A virtual press conference from Sound & Video Contractor

Archive for April 7th, 2014

Digital Vision Brings Latest Post Production, Restoration and Archive Solutions to NAB 2014

- First look at Golden Eye 4 film scanner, Bifrost Archive Bridge and latest versions of Nucoda and Phoenix -

NAB 2014, Stand SL6026 / Chairman’s Suite, Renaissance Hotel

(London, UK) – Once again Digital Vision invites NAB visitors to its Demo Lounge at the Renaissance Hotel, adjacent to the LVCC, where it will present a range of products for post production, restoration, archive and broadcast.
Visitors can get a first look at the new Golden Eye 4 film scanner for restoration and archive, which incorporates many new features and enhancements that have been requested by users of Golden Eye 3. In addition Digital Vision will present the Bifrost Archive Bridge that provides streamlined archive workflow tools, enables archive owners to preserve and restore their precious film assets.

Digital Vision will demonstrate the latest 2014 versions of the Nucoda colour grading suite and the Phoenix range of film restoration tools. Also on show will be realtime 4K image processing using THOR hardware and distributed automated processing using Loki.

Kelvin Bolah, President, Digital Vision, said, “Our Market Managers and R&D team have been working hard to develop tools that enable our customers to preserve, restore and create beautiful images while maintaining quality. We have some exciting products to share that will undoubtedly be the best at what they do. At NAB we look forward to introducing new and existing clients to our growing product portfolio.”

The Digital Vision Demo Lounge at the Renaissance provides a respite from the noise and bustle of the show floor, allowing guests to sit down, enjoy some refreshments and have a proper discussion with Digital Vision’s knowledgeable team about their requirements. To book a demo or meeting at the Demo Lounge, please contact Patrick Morgan patrick.morgan@digitalvision.se or visit Digital Vision’s reception stand on the show floor at SL6026.

About Digital Vision
Digital Vision is the supplier of the world’s best colour grading, restoration and film scanning solutions for the broadcast, film, commercial and archive industries. Founded in 1988 in Stockholm, Sweden, Digital Vision has offices in London, Los Angeles, New Zealand, and Linköping in Sweden. Digital Vision’s Emmy award winning technology and products include Nucoda and Phoenix colour grading, finishing, mastering and restoration solutions that are used to create much of the worlds’ high profile television, film and commercials media broadcast and distributed today. In addition to the Nucoda and Phoenix ranges, Golden Eye film scanners and the Bifrost Archive Bridge solution provide innovative tools to create the industry recognised highest quality in scanning, film digitisation, preservation and archiving.

In April 2011, Digital Vision acquired Image Systems and is now a division of the Image Systems group of companies. For more information, visit www.digitalvision.se.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

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Digital Vision Marketing Contact:
Patrick Morgan | patrick.morgan@digitalvision.se | Tel: +44 (0) 20 7734 8282 | Mobile +44 (0) 7917674711

Digital Vision PR Contacts:
EMEA/APAC
Dawn Egerton, Bubble & Squeak | dawn@bubblesqueak.co.uk | Tel: +44 (0)7887 627764

USA
Chris Purse, Ignite | chris@ignite.bz | Tel: +1 818 980 3473

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Bexel and Riedel Communications Take Flight with Collaborative Offering

Bexel’s Falcon Sportscaster Unit to Feature New Riedel AVB Interface

Bexel Used Sales: NAB Booth #N1205
Riedel Communications: NAB Booth #C4937

(LAS VEGAS, NV) – Bexel, a unit of the Vitec Group‘s Services Division and a leading worldwide provider of broadcast services and solutions, announced a new, collaborative offering with Riedel Communications at NAB 2014. Bexel’s Falcon Sportscaster Unit will now feature an AVB (audio-video bridge) interface, developed by Riedel. The optional AVB capability provides direct digital network connectivity to the announcer in the most advanced media network architecture available.

The Falcon is able to satisfy all of the demands of professional sportscasters and audio operators with its unique, interchangeable nature. The unit’s inherent flexibility can accommodate a variety of interface connectivity solutions to meet a customer’s specific needs, and now broadcasters will be able to utilize the state-of-the-art Riedel AVB interface, as the Falcon is not bound to a singular solution for connectivity.

“With Riedel, we are working with a partner company that is dynamic, resourceful and innovative,” said Andrew McHaddad, chief audio engineer, Bexel. “This collaboration is a perfect fit for everyone involved, but especially for our customers. We pride ourselves on being a leader in the sportscaster equipment market with our Falcon platform. Working with a technology-driven company like Riedel strengthens our offerings and improves users’ experiences.”

Riedel, a provider of pioneering real-time video, audio, data and communications networks, approached Bexel about partnering on an AVB interface for the Falcon.

“It has been very rewarding to work with Bexel on this new AVB application,” said Christian Diehl, product manager for Riedel Communications. “We are very interested in furthering the usage of AVB globally, and this single-cable option for the Falcon is a perfect application for it.”

The new Riedel AVB option allows a single CAT-5 cable to connect to an AVB network carrying all five audio signals: broadcast microphone, Talk-Back #1, Talk-Back #2, IFB left, IFB right and power. All audio signals exist on the network as data, with all AD/DA conversions occurring within the Falcon unit. Powered through the network connection, this version provides the highest density of capability in the smallest footprint available in the marketplace.

“Riedel is a leader in technological innovations, and our new AVB interface brings their exciting work into the sportscaster equipment market,” concluded McHaddad. “It has been a rewarding experience working with the team from Riedel, and we are already looking forward to further collaborations.”

To see the new Riedel AVB interface for Bexel’s Falcon Sportscaster Unit, visit the Bexel TSS Booth (Stand #N1205) or the Riedel Communications Booth (Stand #C4937) at NAB 2014, April 7-10, in Las Vegas.

About Riedel
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro-audio, event, sports, theater and security applications. The company also provides rental services for radio and intercom systems, event IT solutions as well as fiber-based and wireless audio & video transmission systems that can be easily scaled to events of any size anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia and the Americas. For more information, visit www.riedel.net.

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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Cinnafilm and Wohler Set Standard for File-Based Media Retiming With Release of Tachyon Wormhole

LAS VEGAS — April 7, 2014 — Cinnafilm(R) and Wohler Technologies today announced the release of Cinnafilm’s Tachyon(R) Wormhole(TM), an automated file-based retiming solution that enables up to a plus or minus 10 percent runtime adjustment while preserving not only video and audio quality, but also closed caption integrity. Based on Cinnafilm’s popular Tachyon Standards Transcoding(TM) plug-in for the Wohler RadiantGrid Intelligent Media Transformation Platform(TM), Tachyon Wormhole gives time back to broadcasters, allowing them to realize new revenue opportunities without materially altering the viewer’s experience of their media assets.

“Tachyon Wormhole allows users to eliminate nearly $500,000 worth of specialized hardware with a single server equipped with two graphics cards, at a price that is a fraction of the cost of the baseband hardware it is replacing,” said Ernie Sanchez, chief operations officer of Cinnafilm. “Never before has a single commodity-hardware-based solution replaced so many pieces of dedicated SDI hardware.”

Wohler’s RadiantGrid software platform serves as the processing framework for the Tachyon Wormhole appliance. Equipped with powerful NVIDIA Tesla GPUs, the technology also facilitates retiming of closed captioning data and integration of audio retiming into the Cinnafilm Tachyon Wormhole video processing workflow. The turnkey Tachyon Wormhole system can process up to two HD streams in real time, handles unlimited channels of audio, and resynchronizes CEA-608 and -708 and SMPTE 436M and 360M caption data. Users simply select their target run time by choosing a specific length or by entering a percentage adjustment.

In addition to enabling automated retiming, Tachyon Wormhole also offers all of the features/functionality of the award-winning Tachyon Standards Transcoding Appliance. The features and functionality include standards conversion, high-quality deinterlacing, superlative resolution conversion, inverse telecine, broken cadence removal/correction, and options such as audio loudness correction, color legalization, and watermarking.

“Transcoding is a cost of doing business for broadcasters and cable providers, and Tachyon Wormhole transforms that cost of doing business into an immediate source of revenue generation,” added Craig Newbury, vice president sales for Wohler’s RadiantGrid business line. “In leveraging the power of the RadiantGrid platform, the ROI for Tachyon Wormhole is incredibly fast, and in some installations the appliance will pay for itself in its first week of operation.”

Tachyon Wormhole is available for purchase from Cinnafilm and its resellers. More information about Cinnafilm and Tachyon Wormhole is available at http://cinnafilm.com/tachyon/tachyon-wormhole/.

Information about Wohler and the company’s products is available at www.wohler.com.

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About Cinnafilm(R)
Cinnafilm(R) Inc. are the creators of ultimate-quality video optimization and conversion software for cinema, broadcast, and multimedia delivery. Cinnafilm’s Tachyon(R) conversion technology is integrated into high-value transcoding platforms like Wohler RadiantGrid(TM), creating the world’s fastest Standards Transcoding(TM) solution and providing clients an affordable and scalable alternative to legacy SDI-based conversion technologies. Visit http://cinnafilm.com/ for more information.

About Wohler Technologies Inc.
Wohler’s tradition of innovation began with the creation of the industry’s first in-rack audio, video, and data monitoring products, and it continues today through the company’s development of signal management and monitoring solutions for video, audio, and captioning applications. Wohler’s RadiantGrid(TM) platform extends the company’s award-winning product lines to include solutions for efficient file-based content creation and distribution, quality control, accelerated transcoding, and standards conversion. Together, Wohler’s advanced file-based solutions and proven, cost-effective confidence monitoring and content management products ensure high-quality media production across any platform and delivery to any device. More information about Wohler and RadiantGrid products is available at www.wohler.com.

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

Photo Link: www.wallstcom.com/Wohler/Wohler-Tachyon-Wormhole.jpg
Photo Caption: Tachyon(R) Wormhole(TM), automated file-based retiming solution.

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Forscene Integrates With Sony Wireless Camera Adapter to Reduce Lag Time Between Shoot and Edit

First Use of Integrated Workflow by Maverick TV on Show Commissioned by Channel 4

LONDON — April 7, 2014 — Forbidden Technologies plc (AIM:FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced today that it has created a professional workflow using Sony’s new CBK-WA100 wireless adapter for Sony cameras.

Forbidden worked together with Sony to create a new integrated workflow and to provide a professional broadcast test case. This new workflow allows production crews to upload content directly from the Sony camera over a wireless LAN to the Forscene cloud, eliminating any delay between the shoot and post-production. Forbidden client Maverick TV is the first to use this new Forscene workflow integrated with Sony’s wireless adapter on a programme commissioned by Channel 4.

This integration is ideal for remote video production, especially reality-based, unscripted, or high-shoot-rate long-form programs. Having access to footage as it is being shot means that production teams can give feedback and direction to the location crew during the shoot, rather than having to wait for media to be uploaded at the end of the day or sent on drives from the location to the production centre.

“Production teams are becoming more and more dispersed, with remote crews needing to submit content to centralized post facilities from all over the world. The ability to get the content from the camera to the edit point quickly and efficiently is an important part of video production, and Forscene lends itself perfectly to such a workflow,” said Greg Hirst, business development director, Forbidden Technologies plc. “Forbidden has a reputation for being able to integrate easily and has established cloud-based post-production clients. The deployment at Maverick is a demonstrable use case for Sony’s wireless adapter in a cloud post environment, and the fact that Maverick is using it on a real-world production further proves the viability of the workflow.”

Crew in the field control the camera adapter from a smartphone or tablet, selecting content to upload directly from the camera to the Forscene cloud. Forscene reads the proxy in XAVC(TM) format, transcodes it and loads it into the user’s Forscene account. The material is immediately available in Forscene for production teams to review, log, edit, and give feedback to the on-location crew. At the same time, directors in the field can log in to their Forscene accounts to view and begin putting rough cuts together from anywhere with an Internet connection. Clients then have the option of exporting an EDL to complete post and relink with the high-resolution material on their local storage or finishing in Forscene and publishing directly to distribution channels from high-resolution media stored in the Forscene cloud.

Maverick, part of production giant all3media and a long-time Forbidden client, is using the Sony wireless adapter and Forscene integrated workflow on an observational documentary that is currently in production for Channel 4.

Forbidden and Sony are demonstrating the new integrated workflow for long-form production at the 2014 NAB Show at the Sony booth C11001. In addition, at the Forbidden booth SL5305, Forbidden will demonstrate the new integrated workflow for Web distribution — including native content ingest to Forscene via the Sony adapter and post-production and publishing from Forscene.

More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk

XAVC is a trademark of Sony Corporation.

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About Forbidden Technologies plc
Forbidden Technologies plc is an award-winning technology company that develops and delivers cloud-based solutions for collaborative video post-production. Its flagship product, Forscene, is one of the world’s most advanced cloud-based video post-production platforms. Launched at IBC in 2004, Forscene has been used to log, edit, review, and publish more than 3 million hours of professional video content. Quoted on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations including Atos, BIM, deltatre, EVS, and Key Code Media. More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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

Photo Link: www.wallstcom.com/ForbiddenTechnologies/Forbidden-Sony-workflow.jpg
Photo Link: www.wallstcom.com/ForbiddenTechnologies/Forbidden-Sony-Cam-with-Wireless-adapter.jpg

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Forbidden Technologies Unveils New Brand Identity Based on Its Vision for Change

LONDON — April 7, 2014 — Forbidden Technologies plc (AIM:FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced a new brand identity that reflects the evolution of its vision for the organisation and its role in the media industry. As remote productions become more common, production teams become more dispersed, and more people in multiple locations must feed the post-production process simultaneously, Forbidden has renewed its commitment to helping media makers change their vision of how they make media, how media is viewed, and of the media industry as a whole. In addition, this new brand identity will give Forbidden the opportunity to launch new products outside of broadcast and post-production.

“With the new brand, our mindset is focused on removing the barriers that challenge all media makers and ensure that now, the only thing forbidden’ is limitation itself,” said Greg Hirst, business development director, Forbidden Technologies plc. “That viewpoint is powering the development of Forscene and how it integrates into various workflows, enabling our customers to craft stories with the qualities their audiences want — global, real-time, multichannel, compelling — more quickly and flexibly than ever.”

Forscene is the world’s leading cloud-based video editing tool, and for more than ten years has been supporting media organisations in creating stories flexibly and easily. It provides professional post-production tools in a software-as-a-service (SaaS) package for all video industries, including broadcast post-production, news, and sport. Forscene takes advantage of cloud computing to enable the centralisation of material and collaboration in workflows. The result is the ability to connect from any Web browser and perform the full range of post-production functions using flexible monthly SaaS pricing.

Attendees of the 2014 NAB Show can experience the new brand identity — and learn more about the change in vision behind it — in Forbidden’s booth, SL5305.

More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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About Forbidden Technologies plc
Forbidden Technologies plc is an award-winning technology company that develops and delivers cloud-based solutions for collaborative video post-production. Its flagship product, Forscene, is one of the world’s most advanced cloud-based video post-production platforms. Launched at IBC in 2004, Forscene has been used to log, edit, review, and publish more than 3 million hours of professional video content. Quoted on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations including Atos, BIM, deltatre, EVS, and Key Code Media. More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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

Photo Link: www.wallstcom.com/ForbiddenTechnologies/Forbidden-NewLogo.jpg

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Sennheiser supports Dante™

Las Vegas, NV, April 7, 2014 – At NAB 2014, audio specialist Sennheiser has announced its support for the Dante™ multi-channel audio networking standard. “By joining this standard, we will be able to optimally cater to our customers in the broadcasting and live sound worlds,” explained Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. The first product to make use of the network technology will be the company’s Digital 9000 wireless microphone system. A Dante-enabled expansion card for the receiver will be launched in summer 2014.

Sennheiser electronic GmbH & Co. KG signed the Dante License Agreement with Audinate Pty Ltd at the end of March, just ahead of NAB. In 2013, Sennheiser had signed the RAVENNA Partnership Agreement with ALC NetworX GmbH, following in the footsteps of its subsidiary Georg Neumann GmbH. Sennheiser has also been a member of the AVnu Alliance since 2010.

“The future belongs to digital networking. We see the digital distribution of audio and control signals becoming more and more widespread in all areas of production,” said Claus Menke. “The flexibility and modularity of our Digital 9000 wireless system allows the seamless integration of networking technologies, making this and subsequent microphone systems a future-proof investment.”

“Sennheiser is recognised globally for its uncompromised performance,” stated Lee Ellison, CEO of Audinate. “The Sennheiser Digital 9000 microphone receiver combined with Audinate’s Dante networking further enriches the broad suite of Dante products available for audio over IP networks in broadcast, live sound, theatre, and professional audio markets.”

About Audinate and Dante™:

Dante™ is the digital audio networking solution of choice for over 140 professional audio manufacturers in the broadcast, live sound, commercial installed and conferencing markets. Audinate’s Dante solution builds on existing Internet (IP) and Ethernet networking standards and offers a migration path to emerging standards like AES67. Dante networking replaces point-to-point cabling and matrix switching solutions offering hundreds of channels of high-performance audio, control and monitoring across existing network infrastructure. Installation and management is simplified through a unique combination of plug and play technologies, saving enormous installation and long-term ownership costs. Audio sources attached to any network port are available everywhere throughout the network with signal routing defined by software, not physical cabling. Audinate also offers a comprehensive set of interfacing options for PC and Mac equipment (Dante Virtual Soundcard and Dante PCIe card) enabling simple integration of existing software applications with the audio network.

About Sennheiser:

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.

Caption:
Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division (Photo credit: Rita Kruse)

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Riedel Introduces Virtual Key Panel App for Artist Digital Matrix Intercom System

WUPPERTAL, Germany — April 7, 2014 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today unveiled a new app that enables use of compatible iOS, OS X(R), and Android devices as virtual key panels for the company’s acclaimed Artist digital matrix intercom system. Allowing users to turn their smartphones and tablets into full-featured 12-key virtual panels for any Artist system, the new app adds even greater flexibility to the already versatile intercom solution.

“The option of using smartphones and tablets as intercom interfaces is just one more compelling reason to work with our Artist intercom product,” said Christian Bockskopf, marketing and communications for Riedel Communications. “With this new key panel app, users on the move can maintain convenient control over their Artist systems at all times.”

Operating the app’s virtual key panel via the device’s touch-screen interface, users enjoy the same signaling capabilities as they would on Riedel’s 1000 Series wired control panel for Artist systems. Like the wired control panels, the new key panel app can be configured via Riedel’s Director software.

To facilitate mobile control over the Artist system through the new app, a VOIP-108 G2 card at the Artist frame converts eight Artist matrix ports into a compressed IP stream. To assure excellent audio quality at all times, users can choose between two modes — a high-quality mode with an audio bandwidth of 6 kHz, resulting in a data rate of less than 80 kBit/s (including panel data); and a low-traffic mode with 4 kHz audio bandwidth and a data rate of less than 40 kBit/s per channel (including panel data). The VOIP-108 G2 client card then communicates with the virtual panels via a WAN connection to a wireless network.

Riedel’s key panel app for Artist intercom systems is now available through the respective app stores for iOS, OS X, and Android devices.

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

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

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

Photo Link: www.wallstcom.com/Riedel/Riedel-VirtualKeypanelForiOS.jpg
Photo Caption: Riedel Virtual Key Panel App for Artist Digital Matrix Intercom System

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Riedel Enhances MediorNet Real-Time Media Network With MediorNet 2.0

WUPPERTAL, Germany — April 7, 2014 — Riedel Communications, a leading provider of real-time video, audio, data, and communications networks, today announced that it will showcase the new functionality enabled by its MediorNet 2.0 update at the 2014 NAB Show. With this update for Riedel’s acclaimed MediorNet real-time media network, users realize added benefits, including full video router functionality, seamless interoperability with Studer consoles, EMBER+ implementation, and extended integration of the ProBel protocol.

“MediorNet 2.0 gives MediorNet users a flexible, easy-to-operate alternative to conventional video routers,” said Karsten Schragmann, product manager at Riedel Communications. “By incorporating tremendous routing capabilities right into the MediorNet frame, this firmware update enables users to lower their operations costs while reducing the volume and complexity of cabling required for audio and video signal transport.”

The MediorNet 2.0 update includes robust video router functionality with switching delays of less than 40 milliseconds, as well as high-speed rerouting that allows as many as 1,000 connections to be rerouted in less than a second. Simple drag-and-drop routing of multiple connections speeds configurations, and users now have the option to delete multiple selected connections at once. The firmware update also supports more than 65,000 ProBel crosspoints.

MediorNet 2.0 introduces Studer A-Link compatibility, which enables the MediorNet Modular frame to act as a decentralized audio router with a matrix size larger than 25,000² and fully redundant interfaces. At the same time, MediorNet fully supports EMBER+ for integration with other common control systems, such as VSM and KSC Commander. Because the update permits access to all MediorNet parameters and allows users to edit I/O settings and control all routing functions, users retain control over configuration options.

Additional features that come with MediorNet 2.0 include a timecode display that can be configured to the user’s preferred size and position, an LTC input, and sample rate conversion on both optical MADI ports of MediorNet Compact systems.

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

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

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

Photo Link: www.wallstcom.com/Riedel/Riedel-MediorNet2_0Update.jpg
Photo Caption: Riedel MediorNet Real-Time Network 2.0 Update

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Meyer Sound LEO is “Dynamite for Every Show” on Hedley Canadian Tour

The multiplatinum-selling pop-rock band Hedley is in the midst of their cross-continent “Wild Live” tour of Canada supported by a Meyer Sound LEO™ linear large-scale sound reinforcement system. Supplied by Richmond, BC-based KiAN Concert Sound Services, the flexible LEO system adapts to venues of all shapes and sizes, from theatres up to arenas in Montreal and Toronto.

“LEO has been dynamite for every show,” says Russ Giroux, FOH engineer and tour manager for Hedley. “I can get a clean, tight pop mix out of LEO in difficult arenas. Even when the roof level is different from one side to the other, or with very steep 200 levels, I still get solid, uniform coverage. It’s a super-versatile system that helps a lot in unconventional rooms.”

The typical configuration for the smaller venues is 12 LEO-M line array loudspeakers per side, which is increased to 15 per side for larger arenas. Available as needed are 24 MILO, 12 M’elodie, and two MICA line array loudspeakers for outfill, front-fill, and downfill applications, respectively. Twelve 1100-LFC low-frequency control elements and 12 700-HP subwoofers supply low-end reinforcement, while a Galileo® Callisto™ loudspeaker management system comprising one Galileo 616 AES and four Galileo Callisto 616 array processors supplies drive and alignment. Six MJF-212A stage monitors are used for stage foldback.

“I’ve been really impressed with the 1100-LFCs,” says Giroux. “They are super efficient, and with Galileo and the Compass® software, we’re able to steer them to avoid a power alley down the middle. Also, their power is incredible.”

Giroux appreciates the flat, linear response and pattern control of the LEO-M arrays as well. “We have a satellite B stage way in front of the arrays,” he notes. “We are able to tune the PA so the lead singer can work out in front of the speakers for 80 percent of the show, but we never worry about feedback.”

KiAN has supplied two 96-input Avid VENUE Profile consoles for FOH and monitors, while the band uses Sennheiser 2000 Series wireless microphones along with Sennheiser G3 IEM and instrument systems.

“I admit that I decided to take out this rig having never heard LEO before, so I was taking a chance,” says Giroux. “But I ‘ve worked with KiAN for years, and I was told great things about LEO by people I respect. They were right.”

One of Canada’s most popular touring acts, Juno Award-winning Hedley has released four consecutive multi-platinum albums. Its 36-city “Wild Live” tour kicked off in Prince George, BC, turned around in St. John’s, Newfoundland, and finishes in Abbotsford, BC.

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Arup and McCune Reinforce Vancouver TED2014 Conference with Meyer Sound M’elodie

For its 30th anniversary, the TED conference moved from its long-time Long Beach location to a custom-built, 1,200-seat theatre at the Vancouver Convention Centre in Canada. Luminaries participating at the five-day event included Sting, Bill and Melinda Gates, and Tim Berners-Lee, best known as the inventor of the World Wide Web. As was the case in the former location, a Meyer Sound M’elodie® line array loudspeaker system was chosen to provide the audio clarity needed for an audience who came to be engaged and inspired.

“The M’elodies have treated me well since we first started using them six years ago,” says Erik Sandberg, long-time FOH engineer for the event. “Their intelligibility is exceptional, which is critical because some TED presenters are soft-spoken, and not professional speakers. Also, the system is compact and visually discreet, which the client appreciates. And although it works beautifully with the spoken word program, it also translates very well with musical presentations.”

The move to Vancouver presented numerous logistical challenges for sound reinforcement. The arena-style theatre consisted of a thrust stage with a 200-degree audience wrap-around and a very steep seating rake. There also needed to be almost no bleed into the microphones, as the event would be broadcast and webcast.

“The TED conference is really three events at once,” explains Nick Malgieri, who headed event audio for San Francisco-based supplier McCune Audio/Video/Lighting. “It’s a live event for a very select audience, a live TV broadcast, and a taping session for post-production. These all have to be served without compromise, and because of the wide diversity of speakers and performers, the audio system has to handle everything. Fortunately, the clinically precise coverage patterns of the Meyer Sound speakers and the flexibility of Galileo® allowed us to zone the system for perfect results.”

Sandberg and Malgieri, as well as Kurt Graffy of Arup Acoustic Consulting collaborated on system design. Four arrays of nine M’elodie loudspeakers each covered the wide seating arc, with three 700-HP subwoofers flown in a steered directional array. Fill was provided by 10 UPM-2P and six UPA-1P loudspeakers and two UPJ-1P VariO™ loudspeakers. Two UPM-2P and two UPJ-1P loudspeakers were used for monitoring and foldback, and a Galileo loudspeaker management system consisting of two Galileo 616 processors supplied system drive and optimization. System deployment was supervised by Pete Bender, technical director of McCune.

“We had some challenges this year with the new venue and a last-minute change in hang points, but with the power of MAPP Online Pro® [acoustic prediction program], everything fell into place,” says Sandberg. “It was one of the best-sounding TED conferences I’ve done. We had a number of compliments from the audience, and Sting’s engineer—who was gracious enough to let me mix the set—was very happy with how it sounded. Also, everything went up quickly and we were out of there in record time.”

Founded in 1984, TED (Technology, Entertainment, Design) is a global set of conferences governed by the non-profit Sapling Foundation. The annual conferences were inaugurated in Monterey, Calif. in 1990.

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