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Archive for March 28th, 2014

Bexel Connects the Academy Awards(r) with Extensive Fiber Network

Company’s Fiber Optic Infrastructure Eliminates Logistical Challenges for Global Broadcasts

(BURBANK, Calif.) – Bexel, a unit of the Vitec Group‘s Services Division and a leading worldwide provider of broadcast services and solutions, provided the conduit for the live broadcast of the 86th Academy Awards(r), as well as all of the ancillary global productions from the site, with a logistics-defying fiber infrastructure constructed exclusively for the event. Working with the Academy of Motion Picture Arts and Sciences (AMPAS), Bexel implemented a comprehensive fiber optic network. The customized solution connects multiple production locations beyond the Dolby Theatre, including the Hollywood & Highland Center, the Red Carpet on Hollywood Blvd., Loews Hollywood Hotel, and the domestic and international television compounds located more than a block away behind the El Capitan Theatre.

When AMPAS moved the Oscars to the Dolby Theatre (then the Kodak Theatre) in 2001, they turned to Bexel to help solve the logistical challenges inherent in the new location. Knowing that traditional copper cable would not work, Bexel installed a permanent fiber network that included four miles of multi-strand cables from the Hollywood & Highland and Dolby Theatre complexes, as well as under Hollywood Blvd. That underlying backbone is enhanced each year by Bexel to meet the show’s specific and unique complexities, as the number of feeds changes every year, in addition to the fact that the industry has moved from standard definition to high def over the last decade. The required infrastructure has effectively tripled in size.

For the 86th Academy Awards, more than 17 miles of temporary fiber was also deployed to successfully transport massive amounts of HD/SD video, audio, data and communications signals.

“The structure we put in place has to support so much more than the Oscar broadcast itself,” said Bexel’s Craig Schiller, vice president of engineering and operations. “We’re tasked with enabling point-to-point connections for more than 50 different entities, to ensure live, simultaneous broadcasts of all of the Red Carpet pre-shows, the backstage media and photo rooms, the pre- and post-show programs, Oscar.com, and the official Governors Ball, in addition to the Academy Awards(r) telecast itself.”

The venue does not have one large parking lot to accommodate all of the satellite and production trucks, so the physical footprint of the production areas are spread out into nearby available parking lots, onto Hollywood Blvd, and the Orange Motor Court adjacent to the Dolby Theater. “Our fiber network is really the conduit for the entire production, and it gets larger every year,” Schiller adds.

In addition to the fiber optic infrastructure, Bexel contributed key elements to coverage of the Red Carpet arrivals. The company deployed its RF-Over-Fiber antenna system, which has become a staple of the official pre-show broadcast, to provide unprecedented wireless communications coverage not previously available with a conventional wireless system. Bexel’s RF base camp was located at the 90-degree turn of the Red Carpet, and was used as the head-end position. Multiple RF fiber-site boxes enabled connections for dozens of antennas to ensure there was no loss of signal, as the production staff required a seamless communication system.

The often tight turnaround between the pre-show and the official broadcast is also supported by the system, enabling communication signals to transition from the Red Carpet up into the theatre for the show opening. Bexel also supplied three Sony HDC-2500 cameras, which were used by AMPAS as pool cameras for arrivals, fashion and the main press room. The feeds were then provided by Bexel to domestic and international broadcasters for enhanced show coverage around the world.

To support a live event of this scale, Bexel had a credentialed staff of more than 40 fiber engineers and support technicians onsite. Senior teams arrived two weeks before the show to begin set-up for the main broadcast and to clean and test the permanent fiber network. The majority of the staff arrived the Tuesday before the awards to prepare for the hundreds of domestic and international broadcasters who arrived on Friday.

Live broadcasts from the Red Carpet started as early as Friday morning, and ran continuously until late Sunday night, with Bexel engineers onsite around the clock. The team enabled the transport of 200 video signals, 125 audio signals, and 100 intercom signals over fiber for the Academy’s broadcast partners.

“Our incredible team of professionals really delivers for the Oscars,” says Schiller. “Over the past 13 years, we’ve had a number of the same talented people on the project, and the guys have really gotten to know the location and understand the complexities of this event. We’re able to do so much more in advance now. Most of the fiber demarc racks are preconfigured in our shop and delivered already tested, which increases our efficiency every year. We’ve also upgraded the permanent installations every two to three years, allowing us to minimize what we need to layer on top of the existing infrastructure. It’s a tough few weeks, but our team’s focus and passion for this event enables us to service all of our customers effectively. And in the end, our customer’s successful productions are the only award we need.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow them on Facebook and Twitter.

About the Vitec Group
Capture the moment(tm)

For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

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HARMAN’s Lexicon PCM Total Bundle Is the Go-To Reverb Plug-In for Producer, Trainer and Writer Mo Volans

SALT LAKE CITY, Utah — Mo Volans enjoys a multifaceted career as a producer, musician, writer and product trainer. He got his groove going when he was signed to the UK’s Global Underground and Subversive Records. For 15 years he wrote, produced and remixed records for major and independent labels, including Positiva, Hed Kandi, Skint, AATW and MOS/Data, where he first got his hands on classic HARMAN Lexicon gear like the 480L.

His electronic music production and composing skills led Volans to producing music for TV and around 2006 he was asked to write an article for Remix magazine, which launched a parallel career as a music writer. Since then he’s written countless features and currently contributes to Future Music, AskAudio and Audiotuts+.

Thanks to his thorough understanding of electronic music technology and knack for explaining it clearly, Volans has become an in-demand producer of training videos. He is now the lead trainer at MacProVideo.com and AskVideo and has produced training and promotional material for a number of major computer music platforms, including Ableton, Logic, Reason, Cubase, Maschine and BitWig. Through all his occupational diversity, his preference for Lexicon has remained constant, and it’s no surprise the tech-savvy Volans has adopted the Lexicon PCM Total Bundle plug-in package.

The Lexicon PCM Total Bundle offers a wide variety of legendary Lexicon reverbs and effects like Vintage Plate, Hall, Room, Concert Hall and other hallmark Lexicon reverbs, and effects that run the gamut from Pitch Shift, Chorus, Dual Delay and Resonant Chords to other completely unique sounds. It’s designed to work with popular DAWs like Pro Tools and Logic, as well as with any other VST, Audio Unit or RTAS-compatible platform and with Windows and Macintosh computers.

“I’ve been using Lexicon as long as I can remember,” he said. “I’ve been fortunate to work with almost every model of Lexicon hardware, from flagship products like the 480L in larger studios to my more recent use of the MX and PCM reverb and effects processors in smaller facilities and my own project studios. When I had the opportunity to try the PCM Total Bundle I didn’t hesitate.” Mo quickly found it to be invaluable.

“I’ve been using the PCM Total Bundle as my go-to reverb solution literally since the day it arrived.” Mo uses the plug-in for both his own recordings and in his training courses. “When it comes to demonstrating algorithmic reverbs this is just about as good as it gets for me. If I can call something that’s used in training videos a ‘textbook example’ of something, then the Lexicon is it.”

Anyone interested in electronic dance music (EDM) creation should note that Volans has recently completed what he calls an in-depth six-hour training course for MacProVideo.com on mixing and mastering electronic dance music in Logic Pro X music production software. He used the PCM Total Bundle extensively throughout this course, and for recent online features for Future Music and AskAudio.

Does the PCM Total Bundle live up to what Volans is accustomed to hearing from Lexicon’s industry-standard hardware? “I’ve worked in the studio with Lexicon gear for a long time. Having used the hardware I can say without a doubt that this plug-in is the real deal.” For Mo, Lexicon technology stands out from all other reverb units and plug-ins. “Lexicon manages to create stunning acoustic spaces that no other algorithmic processors seem to be able to touch. The richness of the reverb tails are legendary, and for good reason. I’ve found other processors that can do a good job – but Lexicon consistently nails the non-linear acoustic nature of real-world spaces.”

“Mo has been with Lexicon every step of his highly successful career. The diversity of his work and his consistent use of our plug-ins speaks to the ability of our reverbs to meet the requirements of any style of project he takes on. Furthermore, seeing him using Lexicon to teach a new generation of producers is the best compliment he can give us,” stated Noel Larson, Director of Marketing, HARMAN Signal Processing.

For more information about Mo Volans and his work please visit www.movolans.com.

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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HARMAN Professional and KD’s Southern Cuisine Bring Upscale Dining and Entertainment to Oklahoma City’s Bricktown

OKLAHOMA CITY, Oklahoma – Bricktown, Oklahoma City’s entertainment district, just got a lot more entertaining with the opening of KD’s Southern Cuisine (www.kdsbricktown.com), an elegant dining establishment that serves up Southern culinary favorites for lunch and dinner – and when it’s late in the evening, transforms into a nightclub with DJs, dancing and live music, all served up through a HARMAN Professional audio system.

The design brief given to Norman, OK system integrator Pro Presenters, LLC and its President/CEO, Steve Patrick, was clear: the ownership group wanted KD’s to have an upscale look and feel, and “New York City club-level audio where we could really push some sound pressure levels.” However, to keep the open, contemporary interior design undisturbed, the sound system had to be completely hidden from view.

KD’s is divided into four areas – dining room, bar, private lounge and patio – and the system had to cover the sonic gamut from subtle background music to live bands and DJs pounding out the volume. In the bar area in particular the owners were insistent upon having dance club-capable SPL, but with so much emphasis placed on the décor, there was no room to hang loudspeakers, let alone large ones. There were also some unique architectural challenges and solutions – including a motorized glass window that runs the length of one wall of the dining room. When the window is closed the bar can get loud while the dining room maintains a lower noise level.

For the bar area, Pro Presenters needed a loudspeaker that could fit into the wall behind the bar while delivering the requisite volume. The company went with 12 JBL AC15 ultra-compact loudspeakers, inset into the framework and placed at a height and in locations to ensure even, unbroken coverage throughout the room. The bar has a floating ceiling, which included a cavity where Patrick and his team had room to install four JBL ASB 6112 compact subwoofers.

Adjacent to the bar is a small performance area for DJs and live bands, where four JBL VRX928LA compact constant curvature loudspeakers and two VRX918S subwoofers are mounted on each side of the stage. “These are perfect for this kind of application,” Patrick noted – “they’re small and don’t get in the way of anything but are full-range and sound really good.” Two more VRX928’s and a VRX918 are located in the private lounge.

The main dining room and two private dining areas (which can be combined into a larger private dining room for bigger affairs) required music that could go from a gentle background level to something louder. Patrick wanted to install loudspeakers in the ceiling but had to work around a number of large circular hanging lighting fixtures. However, the ceiling also had several openings in which additional LED lights were installed – and these openings were also large enough to accommodate 14 JBL Control 26C coaxial ceiling loudspeakers and four Control 19CS in-ceiling subwoofers. In addition, two Control 26C loudspeakers were placed in the ceiling in each of the two private dining rooms, and four Control 28 indoor/outdoor loudspeakers are mounted in the outside patio area.

The loudspeakers are powered by a total of nine Crown amplifiers, a mix of DSi 6000, DSi 2000, CDi 1000, CDi 4000, 280A and 180A models. “These amps just made sense for this installation – their onboard processing enabled us to easily tailor their frequency balance, and other parameters to the loudspeakers, subwoofers and room acoustics. The 280A works in conjunction with a push-to-talk mic in the kitchen so the backline workers in the kitchen can hear what’s going on up front, and the 180A is simply one of the best amplifier values out there,” said Patrick.

A Soundcraft Si Performer digital live sound console handles both lighting and sound for the stage and main dining areas. Patrick chose the Performer because “we felt like it was two consoles in one. One person can do it all – mix the sound for both rooms and control all the lights with onboard DMX-based scene recalls. It’s amazing how much capability is built into this console.” He noted that thanks to the console’s built-in reverb, compression and effects, it also eliminated a lot of rack components they would otherwise have needed in the system.

“The ownership group couldn’t be more pleased with the way the KD’s installation turned out,” Patrick concluded. “The system is completely unobtrusive visually, and perfectly suits KD’s dual requirement for a system that can play quieter music during the day and get everybody dancing at night with sound quality that rivals that of any nightclub.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, HARMAN Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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DK-Technologies Ships First DK T7 Meters To Calrec

Audio and video metering specialist DK-Technologies has fulfilled the first orders for its new DK T7 Audio and Loudness meter, which was launched to much critical acclaim at IBC last year.

The DK T7 began shipping in February with the first two units delivered to UK console manufacturer Calrec. These have now been fitted into 48-fader Artemis Light consoles destined for Al Jazeera in London. Other broadcast and post production customers have chosen either stand-alone DK T7 meters or the new 3U rack mounted variant – the PT0T7. This fits neatly into a Tektronix rack system and can be used separately or in conjunction with a waveform monitor.

“We’re delighted with the number of pre-orders the DK T7 has generated and we’re ramping up production to fulfil them,” says DK-Technologies’ Product Marketing Director, Uffe Kjems Hansen. “The DK T7 is exactly what the market needs – a cost-effective audio meter with an easy to use multi-touch interface that delivers a whole host of useful features at a very cost effective price. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality. The nearest competitor product that even comes close to the DK T7′s feature-set is nearly double the price.”

Dubbed as the ‘everything included’ audio meter, the high precision DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-Technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging. The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range.

“Engineers working in the broadcast and post production industries now have to cope with a complex set of formats, standards and documentation requirements,” Uffe Kjems Hansen adds. “For this reason we felt it was vital to give them an easy to use Audio and Loudness meter that did the job it was bought for as soon as it came out of its box. The DK T7 is the most complete, high precision Audio and Loudness meter on the market today – and the most honest because it does not involve any hidden costs.”

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

Since first showing the DK T7 at IBC 2013, DK-Technologies has incorporated a number of improvements that are now available as standard. These include a pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen says. “We’ve also improved our software so that it includes a new 7.1 Surround display feature for Theatrical Mix. This is something no other meter can do and it will have particular relevance to engineers working on big motion picture productions.”

For more information about the DK T7, please visit www.dk-technologies.com. Alternatively, please visit DK’s US distributor Ward-Beck, which will be showing the DK T7 and other DK product at NAB 2014, Booth N1202.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

BitWise Controls Announces New Yamaha Module, Giving Integrators the Ability to Instantaneously Setup and Integrate More than a Dozen Popular Home Entertainment AV Receivers into BitWise Controls Systems

 

ENGLEWOOD, COLORADO, USA   MARCH 28, 2014 – BitWise Controls, a leading innovator of powerful and flexible control and automation systems, announced today the addition of its Yamaha Module to its ever-expanding lineup of third-party templates and modules available to BitWise Controls dealers. These modules—single files containing pre-configured GUI content and device programming—make it easier for integrators to set up, design, and install various products and subsystems. Each module is available for download at the Bitwise Online Store, where BitWise dealers can see his or her entire module purchase history, making it simple to provide updates, additions, and enhancements in the future.

“Yamaha’s YNCA receivers are very popular, are feature rich, and provide multi-zone capability, making them ideal products for home integrators and custom installers alike,” says Mark Buster, CTO of BitWise Controls. “By adding Yamaha AV receivers to our GUI Module lineup, we will be dramatically expanding the base of supported receivers on the BitWise Controls platform, making it easy and both time- and cost-efficient to integrate these components into any supported BitWise Controls system. It’s a win-win for both integrator and end user.”

The BitWise Controls Yamaha AVR Module lets dealers take full advantage of newer Yamaha AV receiver’s music streaming and multi-zone capabilities. Compatible with all receivers that support the YNCA protocol, the BitWise Yamaha GUI Module allows the end user to navigate and control supported music services like Pandora®, Rhapsody®, and SiriusXM®, as well as any attached USB storage, connected iPod®/iPhone®, or network attached storage (NAS). The module provides easy drag-and-drop GUI content for phone- and tablet-sized interfaces, as well. Other features include support for a main zone and a second zone, with simultaneous control of volume/mute across both. Additionally, a receiver’s scene functionality is integrated seamlessly, allowing the user to turn on the receiver, select the input, and choose the Surround option with a single touch from any BitWise-enabled device. Convenient popups make it easy to add tone, option, and surround mode selection to any GUI page in the BitWise environment.

The Yamaha Module works on both iOS® and Android® platforms, and is compatible with automation projects that use BC1, BC2, and BC4 controllers and with Yamaha RX-V671, RX-A700, RX-A710, RX-V867, RX-V871, RX-A800, RX-A810, RX-A1000, RX-A1010, RX-A2000, RX-A2010, RX-A3000, and RX-A3010 receivers, or any other Yamaha AV Receiver that utilizes the YNCA protocol.

 For more information, contact Katye (McGregor) Bennett of KMB Communications by phone, +1(425) 328-8640 or email, Katye@kmbcomm.com.

About BitWise Controls

Designed and backed by more than 20 years of mission-critical control, monitoring and AV systems integration experience, BitWise Controls provides powerful and flexible control and automation solutions for commercial, industrial, education and residential control applications. BitWise Controls was founded in 2008 with the goal of offering innovative and reliable new products, designed and tested and manufactured in the United States. For more information, go to www.bitwisecontrols.com. Dealership opportunities are available. To learn more, send an email to sales@bitwisecontrols.com or call +1 (866) 932-2292.

About Yamaha

Yamaha Corporation of America (YCA) is one of the largest subsidiaries of Yamaha Corporation, Japan and offers a full line of award-winning musical instruments, sound reinforcement and home entertainment products to the U.S. market. Products include: Yamaha acoustic, digital and hybrid pianos, portable keyboards, guitars, acoustic and electronic drums, band and orchestral instruments, marching percussion products, synthesizers, professional digital and analog audio equipment, Steinberg recording products and Nexo commercial audio products, as well as AV receivers, amplifiers, Blu-ray/CD players, iPod docking systems, earphones, headphones, home-theater-in-a-box systems, sound bars and its exclusive line of Digital Sound Projectors. YCA markets innovative, finely crafted technology and entertainment products and musical instruments targeted to the hobbyist, education, worship, professional music, installation and consumer markets. For more information, go to www.usa.yamaha.com.

Accompanying image: BitWise Controls Yamaha AVR GUI Module Screenshot

 

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Jünger Audio Shows The D*AP4 VAP Voice Processor At NAB 2014

At NAB 2014 (Booth C2134), dynamics processing specialist Jünger Audio will be showing its recently introduced D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

What makes this processor so special is the inclusion of Jünger Audio’s proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences. By analyzing incoming audio and comparing its spectrum with individually predetermined voice ‘fingerprints’, this clever unit can automatically apply dynamic EQ corrections to give a consistent sound.

For people working in TV voice over and feature film ADR, this facility is a Godsend. Imagine, for example, that you have booked an expensive and well-known actress to voice the cute little rabbit in your new children’s TV series. Over the course of the recording sessions you notice that her voice sounds different at different times of the day – maybe because she is tired, or has developed a sore throat, or has had a heavy night and smoked a lot of cigarettes. If you want your rabbit to sound exactly the same every time, how do you overcome this?

Jünger Audio’s D*AP4 VAP Voice Processor is the answer. On day one you record the actress’ best rabbit voice, and then measure it using Spectral Signature. The voice’s tonal characteristics are analyzed and recorded as a curve on a graph, which is used as a template for all future recordings. The next time your actress does her rabbit voice, the unit compares the new recording to the saved version and automatically adjusts the frequency until both voices match. Voilà! A perfect rabbit voice every time, thus saving a fortune in repeated ADR and voice over sessions, not to mention a lot of frustration on all sides.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using exactly the same spectral sound management principles, the unit measures specific voice recordings and then uses these sound fingerprints as a reference. The Spectral Signature algorithm matches all subsequent live recordings to these fingerprints, thus creating a dedicated ‘station sound’.

“The D*AP4 VAP draws on our extensive experience with previous Voice Processing devices such as our popular VO2, but adds new tools and algorithms to create an easier and more efficient approach to voice processing with no compromise in sound quality,” says Peter Pörs, CEO of Jünger Audio. “We have also included processing such as HP/LP filtering, versatile dynamics section, full parametric EQ and de-essing, and made the unit really easy to use – even for non-technical radio staff such as producers and journalists.”

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP.

Available as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

For more information about Jünger Audio’s D*AP4 VAP, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

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

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.

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.

The equipment was supplied by Neg Earth, UK.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a very interesting tour visually and we’re proud to be a part of it. The B-EYEs have been a big hit since they were introduced and the One Republic tour is a great example of what the fixtures can achieve.”

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The Music Producers Guild Introduces Mastering Engineers To Broadcast WAV

As the music industry prepares to adopt the Broadcast WAV file format as the best means of embedding ISRC data into future recordings, the Music Producers Guild is hosting an event to highlight the importance of this initiative and give recording professionals the information they need to make it a success.

The event, which is primarily aimed at Mastering engineers, will take place at the Hospital Club in London on the evening of April 9th, 2014. It is sponsored by digital audio workstation manufacturers Magix/Sequioa, Merging/Pyramix and Prism Sound/SADiE, all of whom have recently announced their support for the initiative by backing file exchange between their systems.

Headed by Alchemy Mastering’s Barry Grint, the MPG has led a strident campaign to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which don’t contain a method for embedding ISRC information. Their efforts have been successful as the boards of both the BPI and AIM have now recommended to their members that this new format be adopted.

“Our event on April 9th is the only opportunity Mastering engineers will have to understand and prepare for this format change,” Barry Grint explains. “Each of our DAW sponsors will demonstrate how the ISRC embedding process fits within their workflow, and how they are working together to ensure seamless exchange of the data between all of the workstations. This is a massive step forward for the industry and we really hope that Mastering engineers and other recording professionals who are interested in ISRC will take the opportunity to come along and learn more.”

Grint adds that the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

Broadcast WAV, the professional WAV format created by the European Broadcasting Union, can carry ISRC information and this is why MPG is so keen to see is adopted by as the de-facto standard for music interchange in the production process.

“The inclusion of ISRC information will remove the need for it to be re-entered and reduce the opportunity for error,” Grint says. “The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain.”

The MPG’s aim is to establish ISRC as the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification. This will give the entire music industry a robust and secure system for identifying tracks, and who had input into their creation, so that it can safeguard the incomes of all artists and copyright owners.

Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain.

“Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition,” Barry Grint says.

To register for this event, please visit: http://www.mpg.org.uk/events/279

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

DK-Technologies Shows its New DK T7 Audio Meter at NAB 2014

Danish manufacturer DK-Technologies is using the NAB 2014 platform to highlight its new DK T7 Audio and Loudness meter, which will be on show for the first time in the USA (Booth N1201, in conjunction with Ward-Beck).

Launched to enormous critical acclaim at IBC 2013, the ‘everything included’ DK T7 is now shipping with the first units already installed into two Calrec consoles destined for Al Jazeera London.

Designed as a cost-effective, one-box solution for broadcast and post production engineers, the DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging.

The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

“The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O,” says Uffe Kjems Hansen, Product Marketing Director at DK-Technologies. “The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality.”
At NAB 2014, DK-Technologies will show a new Theatrical Mixing 7.1 Surround display feature for the DK T7, which will have particular relevance to engineers working on big motion picture productions. Also on show is a new pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen adds. “The DK T7 was already the most comprehensive audio meter on the market but with these new features it can deliver functionality that no other audio meter can offer.”

DK-Technologies will also be using the NAB 2014 platform to launch its new Matrix PC application, which allows complete audio routing, preset handling, backup and overall management of an audio meter from the end user’s computer. Designed to work with all DK meters including the new DK T7, the Matrix PC application gives users a much better graphical overview of their meters – and significantly easier setup and handling.

Also on show for the first time will be the new DK T7 Stereo – an entry level version of the DK T& meter that is designed for engineers working in stereo.

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About DK-Technologies
DK-Technologies develops and produces a wide range of audio meters, video sync and test signal generators and video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

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