A virtual press conference from Sound & Video Contractor

Archive for July 29th, 2014

The Ultimate Sonic Journey: Mastering Engineer Maor Appelbaum Relies on the Sennheiser HD 600 As a Critical Listening Tool in Creating New Yes Album

The Sennheiser HD 600 Plays a Key Role in Delivering a Spacious, Detailed Sound Experience, Removing Sonic Barriers Between Artist and Listener

Old Lyme, CT, July 29, 2014: Since forming in 1968 and subsequently releasing more than 20 studio albums including classics like Fragile, Close to the Edge and Tales from Topo-graphic Oceans, Yes built its international success on the very foundations of progressive rock. Still very active as one of rock’s most influential bands, Yes recently opened their latest chapter of musical innovation with the release of Heaven & Earth. Produced by the legendary Roy Thomas Baker (Queen, David Bowie) and mixed by Billy Sherwood (Nektar, Motorhead), Los Angeles-based Mastering Engineer Maor Appelbaum got the call to put the finishing touches on the classic band’s latest sonic creation, keeping his Sennheiser HD 600 audiophile grade headphones close by.

Appelbaum, who runs Maor Appelbaum Mastering and works across a broad range of genres, chose to use the Sennheiser HD 600s as a studio reference tool to bridge the gap between album production and listener. Over the course of the project, he listened as both a technically minded professional and as a passionate music fan, with the ultimate goal of delivering an emotionally engaging listening experience. In the conversation that follows, Appelbaum discusses the ins and outs of mastering a modern day classic.

What is your role as mastering engineer?

I bring an objective ear to the process. Since I haven’t heard a project before, I can listen like a fan yet have control over the outcome. I am the buffer between what is created in the studio and what finally arrives to the listener’s ear. My ultimate goal is to help create a better, more emotionally engaging listening experience. Part of how I do this is through critical listening, which is evaluating how the music’s ‘feeling’ is presented from a frequency perspective. In making my evaluations and decisions, the tools I use are very important to me. For example, I have an excellent monitoring system with many sets of speakers so I can control how these frequencies are presented. I also use headphones to help me hear other details that might be missed by speakers.

How did you begin working on the new Yes album?

Billy Sherwood and I have collaborated on many albums together, and in the past two years I have mastered around 20 albums that he has worked on. He is very well known in progressive rock circles and we have a very good, longstanding relationship. One day he called me asked me to master the new Yes album and it was a great surprise. Once the mixes came in, I wanted to take them to the next level, while keeping the openness of the recording and all the dynamics in tact.

How can headphones help in the mastering process?

They are a great tool for checking the stereo spread and also evaluating low level details — which can consist of room tones, reverberation and other items. Speakers are important in helping evaluate the dimension in a production, but in most cases they are in front of you. On the other hand, headphones are essentially surrounding your head and can really help you figure out if your imaging natural or if it feels artificial.

When did you decide to rely on headphones in the process?

Once I figured out the processing chain that I wanted to use, I listened to the project on head-phones because I figured that listeners of this album would include audiophiles as well as people who enjoy listening to headphones — not just people who listen through earbuds and speakers. I think you always want to make sure that the product sits well with the clientele, and of course Yes has many fans that are bound to listen on headphones — both ‘old school’ fans who grew up with headphones and hi-fi systems and ‘new school’ fans who grew up lis-tening to music on computers. Today, music fans want to have a better production system, but portable — that’s why I think there is more sales of headphones than ever before.

Why were you drawn to the Sennheiser HD 600s?

A friend of mine bought a pair and he was really excited about them. He kept after me and I realized that if he was enjoying them that much, I should really give them a shot on the Yes project. It was the first time I bought anything sight unseen, solely on a recommendation. I got them, put them on my ears and said ‘Wow – these really sound good!’ I didn’t feel like they were hyped and they sounded very natural. They had all the detail I needed, and were very comfortable – which can be important over long sessions. Also, the frequency response was never piercing and didn’t fatigue me. I took them off, listened to my speakers, then put them on again and realized that the HD 600s sounded very close to my speakers — as much as a pair of headphones can.

What were your specific goals in mastering this album and where did the HD 600s play a role?

For this album, it was very important for me to hear a three dimensional sonic image — not just with speakers shooting straight at me. Using the HD 600s, I could hear the entire panoramic spread in great detail — it was very revealing. With speakers you can also hear this, but with headphones it is better because they sit right on your ear, there is nothing in between you and the music. On an album like this, where everything is very open, hearing things this way is very important and the HD 600s were perfect. They sounded like a nice pair of expensive, audiophile speakers, but on your ears.

Can you describe the overall design and form of the HD 600s?

The build quality is excellent. Its padding on the HD 600 is just right, and the tension is loose enough that you don’t feel an exorbitant amount of pressure your ear. Also, they are not too heavy, so you don’t feel like there is something bulky on your head. The cable is super flexible and the plug is robust. Overall, I love the sound quality and the HD 600 is very comfortable to work with. I am very impressed and I think I will be using them more and more.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Photo caption:

1) Maor Appelbaum, Mastering Engineer
2) The Sennheiser HD 600 headphone

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

The Refuge Selects LynTec Relay Panels for New North Carolina Campus

RPCRs Bring Remote Power Sequencing to House of Worship’s Light and Audio Applications

LENEXA, Kan. — July 29, 2014 — LynTec, a leading manufacturer of customized electrical power control solutions for professional audio, video, and lighting systems, today announced that the company’s award-winning RPCR relay panels have been selected for The Refuge’s new campus in Kannapolis, North Carolina. Featuring remote control capabilities, LynTec’s RPCR-48 and RPCR-24 provide remote sequencing capabilities to the house of worship’s light and audio systems, without the need to redesign the church’s current system.

The Refuge’s new Kannapolis campus features state-of-the-art sound and light systems that turn sermons, concerts, and other church events into immersive audience experiences. To add simple remote sequencing and control, easy status updates via the Web, and the ability to power down equipment completely, integrator WAVE turned to LynTec’s award-winning RPCR-48 and RPCR-24 relay panels. Featuring a built-in Web server to bring remote electrical control to any large assembly space, the RPCRs add easy branch circuit control and monitoring to any existing breaker panel regardless of brand, make, or model.

“The Refuge was looking for a power management solution that could add the ability to sequentially power down the facility’s surround audio system, HD video components, and concert lighting in order to protect equipment from potential damage and increase the longevity of their systems’ use,” said Justin Hames, director of engineering/modeling, WAVE. “By integrating LynTec’s RPCR relay panels, the client can now turn systems on and off without any risk to equipment performance, while adding the capability to monitor the status of panels easily from the Web. The result is both intelligent power protection and advanced monitoring capabilities from any Web-enabled device.”

LynTec’s RPCR panels add easy on/off control to any existing circuit breaker panel installation and are compatible with popular control systems such as ETC(R), Creston(R), and AMX(R). In addition, the units offer the ability to control relays directly via TCP/IP, DMX, RS-232, or contact closure control systems. Featuring brownout protection, RPCRs will automatically shut down selected circuits during under-voltage situations and power-up as programmed when voltage regains stability. The units also provide emergency power-on for egress lighting and shutdown capabilities for amplifiers with contact closure inputs from fire alarms. Thanks to the RPCRs’ built-in Web server and browser-based interface, users can simply set up, troubleshoot, control, and monitor relay status remotely. Further, the system keeps users aware of any potential emergencies by sending alert notifications via text or email to warn of voltage anomalies.

“The ability to power down equipment sequentially provides both fail-safe protection against potential damage and the ability to bring greater energy-efficiency to large A/V/L installations through the elimination of phantom power,” said Mark Bishop, president of LynTec. “Designed specifically for houses of worship, schools, performing arts centers, auditoriums, and other large assembly spaces, our award-winning panels allow The Refuge staff to control power remotely from any smartphone, computer, or tablet device to add another level of protection to their investments. We are extremely pleased to participate in such an innovative project; it provides the perfect example for demonstrating the flexible potential of today’s power management technology.”

More information on LynTec’s RPCR panels and full line of products is available at www.LynTec.com.

# # #

About LynTec
LynTec is a leading manufacturer of remotely operated AC power control systems for the professional sound, lighting, and video industries. The company offers both electrical protection and circuit switching capabilities within the same enclosure — saving space, lowering installation costs, and building trusted relationships with system designers. LynTec’s continuous growth in electrical and expanded lighting control, energy monitoring, built-in power conditioning, and mobile applications positions the company as a leading resource for the A/V and lighting industries and an integral partner for sustainable energy practices. More information is available at www.LynTec.com.

PR Link:
www.ingearpr.com/LynTec/140729LynTec.doc

Photo Links:
www.ingearpr.com/LynTec/LynTec_Refuge.jpg
www.ingearpr.com/LynTec/LynTec_Refuge_Board.jpg
www.ingearpr.com/LynTec/LynTec_Refuge_RPCR.jpg

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: AV Control Systems, Large Venue, News |

Sohonet Appoints Chuck Parker to Executive Chairman

Company Continues Global Geographic Growth and Market Expansion

London and Los Angeles (July 29, 2014): Sohonet, the leading expert in connectivity and Infrastructure-as-a-Service (IaaS) for the media and entertainment industry, is pleased to announce the appointment of Chuck Parker to Executive Chairman, whose expertise will continue to guide the company in its global expansion efforts.

Parker joins Sohonet following the successful acquisition of Unicorn Media, a leading provider of cloud video ad insertion technology, by Brightcove, a global provider of cloud services for video. Parker served as Chief Revenue Officer at Unicorn and as VP of Global Media Sales at Brightcove. In addition to fulfilling non-executive chairman duties on the Sohonet Board for the past year, he is a well-known industry thought leader who brings a wealth of media and technology experience to Sohonet.

Previously, Parker spent 15 years at Technicolor where he fulfilled a variety of roles, including Chief Commercial Officer, President of Technicolor's Broadcast and Digital Division, and EVP/Managing Director of Technicolor's International Home Entertainment division and CIO. Parker is also currently the Chairman of the 2nd Screen Society, an innovative digital video industry body he founded in 2012.

Dave Scammell, CEO of Sohonet, said: "We are very excited that Chuck has joined us full-time. Over the past year, he has proven to be invaluable in his insight on the industry, and his drive and passion for the business is infectious. As we expand our renowned Sohonet Media Network (SMN) further into the cloud and grow our range of specialist, media-aware IaaS offerings, Chuck will drive these new offerings to market and ensure they are well tuned to the needs of our expanding client base."

Sohonet recently expanded its Sohonet Media Network to a growing number of cloud providers, including AWS, Google and Softlayer, creating a "fast lane" to the cloud by providing speedy access and reduced charges for all SMN clients. In the last 12 months, the company has expanded services to customers in Singapore, Montreal, Atlanta, Manchester and Amsterdam, and has significantly increased its client base in Vancouver, New York and core locations of London, Sydney and Los Angeles.

"Sohonet is a highly ambitious company at the leading edge of change and is perfectly positioned to capitalize on the media industry's continuing demand for better, secure solutions to manage its valuable and ever growing digital assets," said Parker. "The company is the recognized global leader in network services for the media and entertainment industry with its renowned Sohonet Media Network. Sohonet has listened carefully to its customers to develop a range of flexible, cost-effective offerings that will ensure media companies are better equipped to meet the many challenges of the rapidly changing digital landscape. I look forward to working with the team to significantly increase Sohonet's footprint on the global stage."

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Corporate AV |

Nouvelle Star’s Amel Bent Takes SSL Live on the Road for 2014 Instinct Tour

“This is the console I have been waiting for; it gives me the utmost in flexibility, ergonomics, sound and options”

PARIS – Pop star Amel Bent first took France by storm as a semi-finalist on the pop idol television show Nouvelle Star in 2004. Ten years later, she’s still going strong. Currently in the midst of her Instinct Tour, Bent is performing to enthusiastic audiences across France and Switzerland, where a pair of SSL Live consoles, supplied by SGroup’s Alès location, are handling FOH and monitors.

Having previously worked with Christophe Willem, Zazie and 1789 Les amants de la bastille as PA tech, FOH engineer Thibault Maestracci joined Bent in November 2013 at the start of the tour. For this production, he takes approximately 50 channels from the stage and handles FOH mixing with a system that incorporates two Pro Tools® HD rigs.

“The first Pro Tools system is used as a ‘toolbox,’ mainly for effects for ‘stem group’ processing,” he explains. “The second system functions primarily as a backup during the show, but I can also use it as a multi-track recorder/player for rehearsals. The microphone preamplifiers are located on stage and are connected to the FOH console using SSL’s Blacklight II audio transport on two optical fibre connections. Alex [Maggi, the monitor engineer] and I have independent control over preamp gain for each desk.”

Maestracci is very happy with the results he gets with the SSL Live. “The sound quality is excellent and preamplifiers have the headroom to accept high input levels,” he adds. “I don’t need an external preamplifier with this desk — even for the lead vocal! The fader and encoder layout is great, and the way you can deploy the channels on different banks is very useful. You can put what you want where you want it. Once you understand the logic behind the desk, it is very easy to customize, and the ability to use both screens simultaneously is a powerful feature.”

According to Maestracci, the Instinct tour began indoors with a PA system that was configured for audiences between 500 and 1200. “For the summer, we’ve switched to an outdoor configuration with a local ‘festival-style’ PA,” he continues. “With this setup, the main output of the SSL Live is sent at 96 kHz via the AES output to two system processors, then distributed via Dante to the power amps.”

Meanwhile, Maggi, whose credits include Lara Fabian, Nolwenn Leroy and the production of Les Victoires de la Musique, mans his SSL Live from stage left, feeding monitor mixes to wireless IEM transmitters and wired IEM amplifiers. He met the Parisian pop sensation in 2004 while working on Nouvelle Star and soon after began touring as her monitor engineer.

“I’ve been waiting for a new generation of digital mixing consoles that could provide a higher number of output buses and increased reliability over the older digital desks I had been using,” he says. “The SSL Live gives me all of that, plus more. A big strength of the desk is that I can operate it in any number of methods. I can use the large touch screen or the small touch screen with its associated knob controllers, to access parameters for any input or output channel — whatever way is best for me. I find that I mainly use the small touch screen and the Channel Control Tile, which gives me rotary controls for the parameters and dedicated buttons to quickly access EQ, dynamics, panning and inserts. This is the console I have been waiting for. It gives me the utmost in flexibility, ergonomics, sound and options.”

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

Slamhammer and Martin Audio Step Up At All-Star Game Concert

Minneapolis, MN––The Target All-Star Concert was held at the TCF Bank Stadium on the University of Minnesota campus a few days before the 2014 Major League Baseball All-Star game.

Slamhammer Productions provided audio, staging and video for the sold-out show that featured Grammy Award winner Imagine Dragons and local hip-hop phenomenon Atmosphere playing to an enthusiastic crowd of over 30,000.

To get the depth and impact of coverage required, Slamhammer set up a Martin Audio loudspeaker system consisting of 16 W8LCs a side for the main hangs; 10 (stage right) and 14 W8LCs a side as outfill; a hang of 2 W8LMDs as center downfill; 4 W8LMs across the front lip of the stage for additional front fill, and 40 WSX subs ground-stacked in front of the stage. Two delay towers with 12 W8LM speakers each were set up 175 feet back in the audience.

Even though Slamhammer had done three smaller shows at TCF Bank Stadium, there were still particular challenges given the size and high profile nature of the event.

According to company President Peter Skujins, “We were faced with long throws of over 400 feet and were limited in terms of rigging capacity. The mobile stage we were using is a beautiful structure with a huge total capacity, but you eat that up pretty quick with multiple hangs weighing over 6400 lbs on the roof. We were also concerned about having a major sightline problem with the delay towers because it was a seated house.

“Fortunately, these all turned out to be non-issues because the W8LM is a very compact box and the Martin Audio system did what it’s supposed to do. It sounded great and everyone was really happy with the coverage and audio quality, including our client Major League Baseball who called the concert ‘a huge success.’”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Dreamsound Is Poland’s First Post-Production Studio to Adopt Dolby Atmos Powered By HARMAN’s JBL and Crown

WARSAW, Poland — Since 2007 Warsaw-based Dreamsound (www.dreamsound.pl) has been one of Poland’s top film post-production studios, offering a complete range of services from recording sound on set through sound editing, mixing and audio mastering. Since its inception Dreamsound has been committed to offering its clients the very latest in film sound technologies, as evidenced by the fact that it’s the first post-production house in Poland licensed to produce film soundtracks using the leading-edge Dolby Atmos surround-sound system, heard at its full potential thanks to a system based around HARMAN’s JBL ScreenArray™ loudspeakers and Crown DSi and XLS DriveCore Series amplifiers.

Dolby Atmos is a next-generation surround-sound technology that employs overhead speakers as well as traditional surround speakers to create a remarkably realistic and immersive sonic environment. Dolby Atmos employs up to 64 speakers to heighten the enveloping sonic atmosphere and impact of movie theater sound. The Dolby Atmos JBL and Crown system is installed in a new 280 square foot, 15-seat screening room that opened in January 2014. Dreamsound co-owner Kacper Habisiak worked closely with JBL and Crown brand manager Wojtek Kopytek at HARMAN Professional distributor ESS Audio and with Dolby personnel in designing and installing the screening room.

The installation employs a total of 32 JBL loudspeakers including ScreenArray 3731-T 3-way tri-amplified loudspeakers and 4642 dual-18-inch subwoofers arranged behind the 20-foot wide projection screen in a left-center-right configuration. JBL SCS 12 and SCS 8 Spatially Cued Surround 12-inch and 8-inch coaxial loudspeakers are mounted on the ceiling, side and rear walls, augmented by two JBL 4181 18-inch subwoofers. The loudspeakers are driven by a complement of Crown DSi 1000 and XLS 2500, XLS 2000, XLS 1500 and XLS 1000 amplifiers.

“JBL speakers are the standard in Polish cinemas, and they match perfectly with Crown amplifiers, so it was a logical move for us to implement these components in our Dolby Atmos screening room,” said Habisiak. “Equally important, the performance of the speakers and amplifiers meets Dolby’s licensing requirements, which are extremely stringent regarding specifications including sound pressure levels, frequency response, coverage relative to room size and other parameters.”

JBL’s ScreenArray 3731-T loudspeakers are designed for critical sound reproduction requirements in small to medium cinemas and studio production and post-production applications. The 3731-T incorporates a host of design and engineering advancements including Optimized Aperture Waveguide and Focused Coverage Technology for ultra-low distortion and extremely uniform frequency response over a precisely controlled coverage area. Crown’s DSi amplifiers are specifically designed for cinema applications with features including onboard DSP, EQ, delay, output limiting and presets for JBL loudspeaker systems. XLS Series amplifiers combine performance and flexibility featuring both Crown’s proprietary DriveCore™ Technology and PureBand™ Crossover System allowing users to select crossover points from 50 Hz to 3kHz.

“The JBL and Crown system far exceeds our expectations,” Habisiak noted. “It’s one thing to meet the Dolby Atmos specs, which are admittedly quite demanding – but it’s another thing to actually experience what this system can do. The combination of the clarity, dynamic power and seamless integration of the speakers and amplifiers with the three-dimensional width, depth and height localization of the Dolby Atmos process is truly remarkable to hear.”

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Crutchfield Designs Loud and Bulletproof Sound System for Trinity Irish Pub With HARMAN’s JBL Professional Loudspeakers

CHARLOTTESVILLE, Virginia – As a popular dance club near the campus of the University of Virginia, Trinity Irish Pub garnered a great amount of attention when word spread of its upgraded sound reinforcement system, featuring HARMAN’s JBL loudspeakers and Crown amplifiers. Systems integrator Crutchfield Corporation of Charlottesville, Virginia designed and installed the unique system.

Two design goals were set for the new system at the Trinity Irish Pub: the loudspeakers needed to produce twice the amount of output power than the old system while attaining proper coverage in the room. In addition the entire system needed to be bulletproof and able to withstand any amount of power surges as well as physical abuse. Hence, the team decided on four JBL PRX412M portable loudspeakers and one PRX418S subwoofer, powered by one Crown XTi4002 and one XTi2002 amplifier, with additional management from a dbx DriveRack PA+ system.

“We wanted to tailor the sound to the room, and with the HARMAN gear working so well together, we were able to do just that,” said Brian Madison, Pro Audio Buyer of Crutchfield Corporation. “The HARMAN brands are certainly known as industry leaders, and everyone here at Crutchfield appreciates their products’ build quality and performance. Thanks to the output and integration of HARMAN gear, we were able to suspend the loudspeakers above the crowd to get enough power and headroom for many years.”

Dallas Simon, an AV Design Specialist for Crutchfield, was one of the engineers on-site who assessed the installation. The team was forced to adjust for an asymmetrical layout, so in order to eliminate dead spots on the dance floor, a conventional rectangular pattern in loudspeaker alignment could not be used. With proper tweeter alignment to the dance floor, Simon inverted the loudspeakers so the horns were on the bottom, which produced the perfect angle.

“The owner wanted the loudspeakers as high as possible and as close to the wall as possible, which limited the degree of tilt we could accomplish,” said Simon. “We still wanted to hang the system so that the loudspeakers fired inward at the dance floor, without pushing excessive volume at the bar, for obvious reasons. For such a unique installation, the PA sounds fantastic and the owner as well as the house engineer are very pleased with the results.”

Now that the mission is accomplished, The Trinity Irish Pub has become an even more popular destination for the college crowd, having to often turn people away at the door. Each night the PRX loudspeakers rock the entire venue, and the system will last for years to come.

For more information on the installation, please visit http://www.crutchfield.com/trinitypub

Crutchfield Corporation, which celebrates its 40th anniversary in 2014, is one of the nation’s leading catalog and Internet retailers of consumer electronics products. Crutchfield brings a legacy of remarkable customer service to the pro audio marketplace. Last year, Crutchfield.com earned its 14th straight “Circle of Excellence” Platinum Award for website performance and customer service from Bizrate Research, a division of Shopzilla. Of the more than 5,100 online retailers in the Bizrate network, Crutchfield stands alone as the only one to win the “Circle of Excellence” Platinum Award for 14 consecutive years.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Video Devices PIX 260i Captures Footage Fit for a King as Part of The Royal Society Headquarters Refit

LONDON, JULY 30, 2014 – When The Royal Society in London was looking to refit the audio and visual facilities in two rooms at its headquarters at Carlton House Terrace in London, it turned to Video Devices, mission-critical video products by Sound Devices, and its PIX 260i for its video recording needs.

A fellowship of the world’s most eminent scientists and the oldest scientific academy in continuous existence, The Royal Society acts as a scientific advisor to the British government, receiving a parliamentary grant-in-aid. Installed by Winchester-based AV integrator Whitwam, and provided through Shure Distribution UK, The Royal Society fitted three PIX 260i’s in its largest gallery, the Wellcome Trust lecture theatre, to capture video from the four cameras installed in the space. Throughout the year, members of the Society give presentations in the various lecture halls. Many are broadcast, recorded and archived. In addition, the organization installed two Shure SCM820 eight-channel automatic audio mixers in the dining rooms as part of its improved sound reinforcement efforts for speeches and awards.

The rack-mounted PIX 260i is a file-based audio and video recorder that seamlessly replaces tape-based video decks in production and post-production environments. The Video Devices PIX 260i also offers 32 tracks of audio recording and playback as well as control from browser-capable computers and tablets. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in such common editing environments 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.

PIX 260i recorders can be controlled from browser-capable computers and tablets. When connected to a data network, transport controls and setup menu controls are available on the Video Devices PIXNET, which offers IP-addressable control of one or multiple PIX 260i recorders. Users can group multiple units for simultaneous control. Data drives connected to the PIX 260i are also accessible on Ethernet-based networks as read-only SMB shares, opening up endless possibilities for file sharing. Files can be copied from any PIX 260i located on a network, enabling access from across a room or the globe. Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

Building on the company’s deep heritage in production sound, Video Devices has infused the PIX 260i with 32-track record/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 Audinate’s Dante, the PIX 260i accepts and transmits up to 32 channels of audio over Ethernet.

The PIX 260i includes a built-in Ambient Clockit time-code generator and reader with genlock output for rock-steady multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time code can be read from the SDI stream, the HDMI stream or from an external source. It also includes a sophisticated scaler and frame-rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up-, down- or cross-conversion at the same or a different rate. Hardware-based 3:2 pull-down removal and anamorphic conversion is also available. PIX 260i’s convenient half-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector.

Video Devices, a brand of Sound Devices, includes 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.

MediaStar Evolution Streams News Throughout US Institute of Peace Building in Washington

News from across the globe is being streamed live to over 300 individual workstations and into every meeting room at the US Institute of Peace (USIP) building in Washington DC following a substantial roll-out of MediaStar Evolution, the integrated IPTV and signage system from Cabletime. Located on Constitution Avenue, one block from the Lincoln Memorial and close to the White House, the iconic building is home to the vital work of conflict amelioration, striving to prevent and manage international conflicts with analysis, research, training and field work around the globe.

The installation of an integrated IP-based video and AV distribution solution has enabled USIP to deploy streaming, IPTV and signage content, replacing the three different legacy systems in use previously. Being used across the system is MediaStar Media Manager, a powerful software tool that makes content acquisition, management and display of all types of media simple, so that scheduling and accurate display of the appropriate content to the right audience is made certain.

“We came to Cabletime with a clear idea of what we needed, which was the ability to stream video and audio to and from all our meeting rooms, and a tight timeframe in which to achieve it,” said William Vaughan, Audio Visual Manager at USIP. “We got plenty of insight and a good overview of the system before we selected it, and we were also convinced that MediaStar Evolution would be expandable, which was important to us.”

Evolution controls video displays throughout the USIP facility providing a combination of multichannel IPTV, digital signage, creative and emergency messaging and in-house stream generation from any point within the building using portable encoders. The central MediaStar server also manages the distribution and play-out of over 50 in-house and broadcast TV channels to every workstation in the building. This process makes it very easy to create multiple employee information channels for HR, special events and room scheduling. In addition, overflow audiences from the main auditorium and meeting rooms are easily accommodated using portable encoders.

“We’re using the system mainly for delivering live news content,” continued William Vaughan. “But we also use it to broadcast important delegate meetings, so they can be accessed by people working at their desks in the facility. USIP has so many different functions from hosting discussions and seminars to running high level events and initiative building sessions for different conflict zones, so there is always a need for video communication.”

The first-phase MediaStar Evolution roll-out was completed in April, but USIP has further plans for expanding the system.

“The installation was smooth, and considering that we were under time pressure, Cabletime worked flawlessly to get it right. We’re very happy with it, and we are now considering adding the iVoD functionality (Video on Demand) which we will use for training purposes. This will help us to improve the reach and efficiency of our program.”

The MediaStar range provides TV/AV and multimedia distribution products primarily for medium to large enterprises, which require future-proof, stable and proven solutions for live TV, corporate communications, multicasts, music TV, training and digital signage.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

San Antonio’s Tobin Center for the Performing Arts Chooses grandMA2 Consoles and Clay Paky Lighting for Performance Spaces

San Antonio’s new Tobin Center for the Performing Arts will open in September with a complement of grandMA2 consoles and six Clay Paky Alpha Spot QWO 800 fixtures dedicated to both the H-E-B Performance Hall and the Carlos Alvarez Studio Theater. A.C.T Lighting, Inc. is the exclusive distributor of both brands in North America.

Rising behind the façade of the former San Antonio Municipal Auditorium along downtown’s famed River Walk, the 1,750-seat multi-purpose venue will be the home of the San Antonio Symphony and other resident companies. It also plans to offer a diverse array of entertainment from comedy legend Bill Cosby and radio icon Garrison Keillor and “The Prairie Home Companion” to the Scottish Ballet’s production of “A Streetcar Named Desire.”

The four-level H-E-B Performance Hall is the largest of the Tobin Center’s performance spaces; the Carlos Alvarez Studio Theater is a black box-style space with multiple seating options. Dealer Texas Scenic and rep Roy Harline are providing both the grandMA2 and Clay Paky products.

A grandMA2 light console with grandMA2 replay unit will be located in each of the performance spaces. H-E-B Performance Hall will also be equipped with a grandMA2 NPU for multiple universes and MA’s top-of-the-line VPU plus video processing unit.

Tobin Center Technical Director Stefan De Wilde is no stranger to grandMA2 consoles. “I have purchased and specified many grandMA1 and 2 consoles for Disney, Cirque du Soleil, the New World Symphony and the several universities,” says the Emmy-nominated lighting designer. “For three years ‘The Pageant of Peace,’ the National Christmas Tree Lighting in Washington, D.C., was illuminated by various grandma consoles.”

De Wilde says grandMA2 is his “console of choice” for its “incredible reliability, flexibility and power. It efficiently manages vast quantities of information quickly and efficiently.”

He notes that longevity is a key factor for equipment selected for the Tobin Center. “The equipment must effectively operate for at least 10 years and meet every need for every show. We’re a world-class performing arts center and require world-class technology in every department. We also have an array of grandMA2 nodes throughout our lighting control system.”

Adding a MA VPU plus video processing unit to the grandMA2 console in the H-E-B Performance Hall will enable projection cues for several Panasonic 20K projectors to be written into the unit’s cue plan for easy content management.

Six Clay Paky Alpha Spot QWO 800s were selected as “the best fit” for both performance spaces. “We required, quiet, low-maintenance fixtures that offer a variety of design options and would last for many years,” says De Wilde. “Following extensive research, The QWO 800s had the smallest footprint, the lightest weight and the least amount of ambient noise. Their efficient lamp also has incredible output. The QWO 800s are also extremely flexible since they can be used as a wash or a spot fixture.”

The fixtures will be shared by both the H-E-B Performance Hall and the Carlos Alvarez Studio Theater.

A.C.T Lighting will train Tobin Center staff on the grandMA2 consoles. “A.C.T sets the standard in the entertainment industry for technical service and support,” De Wilde reports. “Bob Gordon, Chris Patton, George Masek and Will Murphy are members of our All Star Team for the project. Their ongoing partnership and support, coupled with reliable and powerful technology is why I select A.C.T’s gear every time.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

About

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

Calendar

July 2014
M T W T F S S
« Jun   Aug »
 123456
78910111213
14151617181920
21222324252627
28293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication