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Archive for July 8th, 2014

DPA Microphones Gets a Dose of Reality on Rising Star

New live results TV singing competition relies on company’s d:dicate™ 4017 Shotgun and system of d:screet™ 4061 Miniatures with Wisycom transmitters and receivers

LOS ANGELES, JULY 8, 2014 – When Daniel S. McCoy, CAS, scored the sound supervisor role for ABC’s new live results singing show, Rising Star, he knew he would need an innovative miking solution to support the performances. In addition to his tried-and-trusted d:dicate™ 4017 Shotgun Mic from DPA Microphones, McCoy also relies on his new DPA d:screet™ 4061 Omnidirectional Miniature Mics with Wisycom wideband transmitters and receivers.

With behind-the-scenes competitor interviews, commentary from host Josh Groban and mentoring from the likes of Ludacris, Kesha and Brad Paisley, Rising Star incorporates significant moments of dialogue in addition to the performances. In order to account for the show’s various ENG and reality needs, McCoy simultaneously uses the d:dicate 4017 and d:screet 4061s to give the post production team the ultimate choice in audio dynamics.

Using the d:screet 4061s with the Wisycom transmitters is a first for McCoy, a long-time enthusiast of DPA Microphones. New York-based Gotham Sound supplied the one dozen d:screets and beltpacks for Rising Star. McCoy chose the d:screet 4061 because it has a lower sensitivity and can handle 144dB SPL, which allows him to avoid distortion on the powerful singing voices. In addition, post requires vibrant-sounding mics that can be concealed, and DPA was the perfect solution.

“Wisycom’s transmitters are essentially the Ferrari of wireless,” adds McCoy. “I’ve been using DPA d:screets for years, and now I’m hearing them with new parameters. Since the transmitter is equipped with an AF input mic powering at 5.5 V, as opposed to the standard three or four, we can get an enhanced dynamic range and improved frequency response from the microphones. It’s been a real ‘ear opener,’ if you will. Using the d:screet 4061s and transmitter with a 24-bit 96 KHz A/D and D/A converters gives me a sound that makes me feel like I’m back in a recording studio while I’m in the field. It’s really interesting to me to find that, with proper amplification, DPA mics can give you so much more.”

The d:screet 4061 also makes it quick and easy for McCoy to swap users between a dialogue setup and a vocal arrangement. “The fact that I can use this mic for both styles is super effective,” he says. “I don’t need more gain and additional compressors, and I don’t have to slam on another limiter; I just need fade up and fade down. It’s freeing to be able to have a mic and transmitter combo that works so well together. I’ve been wondering for years how it is that European broadcasts sound so much better than here in the states, and I think I found the secret.”

Rising Star is based on a new format in which the audience judges the contestants in real-time through social media across three time zones. Voting is conducted through Facebook and Twitter to decide if a competitor moves ahead in the show, right in that moment.

Currently the owner and operator of ToneMesa, Inc., a location and post audio company based in Los Angeles, McCoy has received two Daytime Emmy Awards for “Best Live Audio Mix to Tape” for his work on the Ellen Degeneres Show and a Grammy® Award nomination for “Best Engineered Album” for Brian Wilson’s first self-titled solo project. In early 2008, McCoy became one of the youngest members to join the Cinema Audio Society.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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WORXAUDIO TECHNOLOGIES LOUDSPEAKER SYSTEMS ELEVATE THE EXCITEMENT OF HIGH SCHOOL FOOTBALL

Hillsborough NC – July 2014… All across our great nation, Friday night high school football is a generations-old ritual that brings a school’s student body together like few other activities are capable of. As the home and opposing team try to best one another on the field, friendships are reinforced and the students are generally unified with a sense of school spirit that brings everyone together. But without being able to clearly hear the score and other pertinent announcements, much of the excitement turns to frustration. Such was the case at Orange and Cedar Ridge High Schools—until the deployment of new loudspeaker systems drawn from the TrueLine catalog of Greensboro, NC-based WorxAudio Technologies were deployed.

Burlington, NC-based Boone Audio, Inc., a design/build firm that provides AV systems to the commercial and worship markets, was contracted to install new sound reinforcement systems at both schools. As both schools had essentially identical requirements on the football field, Boone and his team deployed two identical systems consisting of a TrueLine S-XL3-15 two-way, high efficiency, ultra compact, line array loudspeaker system mated with the company’s S-118S subwoofer. Power amplification is provided by WorxAudio’s PXD-2580 and PSD-700 digital amplifiers. Boone discussed the nature of the two projects. more

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SSL Live on Tour with Michael McDonald

“Because of the separation you get with the summing in the mix bus, it’s easier to place things in the mix”

NASHVILLE – Blue-eyed soul singer Michael McDonald joins 1980s super-group Toto this summer for a North American co-bill that stops at The Greek in Los Angeles and The Fox in Atlanta. McDonald’s front-of-house engineer Curtis Flatt was first introduced to Spectrum Sound of Nashville while in college and went to work for the company in 1986. Through the long association, Flatt’s career has spanned the best consoles and musicians of the last three decades, including Wynona Judd and the Judds, Donny Osmond and Michael W. Smith. He also filled in for a short time for Robert Collins on Eric Clapton. Today, he can be found at McDonald’s helm with an SSL Live console.

Flatt first took SSL Live out on McDonald’s Christmas Tour last winter. “Spectrum was going to order a pair for Jason Aldean and asked if I wanted to be the first to take one out,” he says. “I programmed it in my office and, without a production rehearsal, dove in at the first sound check. Michael’s musicians’ sounds are really good to start with. They play really well together and it’s a straightforward show. If you start with a good sounding product, mic it with quality microphones and run it through a console that has an excellent quality, you’re pretty much there. SSL Live brings me to that point and gives me the freedom to just mix and not have to think about a lot of external processes.”

The transparency of SSL Live’s mix bus, especially since it is a digital console, was one of the first things Flatt noticed. “There are a handful of consoles out there that sound good or really good, but as everybody who mixes knows, as you start to sum all those good sounding parts together, a lot of times you’re either working with or around the console to create that final sound, that final mix,” he explains. “On a warm console, you may have to figure out which inputs could lose a little warmth to fit in with everything so that it doesn’t get muddy. Live has such a separation that as you add all of the inputs, you don’t have this muddle going on, which happens so often on other live consoles. There’s definition to everything in the mix.”

Flatt credits the fidelity both in the highs and the lows of the console. “There’s a nice top-end on it and it’s really smooth; there isn’t an overabundance of hype on it,” he says, adding, “The low-end on the console is nice and round without being overbearing.”

He also notes an improvement in mixing and panning compared to other consoles. “Because of the separation you get with the summing in the mix bus, it’s easier to place things in the mix,” he says. “The palette is more open, so placement in the mix becomes really noticeable. Slight pans and movements here and there present a better picture. You hear subtle differences. For example, our drummer had two hi-hats; one was panned slightly left and one was barely right – and I mean barely, but you always knew which one he was playing, even with your eyes closed.

“I run a couple of parallel-compression bus groups because we try to maintain a certain level in the show and want to add a little bit of punch back into that in some areas without overly compressing the entire mix,” he continues. “So, I have a parallel drum group and a parallel background vocal group to level them out a little bit and add them in as needed. If the show really starts to push a little bit, there may be a dB or two of compression with the bus compressor, but the show is very dynamic so I don’t want to take the dynamics out, since the music lends itself to dynamics. It’s got pop, rock and R&B.”

The difference the SSL Live console makes during a performance is starting to gain recognition from the entire McDonald camp. “It’s not only been noticed by Michael and the band, but also management, other members of the crew and even some diehard fans noticed that something was different,” Flatt says. “When we did our first fly date after coming back from being on tour, I was using a different console because we flew in for a one-off show. Michael walked past FOH to say ‘hi,’ and when he looked over at the console and saw it wasn’t the SSL Live, he said, ‘Oh, it’s one of those.’ So it’s definitely something that he and the band have noticed; that management and production management have said ‘Yeah, we’re going to carry the SSL console, you don’t have to fight for it.’ ”

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

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Wohler and VSN Partner to Accelerate and Simplify Media Asset Management and Transformation Workflows

Integration of Wohler RadiantGrid Software-Based Processing Framework Into VSN MAM Makes for Dramatic Efficiency Gains

SAN FRANCISCO — July 8, 2014 — Wohler Technologies today announced that Spain’s VSN, an IT company specializing in high-performance multimedia content management solutions, is using Wohler’s RadiantGrid Intelligent Media Transformation Platform(TM) as the transcoding and media transformation engine for its media asset management (MAM) product. Integration of this Wohler technology into its MAM solution enables VSN to offer end users a turnkey solution for high-performance media management and processing.

“The unique speed with which Wohler’s RadiantGrid technology processes content translates to a significant benefit for customers using our VSN MAM solution,” said Jordi Utiel, CEO at VSN. “By partnering with Wohler, we’ve been able to offer a platform that accelerates media processing workflows and, in turn, enables our customers to realize efficiency gains that are so critical in today’s highly competitive media marketplace.”

With more than 20 years of experience, VSN has developed technology and manufactured solutions to meet the needs of more than 1,000 customers — TV stations, government organizations, universities, and news agencies — in 100 countries. Tailored to the requirements of the broadcast industry, VSN solutions help to ensure comprehensive media management for TV stations as well as independent producers and distributors of audiovisual content.

Wohler’s RadiantGrid applies TrueGrid(TM) file-based processing to manage and accelerate several tasks simultaneously while allowing users to realize true scalability across multiple machines. The result is a media transformation process that is simpler, faster, and dramatically more efficient than alternative solutions. Several installations of the VSN MAM with RadiantGrid technology have already been deployed successfully by customers in Asia-Pacific markets.

“VSN is a proven leader in IT-based solutions for the broadcast industry, and the intuitive interface and smart design of its solutions support straightforward management of media assets,” said Craig Newbury, vice president of sales for the Wohler RadiantGrid business line. “Through our collaborative work, VSN is able to back the highly refined front-end of its MAM user interface with unparalleled processing power and efficiency. For the end user, the result is a simpler workflow that enables faster time to market.”

Further information about the RadiantGrid Intelligent Media Transformation Platform and other RadiantGrid solutions is available at www.wohler.com.

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About VSN
VSN is a global technology company focused on providing innovation and solutions for the broadcast and media sector. It offers a wide range of products based on standard IT infrastructure, solving the needs of creation, distribution, and management of audiovisual content in TV channels, public institutions, universities, and news agencies. The complete suite of VSN solutions has been developed with an open architecture, following industry standards. It allows the user to digitize and manage media contents and to automate and optimize daily operations, perfectly integrating the different areas and third-party applications. With offices in Barcelona (HQ), Dubai, Montevideo, Miami, and Hong Kong, along with a center of technological excellence in Alicante and a widespread network of partners, VSN offers worldwide coverage, always keeping close to its clients. VSN solutions solve the complete workflow of an audiovisual company, improving its efficiency and walking hand in hand with it in its journey towards multiplatform and cloud environments. More information about VSN is available at www.vsn-tv.com.

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-VSN-EXPLORER.jpg
Photo Caption: Wohler RadiantGrid Used in VSN MAM System

Photo Link:
www.wallstcom.com/Wohler/Wohler-RadiantGrid.jpg
Photo Caption: RadiantGrid Intelligent Media Transformation Platform(TM)

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SMPTE Announces Launch of New Pittsburgh Section

New Section Will Bring New Resources and Opportunities to SMPTE Members in Increasingly Active Northeast Hub

WHITE PLAINS, N.Y. — July 8, 2014 — The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced the formation of a new SMPTE Section in Pittsburgh. The new Section will offer existing and potential SMPTE members in the Pittsburgh area valuable educational programs, technical expertise, and networking opportunities. The formation of the group was spearheaded by local SMPTE Fellows George Hoover, CTO at NEP; John Luff, television technology consultant at HD Consulting; and Diversified Systems CTO Karl Paulsen.

“George, John, and Karl did tremendous work to make the SMPTE Pittsburgh Section a reality, and the success of their initiative reflects the Society’s growing momentum and activity in the Pittsburgh area,” said SMPTE Executive Director Barbara Lange. “This really was an effort born in the grassroots of SMPTE membership, and it demonstrates our members’ genuine enthusiasm for taking advantage of educational programs and their interest in becoming more involved in creating the standards that shape our industry.”

The launch of the SMPTE Pittsburgh Section brings the total of local Sections to 28 worldwide. Each year, these groups collectively host more than 200 meetings, tutorials, and workshops. While these events give members access to a broad variety of SMPTE resources, they also enable each Section to tailor programming to address the technical and business concerns of particular interest in the region.

“Pittsburgh is a hub of activity for our industry, and it is particularly notable because the growing SMPTE membership in the region extends beyond traditional television and cinema professionals in what’s proving to be a very diverse group that includes new media,” said Paul Stechly, SMPTE membership vice president. “Because the formation of new Sections tends to draw an even larger membership, this announcement signals meaningful, ongoing growth for SMPTE in terms of both the breadth and depth of its membership.”

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

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

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

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Alcorn McBride Supports Three New Powerhouse Exhibits at The Children’s Museum of Indianapolis

Three large, new headline-making exhibits at The Children’s Museum of Indianapolis are using an array of Alcorn McBride equipment for show control, lighting control, and audio and video playback.

Known as the world’s biggest and best museum for children and families, the venue’s mission is to create extraordinary learning experiences across the arts, sciences and humanities that have the power to transform the lives of children and families. The nearly 500,000-square-foot museum boasts almost 120,000 artifacts and draws 1.25 million visitors annually.

“It’s important to understand that this is a place for children and families where they can learn together and share interactive experiences brought to life through sound and light shows that are made more authentic utilizing tools such as the Alcorn McBride equipment. We find those kinds of details make our visitors feel as if they’re in the actual place depicted in the exhibit,” says Kimberly Harms, Director of Media and Public Relations.

Chief Technical Officer David Donaldson notes that, The Children’s Museum of Indianapolis’ exhibits are strategically designed to encourage family interaction and intergenerational learning vis-à-vis a number of touch points. “High-quality sound and light shows stimulate the senses and help create a feeling in which children and families experience what it would be like to wander around another time or place via high definition video and sound recreations,” he explains. “These immersive experiences make it seem as though you really are in China or traveling the earth 77 million years ago.”

“Leonardo: The Mummified Dinosaur” opened at the museum in March. “We have a permanent exhibit called Dinosphere that is housed in a former CineDome, a large-format theater. It has about 150 programmable lights and artifacts,” says Donaldson. “In part of Dinosphere is Leonardo, the largest intact dinosaur ever discovered and one of only four mummified dinosaurs in the world. He’s about 20 feet long and 77 million years old.” Leonardo is a juvenile Hadrosaur, or plant-eating “duckbill” dinosaur. He was unearthed in Montana in 2001.

“Leonardo is in a special glass case with a sound and light show that tells his story,” Donaldson explains. “He’s already one of our most popular exhibits.”

Alcorn McBride equipment plays a key role in the Dinosphere and the Leonardo exhibits. At the heart of the Dinosphere is a V16 Pro show controller. An A/V Binloop HD handles video playback on monitors throughout Dinosphere. Two Lightcue DMX recorder/players are on hand, one for Dinosphere and one that manages 15 separate lights above the Leonardo exhibit. A single-channel AM4 MP3 and WAV player runs Leonardo’s soundtrack in synch with his lighting. When Leonardo’s seven-minute show is not running a Digital Video Machine HD 8400 plays back animated loops on a 90-inch flat panel display.

“Everything works very well,” Donaldson says. “We have been very happy with the Alcorn McBride gear we use as it has been very reliable and is solid state.”

Two new exhibits opened in May. “Take Me There:(r) China” is the second exhibition to explore modern life in a single culture. Take Me There:(r) Egypt was the first. To get visitors in the mood to travel, they board an airplane fuselage where two video monitors are mounted on the front wall of the cabin and two overhead. Five rows of seats are offered, and windows line the sides. Three slots in an AV Binloop HD play back trip content: a video of flight attendants talking about the journey and views outside the windows. The Binloop triggers buttkickers underneath the seats, which simulate air turbulence.

Elsewhere in “Take Me There:(r) China” an AM4 plays ambient music and street noise in the market place, calligraphy shop, medicine shop and tea house. In a bullet train experience, visitors sit in two rows of seats facing each other with a window in between on which a Digital Video Machine HD 8400 plays back footage shot on the super-speedy bullet train. An additional AM4 is available in a performance space. Staff can press wall buttons to access a series of audio clips programmed directly into the system.

Also in the China gallery is “Terra Cotta Warriors: The Emperor’s Painted Army,” the first children’s museum appearance by the famed tomb statuary since they were excavated near Xian, China in 1974. Fifty visitors at a time are brought into the entry theater’s cue line where they watch a video run off a Digital Video Machine HD 8400. Then they walk into the dimly lit gallery where all of the sound in the 15,000-square-foot space emanates from an AM4. A concluding theater experience features two video walls running a loop from an Alcorn McBride Binloop.

The museum’s Playscape permanent exhibit also features an A/V Binloop HD for its cue line. Playscape incorporates new brain research to create an authentic, physical space to help young families explore some of the most important developmental touchstones of children’s lives. The Binloop runs video in synch for families waiting to enter the space.

“Alcorn McBride equipment has become a standard for us and a very good investment,” says Donaldson. “It’s very reliable, all solid state. When you have families involved, reliability is of the essence. We have a very low threshold for things that don’t work!”

Donaldson also gives kudos to Alcorn McBride’s staff, whom he calls “very responsive. I can always reach someone if I need something – it’s like they’re working right along with us.”

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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H-P Products Element 2300 Central Vac Cleans up to 12,000 sq. ft

A convenient dual-filtration design and a powerful new engine make the Element 2300 ideal for large homes and light commercial applications.


Louisville, OH – July 8, 2014 – H-P Products, a leading manufacturer of central vacuums and custom tubing-related products, is proud to announce the Element 2300, its most powerful Element Series central vacuum power unit, designed for large homes and businesses up to 12,000 sq. ft.

The Element 2300 offers several innovations for a cleaner home with less hassle. The cyclonic, dual-filtration system deflects heavy particles with a filter shroud, depositing them directly into the dirt canister to reduce wear and tear of the inverted filter. Smaller dust particles are captured by the self-cleaning, permanent CleanShield inverted filter that eliminates the need for an outdoor exhaust, improves air quality, and never needs to be replaced. A simple, yet effective, carbon dust filtration system on the powerful Ametek motor protects walls and reduces carbon dust emissions.

About that motor, H-P Products partnered with Ametek/Lamb to design a completely new 8.4″ high-performance motor with 707 max air watts of power and 136 CFM of airflow to pick up pebbles, crumbs, hair, grass and other debris. The Element 2300 also features an on-board inlet which allows for easy vacuuming from the power unit location.

“Convenience, power and efficiency are the key factors driving central vacuum adoption these days,” said Amy Wesely, marketing manager, H-P Products. “The Element 2300 is about as low-maintenance as it comes for a central vacuum system since the filter never needs replacing, there’s no exhaust required, and the dirt canister only needs to be emptied three or four times a year.” Wesely added, “The 2300 is also backed by a powerful Lifetime Limited Warranty to the original homeowner.”

According to the 11th Annual State of the Builder Market Study done jointly by the Consumer Electronics Association (CEA) and National Association of Homebuilders (NAHB), 18 percent of all new homes included central vacuum. That is a 64 percent increase since 2007, making it the second-fastest growing technology product category installed in new homes behind only home theater. It is also one of the most profitable categories for installers, frequently earning 50-point margins.

Wesely continued, “Central vacuum presents a great opportunity for residential dealers to expand into light commercial segments like hair salons, dog groomers, workshops, etc. There’s not a lot of competition and it’s easy to sell the benefits of central vac to someone who’s always cleaning the floors as part of his or her business.”

For more information about the Element 2300 central vacuum power unit, please visit www.elementvac.com or follow H-P Products on Facebook, Twitter or LinkedIn.

Element 2300 Power Unit

Element 2300 Filtration Diagram 

About H-P Products
Since 1945, H-P Products, Inc., premier manufacturer of central vacuums and tubing-related products, has been internationally recognized for its operations developed on the genuine principles of producing high-quality products, while servicing the needs of a wide customer base. Superior service and performance practices have positioned H-P as a leader in the tubular products and central vacuum industries. With more than 60 years of manufacturing success, H-P continues to grow as a result of its diversified product line and flexible fabrication capabilities, and is committed to researching and formulating technologies while pioneering the industry.

Media Contact:
Caster Communications, Inc. at 401.792.7080
Nick Brown  nbrown@castercomm.com
Kalyn Schieffer kalyn@castercomm.com 

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Severtson Screens Features New TAT-4K Titanium Acoustically-Transparent Projection Screen at 2014 CEDIA Expo

Mesa, Ariz., July 8, 2014 – Severtson Screens (www.severtsonscreens.com), a global leader in innovative and quality projection screens for the home theater, commercial, and pro AV markets, is pleased to announce that it will showcase the new TAT-4K Titanium Acoustically-Transparent line of projection screens during CEDIA Expo 2014, held in Denver from Sept. 11-13 at the Colorado Convention Center, booth #110. The TAT-4K is now shipping.

“Severtson’s TAT-4K Titanium Acoustically-Transparent screens offer the ultimate viewing experience with the best audio frequency response in the industry,” explained Toby Severtson, president and CEO of Severtson Corp. “The TAT-4K’s uniform pattern weave is unique. With these screens, there is virtually no audio or video scatter. At the same time, the screens preserve superior and deeper contrast in areas with limited light control. This is because the TAT-4K offers the same innovative technology as our acclaimed SAT-4K screens. Additionally, the titanium-grey shade on the TAT-4K preserves picture contrast even in rooms that are not completely dark, so you get a crisp image that will amaze viewers.”

With virtually no screen size limitations, the entire sound stage can be placed directly behind the screen at the same horizontal axis, allowing the audio track to be in perfect sync with the brilliant images on display. The TAT-4K screen meets and exceeds all industry standards for optimum video and acoustic performance, with reference quality reproduction of the digital image combined with true fidelity to the soundtrack.

The seamless acoustic weave and the striking contrast offered by the TAT-4K are in high demand, especially for many high-end home theater and commercial applications.

“Made in the USA, the TAT-4K is compatible with 2D, Active 3D, 4K, and Laser projection applications,” Severtson added. “Available in Impression Series Fixed, Deluxe Series Fixed, Deluxe Curved Series Fixed, Pro, and Cinema Frame configurations, the TAT-4K comes in heights ranging from 37 inches in an Impression Series home theater screen, to a whopping 15 feet, 10 inches in a Pro-Frame or cinema screen.”

Additional TAT-4K specifications include:
• Surface: TAT-4K acoustically woven screen material
• Gain: .93
• Max height: 15 ft. 10 inches
• Viewing Angle: 160 degrees
• Flame and mildew resistant

Custom and standard sizes are available. Severtson asks that customers contact them directly for individual pricing for their specific needs.

“Severtson Screens is proud to serve the home theater market with the same service and quality that has taken the cinema market by storm and cemented us as the industry leader,” added Severtson.

Approaching its 30th anniversary in 2016, Severtson Corporation continues to be a global leader in innovation and quality. The Severtson family’s extensive experience in manufacturing small home theater screens and large cinema screens has given Severtson Corporation the expertise to meet the needs of the professional and consumer AV markets for both indoor applications as well as large outdoor venues.

With its three Arizona-based production facilities and its state-of-the-art robotic application system, Severtson has massive production capabilities and an unusually wide array of screens. The screens range in size from massive movie theaters, comfortable home theaters, and everything in between.

For more information, please visit www.severtsonscreens.com, call 480-610-5155, or email sales@severtsonscreens.com.

About Severtson Screens
Mesa, Ariz.-based Severtson Screens, which celebrated its 25th anniversary in 2011, is an award-winning global leader in innovative and quality projection screens in the home theater, pro AV, and cinema markets. Its low rejection rate coupled with the high quality of all its products has made Severtson Corporation the industry standard for quality and customer service worldwide.

From its unlikely origins in the family kitchen to today’s three modern production facilities, Severtson Corporation has remained committed to the principles of innovation and uncompromising quality that have made them who they are today.

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Video Devices PIX 260i Streamlines Multi-Campus Workflow For Bethlehem Baptist Church

MINNEAPOLIS, JULY 8, 2014 – When Bethlehem Baptist Church was looking for a reliable video/audio solution for recording and playback of weekly services among the house of worship’s multiple campuses, it turned to the PIX 260i Production Video Recorder from Video Devices, a new brand of Sound Devices that is dedicated to the company’s mission critical video products. The church utilizes five PIX 260i’s to ensure the highest quality video and audio when rebroadcasting sermons to the campuses.

Comprised of three campuses (Downtown, North and South), Bethlehem Baptist Church hosts multiple services a week. In order to ensure that all three campuses have a current sermon from the main pastor, Associate Director for Media Ministries Jonathan Davis records the Saturday night service using the PIX 260i. He then sends the recording for playback to the two campuses not being served by the preaching pastor, on a particular Sunday morning. Recorded files can be transferred over Ethernet or delivered on one of the four drives that the 260i is able to simultaneously record to. The Downtown and North campuses feature a full production setup, while the South Campus is a portable campus at a local high school for the Sunday morning services. The Downtown and North campuses each have two PIX 260is, and the South campus has another.

The PIX 260i’s extensive audio capabilities are an essential component for the facility. The facility records both the mono- and stereo-feed of the house, as well as an iso of the pastor’s mic. Using the PIX 260i, the facility is able to send and receive all audio over Dante to and from its Yamaha CL5 mixing system. In order to cater to its ethnically diverse members, Bethlehem Baptist Church also records live Spanish and Russian translations. The multiple track count gives the facility room to grow in terms of having additional isolated audio tracks available, when needed. In addition, with only two full-time media staff members, the facility needed a user-friendly solution to cater to its large volunteer base. The PIX 260i’s large display and easy-to-use controls enable non-professionals to use the equipment with ease on an ongoing basis.

“We found that the PIX 260i met all of our criteria, and most importantly, it was seamlessly incorporated into our existing AV system,” says Davis. “The PIX 260i gives us ultimate flexibility in being able to record content from SDI or HDMI, and to get that content back out just as easily. In addition, the PIX 260i allows us to take whatever we record and deliver it directly into our post-production workflow in order to post services online as well as streamline our other productions.”

Davis and the church are already familiar with the company’s products, as they have used its PIX 240i recorder for on-location productions. “We found the PIX 240i to be very proficient and an improvement to our workflow, so when we heard about the PIX 260i, we knew we had to give it a look. It sounded perfect for what we needed,” says Davis. “We needed something that was rock-solid reliable, because when it comes to church services, it is a timed event. There isn’t a backup and you don’t get a do-over. The Video Devices PIX 260i gives us the reliability and redundancy we need to ensure that we capture the services and are able to play them back at both our fixed and mobile locations.”

The PIX 260i brings the features and tools needed by production companies and other production-based AV environments looking to migrate to file-based recording and playback environments. It records either QuickTime files in either Apple ProRes or Avid DNxHD video formats or WAV format audio files. Files recorded with Apple ProRes or Avid DNxHD are ready for editing in common editing environments, such as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

Continuing the company’s heritage in production sound, the PIX 260i is infused with 32-track audio recording and playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

“The customer service that we receive from Sound Devices has been absolutely amazing,” adds Davis. “One of my favorite things about Sound Devices is how proactive they are in sending out firmware updates — not only do they fix any potential bugs, but they add new features, which is rare today. They take such great care of their customers.”

Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit Video Devices and Sound Devices websites, www.videodevices.com; www.sounddevices.com.

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Lausanne’s Olympic Museum Reopens with AV System Design, Engineering and Integration by Electrosonic

When The Olympic Museum in Lausanne, Switzerland, reopened recently after a two-year renovation, it made extensive use of audio-visual and interactive techniques that take visitors on what’s been called “a multidimensional journey across the Olympic Universe.” Electrosonic designed the AV system, which is simple for visitors to use and offers maximum flexibility for the museum, under subcontract with media producer Centre Screen Productions of Manchester, England. Electrosonic handled the system engineering and integration under a separate subcontract with Paragon Creative of York, England.

Located on the shores of Lake Geneva, The Olympic Museum is now a greatly expanded, four-level venue spanning more than 32,000 square feet and featuring over 1,000 objects and 150 screens, which deliver an informative and immersive experience to Olympic fans and the curious from around the world. Visitors can tailor their tours to capture a broad view of the games or engage in an in-depth Olympic experience. The augmented reality created by the museum allows each person to seek the information and emotion they’re looking for and perhaps return home with some unexpected knowledge.

Ghostly images of the torch relay, projected onto a curtain of flexible, vertical silicone rubber rods, greet visitors as they walk up the ramp to the uppermost exhibit area, Level 1. The impressive, panoramic “Welcome to Olympia” display shows the origins of the games in ancient Greece. Created by three edge-blended Panasonic projectors, it’s the first of several panoramas visitors encounter. All of them feature multi-channel sound with Tannoy speakers.

The figures of athletes on ancient Greek vases come alive in an engaging interactive table display. The figures on the pottery are animated and displayed directly onto the table surface by projectiondesign projectors. LCDs provide information about the sports shown.

Also making a hit with visitors on Level 1 are the “Olympic Torch” exhibit and the “Historical Timeline.” The torch display includes an array of torches interpreted by six 22-inch Iiyama touch screens, a Panasonic projection of the lighting of the Olympic flame on a screen that can be viewed from front or back, and a stylized projection of flames dancing on the floor, which is part of the exhibit lighting.

The timeline uses five Panasonic projectors to produce one very long image of a “library” whose volumes relate to specific Olympic games. Five small interactive podiums enable visitors to open up a volume of their choice and see a compilation of images from that year’s games play out across parts of the timeline.

Another Panasonic three-projector panorama, this one dedicated to “The Best of Opening Ceremonies” from the games, completes the tour of Level 1.

Level 0, where the stories of the Summer Games, Winter Games, Paralympics and Youth Olympics are told, features a number of surround screens with multi-image content. Interactive displays in each area are based on 7thSense Delta server architecture for remote updating of content as needed. The panoramic “Inside the Race,” with five edge-blended Panasonic projectors, envelops visitors with highlights from the games and close-up looks at the athletes’ grit and determination to succeed.

The lowest exhibition level, Level -1, is devoted to the theme of “The Olympic Spirit.” The International Plaza has a three-screen display as well as three stacks of 55-inch, narrow-bezel Panasonic LCDs. Another three projector display acts as a backdrop to an exhibit of Olympic medals.

The “Words of Olympians” exhibit enables visitors to learn about athletes and hear their own accounts of participating in the games. Twenty AV stations, featuring 22-inch Iiyama LCDs, play looped programs. Stop and Listen Gorilla handsets deliver the audio.

The great number of screens throughout The Olympic Museum challenged Electrosonic to develop a consistent approach to the overall systems design. That approach is based on carrying all the video, audio and control signals on standard CAT-6 cabling; housing all computers and servers in racks in dedicated control rooms near the exhibits they serve; and minimizing variations in practicable equipment.

Four control rooms on the three different levels are outfitted with 19 equipment racks. The racks in each control room represent a sub-system under the control of a Medialon system controller. One of the Level 1 control rooms has been designated the Master control room for overall system control and linking to the museum’s Building Management System for automatic scheduled operation.

Electrosonic also specified a standard OEM computer for the interactive exhibits to ensure consistency of performance and to simplify maintenance. Delays due to compatibility problems that might not have been discovered until equipment arrived on site were eliminated by test-running the content on the standard computer prior to delivery.

Mark Pyrah, CEO of Paragon Creative Ltd said, “As turnkey fit out contractor we worked closely with fellow British companies Centre Screen and Electrosonic to create seamless immersive environments that entertain, thrill and motivate in an entertaining and memorable way. We are delighted to say that the project was completed to both schedule and budget. We are immensely proud to have been involved in this stunning project.”
“Electrosonic put together a first class team, and from the kickoff meeting in Lausanne to the final installation 18 months later, the whole team performed superbly,” said Dave Postlethwaite, CEO of Centre Screen Production. “As a software producer you need a hardware company that is experienced, flexible, rigorous in their methodology and systems and, very importantly, has a team with boundless enthusiasm; Electrosonic had it all!”
Concluded David Rodriguez, Project Manager for the Technology and Information Department at the International Olympic Committee (IOC), “Electrosonic worked with the content manager, the integrator and the IOC, taking into account the needs of each and proposing technical solutions complying with the technical and energy-saving standards of the country. All of the interactive terminals, 98 projectors and 30 large-screen monitors and respective PCs were installed within very tightly imposed deadlines. After six months of operation, there have been very few problems. This shows the quality of the work Electrosonic did for The Olympic Museum. We are very pleased to have been able to work on this project with them.”

London-based Metaphor was the creative advisor throughout the museum rebuild. Paragon Creative appointed Mather and Company to handle exhibition design and Sutton Vane Associates lighting design. Centre Screen named Peter Key as audio consultant.

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

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

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