists to allow en masse patching of I/O
* An option for opening a fader to cancel its latched PFL
* The ability to disable creation and editing of VCA groups, thus preventing accidental changes
* The ability to disable CSCP mixer remote control on a per-path basis
* An automixer disable function that allows users to disable an automixer easily without having to switch out every channel
* Enhanced compressor control features
* Cut indicators for each leg of a path on meters

The software upgrade is available now and is free for all Bluefin2 platform customers.

Information about Calrec and its products is available at www.calrec.com and www.community.calrec.com.

Photo Link: www.wallstcom.com/Calrec/MicOpenSystems.zip

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About Calrec Audio Ltd.
Calrec Audio, part of D&M Holdings Inc., is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 40 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at www.calrec.com and www.community.calrec.com.

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FSR Expands Market Reach to ITS/Datacom

BOB FABER JOINS AS DIRECTOR OF SALES, ITS/DATACOM

Woodland Park, NJ – FSR, an industry-leading manufacturer of products for the Pro AV market, is pleased to announce the appointment of Bob Faber in the newly created position of director of sales, Information Technology Systems (ITS)/Datacom. Jan Sandri today announced details from Company headquarters in Woodland Park, NJ, noting that Faber’s appointment is a defining moment for the 32 year-old Company as it significantly broadens its market reach.

“FSR enjoys considerable success in all segments of the traditional AV industry, and has for decades,” explained Sandri. “As technology shifts, however, it’s time to expand our reach and tap new markets, such as ITS/Datacom, that can benefit from our already widely-embraced product ranges. We couldn’t be more pleased to welcome Bob to the staff, and we’re confident that he will make us as successful in these new areas as we continue to be in AV.”

In his new position, Faber will be responsible for introducing the FSR brand, with special emphasis on table, floor, wall and ceiling boxes; plates; mounts; and installation accessories to potential customers in the ITS/Datacom marketplace, including cabling systems designers and installers, wholesale distributors, architects, engineers, electrical and communications contractors, and all areas of voice and data networking. Faber will also establish a targeted channel network to mirror the Company’s current model of exceptional service and support.

“I’m thrilled to be aligned with a company that is so well-known in the traditional Pro AV market, and whose name resonates with customers,” said Faber. “That recognition and support is invaluable as I help bring the existing product line into new markets.”

Faber brings 31 years of ITS experience to his new position. Prior to joining FSR, he served as business development manager for Snake Tray, a cable management and power distribution supplier based in Bay Shore, NY, where he developed sales channels and managed a manufacturer’s sales representative network. He previously held technical services, training and sales positions at Siemon, a manufacturer of ITS/Datacom network cabling solutions headquartered in Watertown, CT.

Faber’s industry involvement extends to membership in several professional organizations including BICSI, NECA, NEMA and SCTE. In addition to being a member, he has served as chair, vice-chair, secretary and editor of several BICSI committees, and has participated as a technical expert, author and contributor to industry standards groups and associated publications.

Faber can be reached at BFaber@fsrinc.com or 203-598-5071.

About FSR
FSR, established in 1981, manufactures a wide variety of products for the audio / video, education, hospitality, government, and religious markets, including AV floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and CAT-5 solutions.

All FSR products are designed and manufactured in its Woodland Park, NJ facility. The company is an Energy Star Partner and complies with the American Recovery and Reinvestment Act of 2009 to demonstrate its deep commitment to preserving the planet. FSR offers live 24/7 technical and sales support throughout the country from expertly trained technicians and sales representatives. For more information: www.fsrinc.com.

FSR Contact: Jan Sandri
973-785-4347 • sales@fsrinc.com

Press Contact: Desert Moon Communications
Harriet Diener
845-512-8283 • harriet@desertmoon.tv

Sennheiser raises the bar for wireless transmission at CMA Awards

Nashville, November 21, 2013: At the 47th Annual Country Music Association (CMA) Awards, held at Nashville’s Bridgestone Arena on November 6, Sennheiser’s Digital 9000 wireless system helped usher in a new era of digital wireless in live sound production as superstars The Zac Brown Band and Lady Antebellum delivered ‘magical’ performances to an audience of millions of viewers around the world.

In addition to the performances by The Zac Brown Band and Lady Antebellum, this year’s CMA Awards featured Taylor Swift and Jennifer Nettles, who used Sennheiser SKM 5200-II handheld transmitters coupled with MD 5235 microphone capsules; Miranda Lambert (winner of “Female Vocalist of the Year”) and Blake Shelton (winner of “Album of the Year” and “Male Vocalist of the Year”), both of whom sang through Sennheiser SKM 2000 transmitters with MD 935-1 capsules; and Kenny Rogers, who used a Sennheiser SKM 5200-II transmitter in combination with a Neumann KK 105-S capsule. Hosts spoke through SKM 5200-II handhelds with KK 105-S capsules for the duration of the program.

From an RF perspective, the show presented a daunting challenge: “We had 200 frequencies we were dealing with – this is a formidable number of radio frequencies in any environment, especially when everything is in UHF,” says James Stoffo, RF coordinator of the CMA Awards. “We ended up using several channels of the Sennheiser Digital 9000 in performances by both Lady Antebellum and The Zac Brown Band and it performed flawlessly.” Sennheiser Global Relations played a key role in facilitating equipment and support for the performance, which not only included wireless systems but also dozens of wired and wireless microphones used throughout the CMA Awards. “Our flagship Digital 9000 system is designed to deliver uncompromising audio with maximum RF flexibility for today’s challenging RF enviroments,” said Kristy Jo Winkler, Global Relations Manager, Americas. “When James Stoffo, one of the industry’s foremost RF consultants, said he would use it on the show, we were especially delighted. Refining technology and partnering with audio professionals to help make the event a seamless experience for engineers and artists is our priority.”

Sennheiser Digital 9000: the future of wireless is here:

Stoffo, who has been navigating challenging wireless terrain in top awards shows, sporting events and large corporate events for more than 30 years, is extremely concerned about the increasing congestion of the RF landscape and sees digital systems such as Digital 9000 as a fundamental solution moving forward: “It is getting almost impossible to organize and coordinate a large production, especially in awards shows that are approaching 200 frequencies. I’ve done a lot of testing with digital wireless systems and have found that they are much more tolerant to interference than analog systems. Also, the fact is that with Digital 9000 we don’t have to worry about intermodulation – or the mixing and blending of signals. We can therefore pack more signals into the same amount of spectrum.”

In addition to the reliability and spectrum efficiencies gained, Stoffo says there is a dramatic increase in audio quality with the Digital 9000 system: “You can absolutely hear the difference. For one thing, there is no noise floor like you have on FM-based systems.” John Harris, music mixer of the CMA Awards, said Sennheiser’s SKM 9000 handheld digital transmitter, which was coupled with an MD 9235 capsule, sounded spectacular on The Zac Brown Band’s vocals: “Zac is a very strong vocal act and with the Digital 9000 system, I had great separation and tone from all the singers. The new SKM 9000 digital transmitter was really great for rock vocals.”

During Lady Antebellum’s performance, lead singer Hillary Scott ventured beyond the stage out into the audience – where RF coverage can be tricky since the primary antenna coverage is on the stage, Stoffo says. “We never had a hitch. The RF levels on the Digital 9000 system remained pegged the entire time and I didn’t have to sweat it.”

Simple integration and operation:

Stoffo, who originally requested a Digital 9000 for testing but instead found himself putting it in the CMA Awards production days later because of its stellar performance, says he encountered zero difficulty integrating it within the rest of the audio system. “I had no issues whatsoever, and in fact was more confident using Digital 9000 than older analog systems,” he says.

After experiencing the increased performance and reliability of the system, other benefits soon became apparent: “With Digital 9000, you don’t just have battery bar indicators, you are actually shown the remaining time you have left. When you are juggling 40 microphones, changing batteries and handling other responsibilities, this is huge. Once you get into show mode, one of the biggest maintenance issues for the RF tech is simply changing batteries throughout the show. Being able to see exactly how much time you have is priceless for me.”

Neumann: voiceover microphone of choice at the CMA Awards:

As a high-energy award show featuring over 20 musical acts and a constant flow of introductions, nominations and award announcements that serve to anchor the progression of the show, voiceover announcements are critically important. “Our microphone has to cut through loud music, heavy applause and crowd cheering without having to be ridiculously loud,” explains Tom Davis, audio producer at the CMA Awards.

Davis and his team used three Neumann TLM 49 large-diaphragm condenser microphones to facilitate the voiceovers: two are used on site at the Awards, and one is used for work done in advance at Davis’ SeisMic Sound in Nashville. Since space is often at a premium in the makeshift voiceover booths constructed on site, there is often very little room for processors and other gear. This is not a concern though, says Davis: “You can plug the TLM 49 into just about anything and it sounds fantastic. It has so much presence for the spoken word and cuts through everything. This has been my mic of choice on this show for several years now, and it is really sexy to look at!”

Sennheiser: “part of the crew”:

At an internationally televised show with 22 acts in just three hours, expectations are high for all personnel involved in the production. “There are a lot of quick changes, and this is a very demanding audio project,” observes John Harris. Sennheiser was on hand to provide support for the show, including rehearsals and tear down. “I couldn’t have done it without Sennheiser,” says James Stoffo, “Tim Moore [Sennheiser Artist Relations] came in and was ‘on-call’ almost as if he was part of our crew. Overall, the support I got from Sennheiser was top shelf, as I would expect.” Tom Davis concurs: “Our relationship with Sennheiser has always been very comfortable and professional and they are always willing to step up and help. This time we got to get a close-up view of one of their great new products, the Digital 9000. What a great experience that was.”

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

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

Photo captions:
1: The Zac Brown Band performs at the 47th CMA Awards using a Sennheiser Digital 9000 wireless system

2: Sennheiser’s Digital 9000 system provided artifact-free RF performance during performances by The Zac Brown Band and Lady Antebellum at the 47th Annual CMA Awards

3: J. Mark King (l.) and Tom Davis in the voiceover booth, pictured with the Neumann TLM 49 during the CMA Awards

4: Each year, the audio crew at the CMA Awards relies on Sennheiser’s unwavering support

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Sennheiser HMDC 26-II Headsets Provide Immaculate Communications for 
The Lion King, the Fifth Longest Running Musical in Broadway History

Epic Broadway Musical Counts on Sennheiser Headsets Night after Night to Ensure Seamless Interaction Among Stage Operational Personnel

New York City – November 21, 2013 – Audio specialist Sennheiser announced that The Lion King, Broadway’s fifth longest running musical, is now using its HMDC 26-II broadcast headsets to ensure intelligible communications among key stage personnel, including the stage manager and spot operator. The headsets, which provide a critical function prior to, during and after performances, are used to call operational cues to spotlight operators and many others involved in the production.

The success of The Lion King is celebrated well beyond Broadway, where it has captured many awards including a Tony for Best Musical directly following its opening in 1997. The production, which is now considered an indelible part of Broadway’s musical fabric, originally debuted at the New Amsterdam Theatre in 1997 and moved to the Minskoff Theater in 2006 where it has been ever since.

“We purchased the Sennheiser HMDC 26-II headsets for two primary reasons,” says Alain Van Achte, head of sound department at Lion King. “First, by using these headsets, our entire team can hear the calling and direction better. The second reason was to protect the hearing of the staff, particularly the spot operators who are perched up near the speaker clusters. They are in such close proximity to the sound system that the safety factor became very important.”

The HMDC 26-II headsets are primarily designed for use in live sound and broadcast applications in extremely noisy environments. The headset is extremely lightweight, features outstanding passive noise attenuation and Sennheiser’s patented NoiseGard active noise reduction technology.

Head Follow Spot Operator Doug Graf, who receives calls from the stage manager and then gives instructions to other spot operators, says that the new headsets dramatically increased both hearing and speech intelligibility. “The HMDC 26-II comes in especially handy when I am in directly on my spotlight perch front of the [speaker] clusters,” he says. “I noticed that I could turn the volume down and leave it at a comfortable level. When the volume is quieter, I can still hear all the dialog on stage from the show feed and it allows me to focus even more on the task at hand.”

Graf particularly appreciates the NoiseGard noise cancellation feature: “This really blocks out all the low end and boominess of the sound,” he observes. “There is a scene called ‘The Stampede’ where there is a ton of low end being pumped through the house subwoofers — the Sennheisers cancel all of this out so I can keep hearing the dialog clearly.”

With eight full performances per week, form factor and comfort become critical, says Follow Spot Operator Brendan Nolan: “When you are doing 2-1/2 hour shows almost every day, and on some days doing two shows, you will take your headphones off and really feel it on your ears. But not with these headsets — they are very lightweight. Also, the fact that you can flip up one of the ear cups is great in case you need to hear something going on right around you.”

Van Achte recalls a recent special event at the Minskoff Theater when he donned the HMDC 26-IIs: “The crowd was incredibly loud and boisterous and it was a full house. It reminded me of a celebration during Mardi Gras in New Orleans,” he says. “There was no way that I could sustain that decibel level for two hours, so I called back for the sound crew to bring me one of the new Sennheiser headsets. I put them on, and they really saved the day for me because I was able to hear everything. I actually mixed the entire show on them, and it proved to me how well the product works.”

Van Achte considers the purchase of the new Sennheiser HMDC 26-II as an investment in quality: “There was no second guessing about purchasing them,” he added. “They were a little more expensive than other headsets, but Sennheiser backs them with a two year warranty and we know they are willing to stand behind them.” ?

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.

Photo captions:
1) Alain Van Achte, head of sound department at Lion King, donning a pair of Sennheiser HMDC 26-IIs

2) Follow Spot Operator Brendan Nolan in his perch, wearing the Sennheiser HMDC 26-II headsets and operating the main spotlight.

3) The Sennheiser HMDC 26-II is designed to excel in extremely noisy broadcast and live sound environments.

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Extron Announces Contact Closure Control Module for Switchers

Extron Electronics is pleased to introduce the CTR 8, a control module that adds contact closure control to most RS-232 controllable Extron simple or scaling switchers. The CTR 8 accepts up to eight contact closure inputs and converts them to SIS Simple Instruction Set serial commands that select the corresponding input on an Extron switcher. Video can be muted and un-muted by pressing a single switch in sequence, allowing the user to control the viewing of the presentation. Each contact closure input features a +5 VDC output that can be used to light an LED to indicate the active switch. The CTR 8 is ideal for applications in which contact closure control must be added to an Extron switcher. more

SSL Announces Live Console Distribution in France and Italy

“SSL is entering the live audio world with one of the most exciting products since the invention of the Line Array”

PARIS and MILAN – With industry acclaim for the arrival of Solid State Logic in live audio production continuing to grow, SSL has started to roll out its commercial distribution network for the live sector. Distribution for the SSL Live console in France will be handled by SSL France with Juke Box Ltd as the official SSL Live dealer. The console will be distributed in Italy by Cablateam.

“SSL has been established for a long time in both France and Italy,” says Philippe Guerinet, Director of International Sales for SSL. “We have been working closely for many years with Giovanni Blasi in Italy and JB Lierre in France for our music products, so the SSL Live was a natural addition to their portfolios. The conclusion of some of the first commercial sales in these territories is clear evidence that we are on the right track.”

“Continuing the very successful cooperation between our two companies over the past 10 years, we are delighted to embark on a new adventure with the Live console,” says JB Lierre, Owner and Managing Director of Juke Box, the official main dealer for Live in France. “SSL is entering the live audio world with one of the most exciting products since the invention of the Line Array!”

“I am glad that SSL has expanded into the live performance market and, based on the level of interest we’ve already seen, I am confident that SSL Live will soon establish itself as the most wanted console,” says Giovanni Blasi, head of Cablateam. “The SSL brand name will continue to remain in high regard for live audio applications with the Live console.”

www.solidstatelogic.com/live
www.jukeboxltd.com
www.cablateam.com

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Driving simulation, immersive gaming, maritime and helicopter content on display in DPI’s IITSEC ’13 booth

ATLANTA, GA – 11/21/2013 – Digital Projection International (DPI), Texas Instruments' first DLP projector partner and the only projector manufacturer to win an Emmy for engineering development, will reveal a LED projector solution-filled exhibit space in booth #2181 at the upcoming I/ITSEC 2013 trade show in Orlando, Florida. I/ITSEC attendees will witness the launch of brand-new imaging solutions from DPI, as well as proven projectors in partner booths throughout the show floor. I/ITSEC, the Interservice/Industry Training, Simulation and Education Conference, promotes cooperation among the Armed Services, Industry, Academia and various Government agencies in pursuit of improved training and education programs, identification of common training issues and development of multiservice programs. The trade show takes place in the Orange County Convention Center in Orlando, Florida, from December 2 – December 5, 2013.

Numerous examples of simulator content will be represented in the DPI booth. The dVision WQXGA LED projector, with a stunning native resolution of 2560 x 1600 pixels and featuring new brighter LEDs, will display a high resolution URS Federal Systems IG/database showing water bombing simulation scenes as well as Blackhawk helicopter simulation scenes. A single-chip DLP M-Vision WUXGA LED+IR projector will also be active in the booth displaying the URS Federal Systems IG/database content. DPI’s 3-chip DLP HIGHlite 660 WUXGA projector will demonstrate maritime content provided by TRANSAS. Those attendees with driving-oriented applications in mind won’t want to miss DPI’s E-Vision 8000 WUXGA projector displaying an interactive driving simulation IG/database from Realtime Technologies.

From an immersive gaming perspective, DPI’s booth will feature numerous content examples. A first for the simulation market, DPI’s new TITAN WUXGA LED+IR 3-chip DLP LED projector will display color-rich, compelling content supplied by Havok, game development technology innovator. Additionally, three newly-launched M-Vision LED 1000 single-chip DLP projectors will display content from game developer Unity3D on a 220 degree HFOV cylindrical screen from Electric Picture with automated alignment from Scalable Display Technologies. Fully warped and blended, this demonstration will illustrate the seamless imagery and the remarkable color brightness that is possible when employing such a cohesive system.

Interested parties who would like to receive a free four day exhibit hall badge at no charge can register by visiting https://secure2.rhq.com/iitsec/iitsec2013/public/index.cgi?track=exhibitsonly and using pass code EXH2181. If you'd like to schedule a meeting at I/ITSEC in booth #2181 or receive more information, please send an email to simulation@digitalprojection.com or call 770-420-1350 and ask for DPI’s simulation specialist.

-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 and photography, 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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