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Archive for May 28th, 2014

ESS Audio Announces First Sales of HARMAN’s Soundcraft Vi3000 Console in Poland

LOMIANKI, Poland – HARMAN Soundcraft’s Polish distributor ESS Audio has fulfilled the first of its first batch of orders for the new Soundcraft Vi3000.The first two companies to take delivery are W Sound from Szczecin, run by Mariusz Węgiełek, and Modussound of Sieraków Śląski, headed by Artur and Lukasz Kedzia. Both confirm they already have the consoles out on tour.

ESS Audio demonstrated the new features of the much-anticipated console to its customer base, and at the same time staged an open day for the Vi3000, which coincided with the European premiere of JBL Professional’s new VTX V20 loudspeakers and included two days of training. The event was supported by Oskar Tarczynski (from ESS Audio) and Ed Jackson (from HARMAN Professional).

The Soundcraft Vi3000 boasts many new attributes. In addition to the much requested access to Universal Audio’s plug-ins (via the new Soundcraft® Realtime Rack plug-in processing engine – which also integrates with the rest of the Vi Series consoles), the console also provides an analogue infrastructure via the I/Os on the back and has built-in MADI and Dante, as well as an upgraded SpiderCore™ DSP and new ‘3D’ Vistonics graphics.

In addition to the Dante/MADI record feed outputs, the console provides MIDI, USB, Ethernet, DVI out, redundant power supply and other connections.

According to W Sound’s Mariusz Węgiełek, “The Soundcraft Vi3000 is the ideal solution for medium-sized touring companies such as ours. The capability of the board, the price of the controller and additional peripherals like the stage rack or expansion cards, make it impossible to look at any alternatives.”

“The immediate driver for the purchase was to acquire a console that would meet most of the riders from the middle range of touring artists—and after almost a month of use, it has been a big hit,” Węgiełek continued. “The response from our sound engineers could not be more positive, and our Vi3000 is working almost every day, earning us money.”

HARMAN (www.harman.com) 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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

Recording Industry Golf Tournament™ (RIGT) Announces Updated List of Sponsor Partners

— Annual charity event to be held at Malibu Country Club on Monday, June 2 —

— Hyundai Motor America offers special opportunities for tournament participants —

Los Angeles, CA, May 27, 2014 — The 2014 Recording Industry Golf Tournament™ (RIGT) has announced additional sponsors for the event, which will be held Monday, June 2, 2014, at Malibu Golf Club (12:00 noon shotgun start). The event is again being organized by seasoned event producer Karen Dunn of KMD Productions and will benefit the music program at A Place Called Home, a dynamic community center and safe haven in South Central Los Angeles where underserved youth 8-21 years old are empowered to take ownership of the quality and direction of their lives through programs in education, arts, and well-being. Recording veterans Ed Cherney and Al Schmitt will return as Honorary Co-Chairs for the afternoon’s festivities.

Newly announced sponsors include Audio Engineering Society (AES), Avid, Bob Hodas Acoustic Analysis, Full Sail University, Universal Mastering, Vintage King Audio and Westlake Recording Studios. These names join previously announced sponsors Audio-Technica, Clyne Media, Dave Collins Mastering, Design FX Audio, GC Pro/Sterling Audio, JBL Professional®, NAMM, PreSonus, The Recording Studio Insurance Program, Record Plant, SAE LA, studioexpresso.com / AlterMedia and TransAudioGroup.

Additionally, Hyundai Motor America is working closely with KMD Productions to offer a series of special opportunities to tournament participants. Some of these include a hole-in-one opportunity for an all-new 2015 Hyundai Genesis; prizes for other Par 3’s (e.g. Travis Mathew Apparel, Fairmont golf vacation); prizes for longest drive and closest to the pin ($150 value for each); premium giveaways (Sleeve of Titleist Pro V1) at registration area; test drive Incentive offer for Taylor Made wedge ($100 value); and a full expense paid trip for two winners to attend Hyundai Invitational National Final in Las Vegas at Cascata. In addition, Hyundai Motor America is making a contribution to the tournament’s charitable endeavors.

“There are a few key spots still available for players who want to join us for this great event,” stated Dunn. “I am looking forward to another great tournament that benefits a very worthy cause. See you on June second!”

In addition to the 18 holes of pristine golfing, the day will include a $1 million hole-in-one opportunity, contests for longest drive and longest putt, a “closest to the pin” competition, “funnest hole,” a putting contest, a helicopter ball drop, a silent auction and more. Dunn and the Record Plant’s Rose Mann-Cherney will be driving the “world famous tequila cart” to make sure all of the day’s participants are playing their best.

More information on the tournament and its participants is available at http://www.recordingindustrygolftournament.com/, or call Karen Dunn at 925-708-0307. Register here: http://www.eventbrite.com/e/2014-recording-industry-golf-tournament-tickets-10567095467. “Like” the RIGT on Facebook: https://www.facebook.com/2014RecordingIndustryGolfTournament.

Register here for the Helicopter Ball Drop: http://lu6717.wix.com/recording-industry.

About A Place Called Home:
A Place Called Home (www.apch.org) is a dynamic community center and safe haven in South Central Los Angeles where underserved youth 8-21 years old are empowered to take ownership of the quality and direction of their lives through programs in education, arts, and well-being. APCH provides support and opportunities that increase the likelihood that young people will stay in school, go on to higher education and viable jobs, and make a meaningful difference in their communities and the world. Music and recording are key components of the organization’s program offering, and the APCH youth band performs and records on a regular basis.

About KMD Productions
Based in the San Francisco Bay Area, KMD Productions offers full-service event production across the US for businesses and individuals, providing a range of services needed to make events an overwhelming success. KMD Productions can handle all the details of your fundraiser, corporate function or trade show event. Whether you’re looking to launch a new product, get better brand recognition or raise money for your worthwhile charity, KMD Productions has the resources and experience to help you achieve your goals.

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Additional Sponsors Announced for Inaugural Pensado Awards

Growing list of manufacturers and organizations pledge their support for new awards show

LOS ANGELES, CA, May 27, 2014 — Pensado Awards, an upcoming award show acknowledging today’s emerging brand of music professional and “recognizing the faces behind the sound,” is pleased to announce additional sponsor partners in advance of the award ceremony next month. Created by the producers of the acclaimed online video series Pensado’s Place, the Pensado Awards are set to take place June 28, 2014, at the Fairmont Miramar in Santa Monica, California, and broadcast online globally one week later.

The list of sponsors comprises some of the most prominent names in professional audio, M.I. and audio education. Newly announced Title Sponsors include Blackout and The Recording Academy® Producers & Engineers Wing®, with the following newly added Supporting Sponsors: Bedrock LA, The EchoBar Recording Studios, Full Sail University®, G-Technology®, Gobbler, Larrabee Studios, Record Plant, Studio at The Palms and Ultimate Ears. These names join the following previously-announced Title Sponsors: Audio-Technica, Avid, The Blackbird Academy, Recording Connection, Slate Media Technology and Vintage King, as well as the following previously-announced Supporting Sponsors: Barefoot Sound, Indaba Music, iZotope, Morris Light and Sound and Studio 202. Additional sponsors are being added at a rapid rate, and a complete list will be announced in the weeks leading up to the ceremony.

Co-hosting will be singer-songwriter Lisa Loeb along with producer-engineers Chris Lord-Alge (Muse, Pink, Foo Fighters, Avril Lavigne, Green Day, Daughtry, Paramore, Black Eyed Peas), Marcella Araica (Britney Spears, Madonna, Pink, Duran Duran, Keri Hilson) and Young Guru (Jay Z, Beyonce, Mariah Carey).

Herb Trawick, the Co-host/Executive Producer and Creator of Pensado’s Place, as well as Manager and Advisor to Co-host Dave Pensado, stated, “We continue to add title and supporting sponsors, and they are all stellar examples of the type of organizations that we are proud to be associated with. We thank them each for their support.”

Dave Pensado (Co-host of Pensado’s Place, GRAMMY®-winning mix engineer, Teacher) echoed Trawick’s sentiments: “As leaders in their respective fields – whether manufacturers, vendors, services, recording facilities, educational institutions, industry associations, etc. – these names represent the lifeblood that runs through the recording industry every day. We could not put on the Pensado Awards without them, much less continue in our day-to-day activities as recording professionals. We are proud they have decided to take part in the Pensado Awards and what the show honors in our community.”

In recent years, developments in music and technology have changed the landscape for producers, songwriters, engineers and musicians, encouraging artists and composers of all types to hone their craft. The Pensado Awards acknowledges these talented individuals and their work, with unique categories including OMG! Mix of the Year; Game Changer Producers Award; Songwriters Break Thru Award; Unique Project Studio (Global); Break Thru Mixer Award; Best Non-English Song (Global); Best Tracking Engineer; Outstanding Achievement in Sound for Film, Television & Gaming; Pensado Giant Award (industry legend); Master of Mastering; Live/FOH Award; AIR Award (Best Assistant, Intern or Runner); Outstanding Brand; Spin Doctor DJ Award; Dave Pensado Educators Award; and Herb Trawick Visionary Award.

About Pensado’s Place
The hour-long weekly web series Pensado’s Place was created nearly four years ago. Co-hosted by legendary mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and show creator Herb Trawick, Pensado’s Place includes interviews with top music industry artists, engineers, producers, mixers, and record executives, as well as in-depth tutorials in production, engineering and mixing. Pensado’s Place has positioned itself as “the most influential show for audio engineers,” mixers and producers (Forbes Magazine) in just three years. Pensado’s Place is more than just a show, as it highlights the very best in the industry of music, gaming, sound identity on film, and audio equipment, with a presence in live events. As a leading educational resource, Pensado’s Place is helping build the next generation of audio greats.

Opportunities are still available to join the over 100 leading music makers and manufacturers, representatives from 75 countries and over 100 schools who are already active supporters of and participants in the inaugural Pensado Awards. Three sponsorship packages are available. To support the Awards, please visit http://pensadoawards.com/sponsorship_info.html.

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Bose® RoomMatch® Loudspeakers Chosen for Boston Opera House

Historic venue with large balcony area wanted to achieve perfect coverage and intelligibility, which was solved by the precise dispersion patterns offered by Bose® RoomMatch® array modules

Framingham, Massachusetts, May 27, 2014 – Located in the heart of the city’s theater district, the historic Boston Opera House is known as one of New England’s most architecturally and aesthetically impressive theaters. Opened in 1928 as B.F. Keith Memorial Theater, the Boston Opera House has hosted scores of classic productions over its 86-year history and saw a massive $50 million renovation in 2004. These days, the majority of the space’s annual 200-plus-show calendar is filled by the Boston Ballet and touring musical theater productions hosted by Broadway in Boston (recent and upcoming shows include Book of Mormon, Phantom of the Opera, Lion King, Motown the Musical, Newsies, Kinky Boots and more). The seating areas are truly expansive, with 2645 total seats and 1303 in the balcony alone. The theater’s owners wanted to ensure that touring productions would have the ability to deliver vocal clarity in the wide mezzanine and balcony, so steps were taken to install a sound reinforcement system serving that area of the venue (the main floor dress circle and part of the mezzanine would continue to be served by touring sound reinforcement systems). After a meticulous audition process, those involved chose RoomMatch® arrays from Bose® Professional Systems to provide clear, even coverage to the balcony of the venue.

Boston Opera House Production Manager Mike Marchetti was leaning toward a system from a different manufacturer; however, he was persuaded by colleagues to hear a demo of the Bose RoomMatch system. After the demo and an A/B shootout on site with his original choice, Mike became convinced that RoomMatch progressive directivity arrays were what he needed. The system was installed by Sudbury, Massachusetts-based Adtech Systems Inc., an award-winning system integrator, founded in 1988, which had already employed Bose RoomMatch and PowerMatch® components in several high profile installations, including Rondileau Center Auditorium at Massachusetts-based Bridgewater State University; Nevins Hall in Framingham, Massachusetts; University of Rhode Island’s Edwards Auditorium; Thompson, Connecticut’s High Pointe Church; and others.

The system, installed under the supervision of Adtech Sales Engineer Charles Crane, includes two RoomMatch arrays, with each array consisting of one RM5505, two RM7010s, one RM12010 and one RM12020 module, along with eight RMU208 small-format foreground/fill loudspeakers for under-balcony and “shadow-killer” fill. Power is handled by four Bose PowerMatch PM8500N 8-channel amplifiers, and processing is handled by a Bose ControlSpace® ESP-00 Engineered Sound Processor. Other components included a full complement of cables, speaker and line-level patch panels, XLR jumpers etc., from Whirlwind® .

Marchetti stated, “Vocal clarity is very important for the type of performances held here, and it was difficult to achieve for some touring systems, especially in the balcony areas. And most notably for productions that have a lot of speech or sung text in dialect – like Dublin accents in Once, or Ugandan accents in Book of Mormon, or rural British in Billy Elliott and such. After I had a demo of a RoomMatch system, I was convinced that it provided the right solution for clear balcony coverage, and it fit well within our budget. When we did the actual A/B shootout at our venue, I invited several of my colleagues whose opinions I trust to be involved in the listening evaluations – these included Steve Colby, Audio Engineer, Boston Pops Orchestra; Bradley S. Berger, Director of Production, Berklee College of Music; Rick Brenner, Sound Designer, Boston Ballet; James Jensen, Exec. Director, Boston Opera House; and Rich Jaffe, President of Broadway in Boston, to name a few. I must admit, I was skeptical at first, but after my mind was made up, I started telling others throughout the industry how impressive the RoomMatch system is. And since the installation, my fondness for the system has grown stronger.”

“I was very pleased that the system specified was a Bose RoomMatch system, as I have recently employed RoomMatch and PowerMatch components in several installations in our area,” stated Charles Crane. “For example, at the University of Rhode Island’s Edwards Auditorium, RoomMatch solved a problem, as their existing system was not covering every seat. In the Boston Opera House application, RoomMatch not only increased coverage but it bolstered speech intelligibility by a significant margin.”

Crane also noted that a unique aspect of the project was matching the color of the theater’s golden/beige décor and painting the Bose modules to match. “Beyond that,” he stated, “things went very smoothly, and the crew at Boston Opera House helped with much of the installation. We had strict instructions to keep the architecture intact due to the historical nature of the building, but there were two holes that had been drilled for a special presentation of Phantom of the Opera years ago. We lucked out, because they were in the exact right spots for our purposes to hang the system. Once the system was up, it required minimal tuning or tweaking to dial in the audio perfectly.”

Marchetti noted the unique challenges of providing sound reinforcement for a variety of genres in a large theater: “If a popular music artist is touring and the sound isn’t getting to the right spots in the venue, the FOH mixer simply adjusts the mix to compensate for the lack of clarity or definition. But Broadway productions are more complicated. They are governed by what the show’s Sound Designer has specified for the overall sound of the show. We have also found that most touring productions are not capable of covering our large balcony with their systems. But now with the Bose RoomMatch system in place, it is no longer a problem. The dispersion patterns that Bose offers are extremely specific, so it was not a challenge to put together exactly the right configuration for our needs. And the response has been enthusiastic from both audience and touring sound engineers. It’s a success all around.”

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The Australian Pink Floyd Show Plays On Its Legacy with HARMAN’s AKG Microphones

ADELAIDE, Australia – The Australian Pink Floyd Show (TAPFS), a cover band for the iconic Pink Floyd, is fully equipped with a diverse range of HARMAN’s AKG microphones for its band members. Having sold over four million tickets in 35 countries, The Australian Pink Floyd Show is currently touring the globe over the course of five months to bring its ‘Gold Standard’ to the rest of the world.

Having tried condenser microphones with larger polar patterns, guitarist/vocalist Steve Mac of TAPFS noticed they picked up the drums in the background, which introduced too much noise into the FOH mix. Dynamic microphones, on the other hand, don’t suffer as badly from drum spill, so after much experimentation, the band purchased an AKG D7 for each vocalist and the keyboardist/MC, which offers tremendous sound quality while meeting the band’s other criteria.

“The D7 has great isolation, which not only keeps our monitor mixes tidy, but preserves our voices,” said Mac. “Our keyboard player doubles as the MC and uses a chrome-plated D7 for a bit of fun and a touch of class!”

AKG C414, C518 and D40 microphones are used for the drums. “We use the AKG C414 microphones on the overhead and ride cymbal, because they just sound so natural. For the toms and roto toms, we use the AKG C518 microphones, because their small stature and stunning sound allows for more accurate positioning in tight spaces. We also use the AKG D40 on the lower floor tom and also on the gong to capture the rich bass,” Mac said.

Mac uses AKG C451/CK1 microphones on his Fender Twin Reverb amps, which “really bring out the detail of the top end and capture the glassy bite of a Twin,” he said. Mac also uses AKG C214 microphones on his Hiwatt 4 x 12 speaker cabinets, because “they have a large diaphragm and they capture the low end naturally and add ‘size’ to the guitar sounds.”

AKG C518 microphones with AKG radio packs are used for the tenor, alto and soprano saxophones. The Baritone saxophone is captured by an AKG D40 large diaphragm “to bring out the warmth in the sound without the risk of feedback,” according to Mac.

TAPFS ambitiously recreates Pink Floyd album tracks as closely as possible on a live stage. “We approach this show differently to most live shows, because to some degree we are taking a recording studio on tour. With AKG microphones, we are able to recreate the sounds of a studio environment, while maintaining isolation and high feedback rejection,” said Mac.

Besides sounding just the way vocalists want them to, AKG microphones are designed to stay consistent and endure severe punishment across all stages of a tour, so bands can focus on the show. “The consistency is extremely important, because the audience is familiar with the sounds of original Pink Floyd songs,” said Mac. “These microphones allow us to accurately maintain the amazing sounds of Pink Floyd’s albums, regardless of the venue and environment. That is why we have been using AKG microphones for 31 years in both studio recording and live music production.”

HARMAN (www.harman.com) 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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

StrandVision Digital Signage Enhances the Live Web Page Capabilities of its Electronic Signage

Systems automatically polls, formats, presents and updates Web Pages directly from the Internet…

MENOMONIE, Wis. – May 28, 2014 – StrandVision Digital Signage today announced that it is adding a new way to source material for its electronic signage customers. It has developed a method to capture Web page content from the Internet and intranets, automatically format it to electronic signage customer settings and merge it into the digital media player presentations.

This capability offers many benefits for StrandVision customers. Applications include adding dynamic information that is becoming more widely available over the Web directly into StrandVision Digital Signage such as near-real-time bus schedules and expected arrival times and traffic maps, for display in public areas and for employee communications.

How It Works

The StrandVision cloud-based digital signage service Web Page facility captures Web pages, immediately converts them to images for display on StrandVision’s cloud server and distributes them to the local media players as needed. The system pre-loads and captures the Web page so that the content displays immediately rather than waiting for information to be gathered from the source Web site. User-specified delays can be configured to ensure that Web sites are fully loaded in the background before they are captured. The pages are captured and formatted to match the digital media player display orientation. The administrator console can also securely store log-in information so password-protected sites can be included as sources. Administrators can choose to offset portions of the pages to better utilize the screen region resources and highlight certain sections.

The new Web Page capability also takes advantage of the capabilities of many corporate and enterprise systems, as well as other specific business applications, which typically can generate Web page output. With this new enhancement, the StrandVision system can take charts, graphs or other details from this standard business system data output and capture it for display on its digital signage player. This opens a world of possibilities for Human Resources, operations, production, finance, safety and other corporate departments.

“The enhanced Web Page display is another free digital signage capability that makes StrandVision Digital Signage a more capable, more flexible and more effective business marketing and employee communication tool for our customers,” commented Mike Strand, StrandVision founder and CEO. “There are an untold number of applications, including the obvious real-time transportation and traffic reports, and we’re looking forward to seeing the creative ways that our signage subscribers use this tool to meet their individual communication needs.”

The Web Page capability complements StrandVision’s previously available streaming weather and radar displays and its local and national new services. It also provides another option to StrandVision’s ability to capture and convert RSS feeds and its extensive database-to-digital signage conversion capabilities.

The no-cost Web Page add-on capability is available immediately to StrandVision subscribers. It has been added as a new page type in the “Modify Pages” section of their Content Management System (CMS) portal. Web Page refresh rates of less than 15 minutes require a StrandVision Linux digital media player.

About StrandVision

StrandVision LLC, based in Menomonie, Wis., delivers low-cost, cloud-based digital signage software content to subscribers’ digital media player displays, as well as computer screens, websites and mobile devices. StrandVision’s patented approach distributes customer created text, graphics, videos, RSS/social media feeds along with pre-packaged worldwide, national and local weather and news. It is ideal for many business marketing applications for waiting rooms (patient and customer information); banks and retailers (video merchandising); education (student, staff and visitor information); business and industry (employee communication and operational/performance information); as well as nonprofit and religious organizations (member and supporter communication).

StrandVision also offers digital signage support hardware including PC-2-TV.net, a fully digital, high-definition (HD) video extender for long distance multi-screen distribution, Linux digital media players to ease and optimize electronic signage network installation and several large-format displays including freestanding pedestal displays. StrandVision Digital Signage services, installation and equipment are available directly from StrandVision and through registered affiliates and system integrators. Additional information about StrandVision Digital Signage is available at StrandVision.com, 715-235-7446 or by email.

###

EDITORS – for further information:

Mike Strand
StrandVision
715-235-7446 X100
mjstrand@strandvision.com

Sandy McLaughlin
Soucy Communications Group
781-898-7305
smclaughlin@scg-pr.com

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Britney Spears Doubles Down on DiGiCo in Vegas

Robert “Cubby” Colby and Johnny Balistrere both using SD Series desks for Britney: Piece of Me residency at Planet Hollywood’s AXIS theater

LAS VEGAS — Britney Spears is currently taking a break from touring, settling into a two-year residency on the Las Vegas Strip at Planet Hollywood’s AXIS theater, which was revamped for the purpose at a reported cost of $20 million with new staging, lighting, projection, and sound equipment, including a pair of DiGiCo digital audio mixing consoles. Britney: Piece of Me, which has already grossed nearly $18 million, brings a dance club atmosphere to the 4,600-seat theater, where the singer, backed by 14 dancers and a four-piece band, performs hits from her 15-year career.

Marc Delcore, the show’s musical director and keyboard player, appreciates the finesse with which veteran front-of-house engineer Robert “Cubby” Colby, using the DiGiCo SD10 console, is able to deliver every nuance of the band’s performance to the audience. “I spend as much time as I can during soundcheck with Cubby,” reports Delcore, who joined Spears in early 2000 as a keyboard sound designer and programmer before first appearing onstage with her on the 2009 Circus tour. “If I ask him to bump a track that might not be sitting where I need it, the flexibility to make that change but also keep what we just did is really important for me.”

According to Colby, the DiGiCo console’s snapshot functionality enables him to translate the tracks coming off stage, which have been carefully crafted by the musicians, to the audience. “With the help of virtual soundcheck and snapshots I’m able to recall sequenced tracks that are a very big part of a show like this, especially a dance show,” he says. “Britney sings every song live, but there are additional tracks when they’re doing the heavy dance numbers. Snapshots give Marc the security of knowing that these levels that they work on so hard translate to the live environment.”

“Britney pretty much has to stick to her script, but I have a lot of freedom to play different chords or different sounds,” continues Delcore. “Anything that the band throws at him, Cubby hears right away and he makes the adjustment. He catches everything and is able to make those adjustments with the console. It’s important for him to be able to make those changes on the fly. He’s such a great engineer.”

Monitor engineer Johnny Balistrere, generating 42 sends to side fills and wedges for Spears and the dancers, with in-ear feeds for the band, had not previously used a DiGiCo console. Once he learned that he would be using an SD5, Balistrere spent some time on the phone with Matt Larson, national sales manager at Group One, DiGiCo’s U.S. distributor, who also directed him to an online video tutorial. “It’s a great training video,” says Balistrere. “I was able to retain most of what I watched and apply it to this console. It’s the most impressive, well-thought-out console I have ever used in my career. You can operate it with ease.”

Balistrere continues, “It’s a very musical console. Certain things I want to be digital, certain things I want to be analog. The fact that I can customize digital and analog sounds in my mixes, separating inputs into a digital head amp or putting a DigiTube [tube emulation] on and making it a little more gritty, is one of the greatest features.”

By chaining effects, Balistrere is also able to deliver significant sound pressure levels to Spears’ wedges without having to worry about feedback, he says. “With condenser mics and headsets, I’ll take a vocal and send it to five or six effects, turn the sends down, and use them as vocal boosts with minimal effect. I’m able to get 112 or 113 dB, A-weighted, three feet from the wedges with her Crown CM-311A headset mic without even a hint of feedback. I’d never experienced that in my life until I used a DiGiCo console.”

Balistrere prefers to fix problem inputs at the source rather than use subtractive EQ. “But with the DiGiCo console I find I’m running even flatter EQs than I was previously in other consoles. So I can experiment more with my mic technique and placement, and not have to go right to the EQ section and cut it. It’s a very easy, precise, smooth console. I’ve got to say, it’s hard to go back to anything else!”

Julio Valdez, systems engineer and designer for 3G Productions – the rental house that supplied the show’s DiGiCo desks and d&b loudspeaker system – notes that the SD10 and SD5 were the natural choices for this massive production that is nightly drawing capacity crowds. “The sheer number of channels, pristine 96K sound, and ease of use were all huge factors in making these consoles the right gear for the job,” he says. “They say you’re only as good as your tools, but I really must compliment Cubby on the consistently exceptional mix he’s providing. He really makes the SD10 shine and I know he’s very happy with DiGiCo, as we all are.”

Cubby agrees: “My relationship with DiGiCo goes back to the company’s inception and I can honestly say that out of all of the digital consoles available to musical productions and mixers around the world, DiGiCo holds the key to undisputed audio quality and function. And with spill sets and other new features, the company continues to set the bar even higher. I love the SD10.”

“I also have to give a lot of credit to Marc Delcore,” he adds. “To be able to work on pursuing the best possible musical experience and audio quality with a musical director and keyboard player of his caliber really benefits this whole production. The same can be said of production manager Jason Danter, who has worked with Lady Gaga, Beyoncé and many others. Music is the number one focus of this production, and it has been a pleasure to be part of a show with such great audio facilities and a band that really cares about how it sounds.”

Britney: Piece of Me began its most recent leg on April 25. Following a summer break the show is scheduled to run through August into early September, tentatively wrapping up in February 2016.

About DiGiCo
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and ground-breaking digital mixing consoles for the live, theatre, broadcast and post production industries and is exclusively distributed in the U.S. by Group One Ltd. of Farmingdale, New York. For more information, go to: www.DiGiCo.biz

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A.C.T Lighting Approved for Membership in the Con Edison Commercial and Industrial Energy Efficiency Market Partner Program

A.C.T Lighting, Inc. has been named a member of the Con Edison Commercial and Industrial Energy Efficiency Market Partner Program. The program, piloted by the utility’s Green Team brand, benefits A.C.T Lighting and its customers as its members participate in protecting the environment. It directly relates to the GDS ArcSystem of auditorium, retail and commercial LED lighting for which A.C.T Lighting is the exclusive distributor in North America.

The Market Partner Network is comprised of contractors, distributors, suppliers and manufacturers of energy efficient equipment. It also includes skilled professionals such as architects, engineers and energy consultants who assist Con Edison commercial and industrial customers in meeting their energy savings goals.

Partners receive numerous advantages from the program, including the potential to broaden their customer base and increase sales. One of the primary benefits is the financial incentives offered by Con Edison to replace less efficient incandescent, T12 fluorescent and standard metal halide technologies with energy efficient alternatives such as LED lighting.

“We discovered ConEd’s Market Partner program at a recent global energy conservation trade show we attended,” says Chris Patton, systems specialist at A.C.T Lighting. “We were impressed by the financial incentives offered to those who want to implement energy efficient measures. We are very happy to have been accepted into the program. Now, when an interested party like a theater or entertainment venue contacts Con Edison for energy efficient lighting solutions the utility can refer them to us and our GDS ArcSystem.”

Designed as an LED lighting system for new and retrofit applications, the UK-made ArcSystem is available in a range of configurations that serve as truly viable replacements for traditional incandescent sources. With a CRI in excess of 90, the ArcSystem produces an incredibly rich, warm light. It offers extremely smooth dimming from 100 to zero – a feature that’s hard to find in LED fixtures. The system can also be operated wirelessly for easy installation in existing buildings without the need for rewiring with control cable.

“The ArcSystem has been in production for over two years and has hundreds of completed installations worldwide, including many in the U.S.,” notes Patton. “The ArcSystem has just received UL 924 approval for the dual input, emergency version of its fixtures. That’s particularly important for venues looking for an all-in-one solution since it’s now possible to use a fully-listed house light product for both main house lighting and emergency lighting.”

Patton says that A.C.T Lighting is “confident that our acceptance into Con Edison’s Market Partner program will help us promote the ArcSystem’s exciting, green energy alternative to theaters and other entertainment venues in the New York metropolitan area.”

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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