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Archive for March 19th, 2014

Matrox Announces Low-Profile High-Density SDI Card for Developers

Matrox DSX LE4 PCIe video card, along with feature-rich Matrox DSX SDKs for Windows or Linux, let broadcast equipment manufacturers build a wide variety of compact, reliable, cost-effective systems

Matrox® Video today announced the Matrox DSX LE4 PCIe video card, part of the next generation of Matrox DSX™ Developer Products. DSX LE4 is a low-profile, half-length SDI card that offers up to eight reconfigurable I/Os, from SD to 4K. When configured with inputs, the card is equipped with built-in frame synchronizers to generate clean SDI signals for any environment. Along with the comprehensive Matrox DSX SDKs for Windows® or Linux® and unlimited Matrox applications engineering support, the new card provides the I/O flexibility OEMs need to get quickly to market with small-footprint channel-in-a-box systems, video servers, broadcast graphics systems, encoders, transcoders, multiviewers, switchers and other digital media equipment.

Matrox DSX LE4 SDI card for developers

The Matrox DSX SDKs offer a common API across all Matrox DSX Developer Products providing a full set of powerful tools including versatile file reading/writing, memory management, streaming synchronization, and a large selection of software codecs and effects. A prototyping tool provides a graphical representation of all hardware components so developers can simulate and test their use cases within minutes, before writing a single line of code.

“Leading broadcast equipment manufactures have long come to Matrox for our premium hardware, our dedicated applications engineering support and our superior SDK,” said Alberto Cieri, senior director of sales and marketing, Matrox. “With the launch of this new lower-cost card, we are making the Matrox brand accessible for use in a wider variety of products.”

Matrox products will be demonstrated at CCBN (China International Exhibition Center, Beijing, March 20-22 in Matrox distributor Beijing Jinzhongheng Tech’s booth 5103) and at the 2014 NAB Show (Las Vegas, April 7-10, booth SL5019).

Availability
Matrox DSX LE4 is now available. Developers may obtain more information by e-mailing video_oem.info@matrox.com.

About Matrox Video
Matrox Video is a technology and market leader in the field of HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a-box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.

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Veteran Guitarist Johnny A. Assembles Gear for His Dream Studio with the Help of GC Pro

— Working with GC Pro Senior Account Manager PK Pandey, Johnny A. finds the right gear for his unique
production style, resulting in his acclaimed Driven LP —

WESTLAKE VILLAGE, CA, March 17, 2014 — Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, has been working with veteran guitarist Johnny A. on his personal recording space, resulting in a custom studio suited to his unique production style and a new LP, Driven (set for pre-release on March 18 on Aglaophone Records), which he describes as his “dream album.” Seasoned as a producer, composer and instrumentalist, the Boston-area musician had not been comfortable taking on engineering duties by himself on previous projects, but he was determined to push himself to new levels for this album, and with the right combination of gear and hard work, he found new legs as an engineer.

Johnny A.’s resume includes time with Derek & the Dominos keyboardist Bobby Whitlock, CCR drummer Doug Clifford, Peter Wolf of the J. Geils Band and others, as well as a reputation for nuanced compositions, masterful playing and studio perfectionism (and a Gibson custom Johnny A. signature model to boot). Naturally, the bar was already high when he decided to outfit his studio and make a new album. His production techniques have evolved over the course of his years collaborating and producing his own and other’s records; he records his guitars direct, an approach that sets him apart from other guitarists and producers. And with the new project, he became comfortable as an engineer and mixer, adding those important skills to his already-impressive toolbox.

Working with GC Pro Senior Account Manager PK Pandey (based at GC Pro’s Boston office), Johnny A. set out to acquire a new console and a full complement of analog gear. Johnny A. recalls, “I had known PK for years, and over the course of this project, we got closer and closer, and now we’re like brothers. He was well aware of my production techniques, of recording mostly direct, and I asked for his recommendations on analog gear – good, better and best. He knew all the right tools for the job here, and unsurprisingly, we went with ‘best’ in every case!” The gear that they decided on included an SSL AWS 948 console, multiple Apogee Symphony systems, two Neve 1081A EQ’s, two Vintech X73 preamps, an SSL XLogic stereo compressor, a GML 8200 EQ, a pair of Universal Audio LA-3A Classic Audio Levelers, an Isochrone master clock from Antelope Audio, four Distressors, various items from Retro and Mercury Recording, a John Hardy Twin Servo preamp, a Logic setup and Addictive Drums software from XLN Audio.

Pandey remarked, “This has been an almost-three-year adventure, working with Johnny A. on getting his workflow right for this album. And with the AWS 948 console, everything turned out much wider, deeper, higher and warmer than it would have been otherwise. He recorded all the guitars and did the drum programming himself, along with all the production and mixing. He told me it’s his dream album, and I’m so proud to have had a part in getting him the right tools to bring his artist’s vision to fruition.”

Johnny A. is extremely satisfied with the result: “I guess I was a bit naïve in the beginning, thinking I could take on this whole album myself, but we made it happen. It was a daunting experience, but I’m blown away at the finished product. I expected it to live up to my expectations, but I didn’t expect it to exceed them so thoroughly. And I have to give thanks to PK and GC Pro for helping to bring this record to life. What a ride!”

For more information, please visit www.gcpro.com and www.johnnya.com.

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WavesLive Continues Master Class Series with Las Vegas Event

— Upcoming Live Mixing Workshop with Ken “Pooch” Van Druten, Peter Keppler and Jim Ebdon to be held Sunday, April 6, at the Cirque du Soleil’s Resident Shows Division —

TEL AVIV, ISRAEL, March 17, 2014 — Waves Audio, the world’s leading provider of DSP audio solutions for the professional, live sound, broadcast and consumer electronics markets, is continuing its new WavesLive Master Class workshop series with an upcoming event in Las Vegas. The event, being held Sunday, April 6, will feature a mixing workshop with leading live mixing engineers Ken “Pooch” Van Druten (Linkin Park, Alter Bridge), Peter Keppler (Katy Perry, David Byrne, St. Vincent) and Jim Ebdon (Maroon 5, Aerosmith), who will demonstrate how they use Waves plugins in their live mixing.

Where:
Cirque du Soleil
Resident Shows Division
1151 Grier Drive, Suite C
Las Vegas, NV 89119

When:
Sunday, April 6, 2014
10:00 AM to 3:00 PM

Sign up today: http://waveslive-lv2014.eventbrite.com

Waves Product Specialist Luke Smith and WavesLive Marketing Manager Noam Raz will also be on hand to provide in-depth information on plugins and new technologies and to show how Waves plugins can be integrated into live mixing consoles. The presentation will be followed by an open Q&A session. Attendees will have the opportunity to do some hands-on mixing using the various consoles and plugins.

Waves EVP of Sales & Marketing Mick Olesh says: “WavesLive is proud to sponsor this event. For participants, this is a great opportunity to experience the world of live mixing with plugins and receive tips and tricks directly from mixing legends Pooch, Jim and Peter.”

Ken “Pooch” Van Druten adds, “This Waves event is not to be missed. Jim Ebdon is one of the finest live sound engineers in the industry. I can’t wait to pick his brain about how he works and what plugin choices he makes. Peter Keppler, also joining us at the Waves event, is a monster engineer with great talent. I intend to discover his secrets – especially how he makes Katy Perry destroy the competition with Waves plugins!”

Visit http://www.waveslive.com for more information.

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GUITAR CENTER OPENS NEW STORE AND LESSONS STUDIO IN COOL SPRINGS, TENNESSEE

Cool Springs location features on-site lessons, new repair services, and vast inventory selection

ANNOUNCEMENT HIGHLIGHTS:

Guitar Center has opened its 259th store location in the U.S.
GC Garage service will provide a range of musical instrument repair services
GC Studios, first-ever GC lessons facility in the Nashville area to support local music scene, is at the store, located at 8105 Moores Ln, Suite #1400, Brentwood, TN 37027

(Los Angeles, CA) – Guitar Center, the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ and lighting equipment, opened its 259th location, in the Cool Springs district of Brentwood, Tennessee (a suburb of Nashville), on March 13, 2014. The store, located at 8105 Moores Ln, Suite #1400, Brentwood, TN 37027, is also part of a new wave of Guitar Center retail stores that feature lesson spaces, which allows GC to offer additional music lessons, special programs and expanded opportunities for local musicians. The 12,000-square-foot store, the second GC location to serve the thriving Nashville-area music community, is conveniently located near Brentwood, Franklin and Cool Springs – all areas of residence for many of Music City’s top musicians, songwriters, producers and engineers.

COOL SPRINGS STORE LOCATION BACKGROUNDER:

Vast Product Selection and Low Prices – Guitar Center Cool Springs brings an unprecedented selection of products to Cool Springs, all backed by Guitar Center’s guarantee and available at attractive prices. The store features the latest in guitars, amplifiers, percussion instruments and keyboards, as well as live sound, DJ, lighting and recording equipment.
Guitar Center Studios – Deeply vested in expanding and enhancing the local music scene, Guitar Center Cool Springs also brings Guitar Center Studios to the new location. The fully-equipped, in-house lesson space is giving area residents of all ages and skill levels access to affordable music lessons. Sourcing locally trained store employees as certified instructors, courses will be offered on guitar, bass, keys and drums, as well as vocals and recording techniques using Pro Tools, Logic Pro and GarageBand.
Guitar Center Garage – Guitar Center Cool Springs includes GC Garage, the store’s on-site guitar repair service, offering a host of services, including electronics repair, hardware customization, fretwork, structural repairs, cosmetic enhancements, setup and maintenances.

Guitar Center Cool Springs: Additional In-Store Programs and Opportunities Include:

Guitar Center’s “Endless Aisle” – Cool Springs customers can now shop from Guitar Center’s new multi-channel “endless aisle,” which extends the in-store inventory to over $400 million in new and used products from across the nation. Shoppers will be able to purchase in-store, online and via phone, with the option to have products shipped to their home or to the store for convenient pick up.
At: Guitar Center Programs – Throughout the calendar year, Guitar Center Cool Springs will host an array of free events, such as artist workshops, lessons, product launches and performances, as a part of the company’s ongoing commitment to educating and assisting unsigned artists. These programs aim to provide musicians with the opportunities and exposure essential to achieving their music goals.
Recording Made Easy – Available at all Guitar Center locations, the Recording Made Easy program is a four-week, user-friendly series of weekly classes occurring Saturdays from 10:00 to 11:00 a.m.

In addition to special programs at the new Cool Springs store, Guitar Center offers year-round programs designed to spearhead creativity and highlight promising undiscovered talent. Cool Springs residents will now be able to participate in these ongoing events from their hometown. Programs have included Your Next Record, Guitar Center On-Stage, Guitar Center Singer-Songwriter, and Guitar Center’s Drum-Off.

Guitar Center Cool Springs Store and Studio Hours:
Mon-Fri: 10:00 AM – 9:00 PM
Sat: 10:00 AM – 9:00 PM (GC Studios closes at 8:00 PM Saturday)
Sun: 12:00 PM – 6:00 PM

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Electrosonic Helps English Heritage Unfold the Legend of Stonehenge

Since its opening on the 18th December 2013, the new Stonehenge exhibition and visitor centre has welcomed over 50,000 visitors. The centre makes dramatic use of high resolution projection technology to help visitors learn about one of the world’s most important prehistoric monuments. Electrosonic was responsible for the audio-visual systems design and integration.

The centre, located 1.5 miles from Stonehenge itself, is the first phase of English Heritage’s £27-million project to transform the visitor experience of this iconic site. To date, it is their largest ever capital investment project.

The visitor centre uses audio-visual technology extensively to give visitors an enthralling introduction to the legend of the stones, exploring the history and debate surrounding this ancient monument. One of the main highlights is the ‘Standing in the Stones’ exhibit, a 360-degree virtual experience. Installed by Electrosonic, the exhibit lets visitors stand in a virtual Stonehenge as it is today and in the past. The three-minute film, based on state-of-the-art laser scan images of the stone circle, transports viewers back in time through the millennia, enabling them to experience the summer and winter solstices.

Robert Campbell, Head of Interpretation at Stonehenge, says, “Electrosonic brought a can-do attitude to this complex and high profile project. This was essential in getting the exhibition open on time and working well.”

An exhibit like ‘Standing in the Stones’ requires great care in execution. An important part of its development was the ability to preview it in a full scale mock-up at Electrosonic’s workshop at its head office in Kent. This procedure helped the producers, Centre Screen Productions, assisted by Studio Liddell, check the content at full size, whilst ensuring English Heritage could be confident in the outcome and be aware of audience circulation issues.

“Standing in the Stones” uses six Panasonic PT-DZ770 single chip DLP(tm) projectors with 1920?1200 resolution and nominal 7000 lumen light output. These are sourced from a 7th Sense Delta server via Atlona extenders. The audio chain includes a BSS BLU 100 DSP, four Crown CTs600 amplifiers and seven Tannoy Di5 loudspeakers augmented by a ceiling mounted sub bass loudspeaker.

Visitors move from ‘Standing in the Stones’ into the next exhibition area housing more audio-visual elements. The ‘Meaning’ section includes four portrait format 32-inch LCDs showing a linear programme on the debate around the ‘Meaning of Stonehenge’. ‘Landscape’ the largest audio-visual element, is a giant image of the Stonehenge World Heritage Site projected onto a wall screen which shows how people changed the over the pre-historic period by building different monuments. The exhibit uses three Panasonic PT-DX610ELKsingle chip DLP(tm) projectors with XGA resolution and nominal 6500 lumen output sourced from a 7the Sense Delta server via Atlona extenders.

The visitor centre also contains an education space which is equipped with appropriate room control and audio-visual facilities. The space can be divided into two, one half has a ceiling mounted Panasonic VW435NEA LCD projector with WXGA resolution, and the other half has an 87-inch Smartboard touch screen. Room control is by a Crestron MC2E controller and wall panels allow the connection of “Bring Your Own” sources.

Haley Sharpe Design managed the production of the exhibition, with The Hub as exhibition fit-out contractor and Goppion as the supplier of the display cases. ‘Standing in the Stones’ was produced by Centre Screen productions, assisted by Studio Liddell and with a sound track by Peter Key. The content for the “Meaning” displays, the LCDs within the display cases and for the ticket office audio guide was produced by ISO Design, and the “Landscape” content was produced by Squint Opera.

Electrosonic engineered the AV system under a direct contract with English Heritage.

About Electrosonic
Electrosonic, celebrating its 50th anniversary, is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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OneRepublic Wraps Its “Native” World Tour with Clay Paky B-EYEs, Sharpys and grandMA2 Control

OneRepublic’s headlining “Native Tour” wraps in the UK March 24 after spending last year circling the globe and breaking new ground as the first tour to utilize Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights. A complement of Clay Paky Sharpys was also on hand, and the tour was programmed and operated from a grandMA2 light platform. A.C.T Lighting is the exclusive distributor of Clay Paky fixtures and MA Lighting in North America.

The American pop rock band toured Europe, North America, Asia, Australia and New Zealand last year in support of its third studio album, “Native.” OneRepublic’s tour has continued in 2014 with more dates in Europe and the UK.

On this final leg of the tour lighting designer Chris Lisle has carried over a diamond-shaped theme from last year, which features trusses, video screens and even some of the same fixtures. “The show has some big visual moments, so I had to come up with a design to meet that need,” he says. “The band likes cutting edge, so using the latest technology is important to us.”

Programmer Scott Chmielewski notes that, “Chris always designs his projects with the artist in mind and tries to keep the focus on the music. It’s important for him to make sure that the technology doesn’t overshadow the talent but still has the capabilities he needs. This has been a very technology-heavy show, but it was used tastefully and was well in control.”

Lisle was introduced to the B-EYEs at LDI and “knowing the feel that the band wants in their show, it was a no-brainer to use them,” he reports. “We used all 12 upstage on the diamond pods, both floor and flown, and facing directly out toward the audience. They have so many tricks up their sleeves that I think we used them at just 50 percent of their capacity.”

He notes that the band was “amazed” to see the new B-EYE fixtures during rehearsals and immediately asked what they were. Chmielewski says, “these guys have been around the world over and over again on countless shows and stages so you’d expect them to look past new toys like this. But not this time!”

Lisle explains that he let “the fixture show itself off gradually throughout the show. First it was just a wash light, then we added a couple of ‘inner/outer’ ring tricks, then a couple of ring chases, and ultimately the lens spin tricks toward the end of the show.”

Chmielewski likens the B-EYEs to a “firecracker – knowing that the fuse is always lit and about to go off. For a portion of the show they were used as typical wash lights, but we were able to mimic the effect of every kind of traditional fixture from big to small and use the entire bag of tricks a programmer has with color, dimming and pan/tilt effects. Plus, they added an entirely new set of looks that were quite literally the first of their kind. As a programmer, I spent hours just exploring these new abilities and looks, and when we finally used them in the show they became the centerpiece of the design.”

Lisle says that two weeks into the final dates for the tour the B-EYEs were working “amazingly well” and proving to be “a very solid fixture.”

“Through marathon programming sessions they didn’t have a single issue, and we were really putting them through their paces,” Chmielewski adds. “I was surprised to see just how few moving parts were involved in creating whirlwinds of amazing effects.”

In addition to the B-EYES 30 Sharpys were an integral part of the lighting design since Day One, Lisle says. “I love the fact that they can punch through video intensity when needed. They also gave us some great beam/aerial effects. You can’t beat them for speed: They were super-fast for the ‘techno’ moments of the show.”

“The Sharpys were a perfect complement to the B-EYEs in the rig,” agrees Chmielewski. “It takes a lot of power to compete with the look and brightness of a Sharpy, but the B-EYEs held their own.”

Chmielewski programmed the tour on a grandMA2 light with three active NPUs. A back up grandMA2 light was also available on the road.

He calls the platform his “weapon of choice” for the past few years. “Its ability to continue to build and refine a very powerful and custom toolset for programming is unrivaled,” he says. “All of the integration of MA 3D, grandMA2, onPC and VPU makes everything seamless as the ability to previs everything, including Art-Net merging, media and every fixture type, is an enormous asset. Add to that the fact that once the show was programmed, it was one show file on one USB stick.”

He notes that the show featured LED nodes embedded into the LED wall. “We had almost 5000 very bright, forward-facing LED fixtures, each DMX-controlled from the console,” Chmielewski explains. “Using grandMA2′s Art-Net merge capabilities, we were able to merge data from the media servers and have both media control and typical DMX control of all the nodes as well as the 5000 fixtures on the Matrix 5×5 blinders.”

Lisle calls the grandMA2 “an amazing console – even more so when you have a programmer like Scott who can unlock all of the tricks within it. The desk is just so powerful. I never heard, ‘it can’t be done’ from Scott during the programming process.”

Chmielewski gives kudos to “the team at A.C.T, which is always on for us as we continue to push new technologies from consoles and previs to the newest lighting fixtures. There is no way we would be able to create and achieve what we do without the help of their east and west coast teams.”

The equipment was supplied by Neg Earth, UK.

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

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