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Archive by Howard Sherman

AES Names Bob Moses Executive Director

NEW YORK, Tuesday, December 20, 2011: Bob Moses, longtime AES member and officer, accomplished product designer, technologist, and pro audio industry advocate, has been named Executive Director of the Audio Engineering Society. Announced today, by AES President Jan Abildgaard Pedersen, Moses will assume his new role January 1, 2012.

“An exhaustive search was undertaken for the best possible candidate for this pivotal AES position,” Jan Pedersen remarked. “Bob Moses is eminently qualified to address the multi-faceted demands of our 14,000 plus member organization. He brings enthusiasm, technical acumen, leadership and communications skills to this critical position. During his 23 years as an AES member, he has established invaluable relationships throughout our international membership. He is committed to implementing the Board of Governors’ goals of ensuring the Society’s fiscal health into the future, growing membership, and increasing value to our members and supporters. His deep appreciation for our 63-year history coupled with his eagerness to address the challenges of the future make him an ideal choice for Executive Director.”

In accepting the position, Bob Moses said, “The AES has been the backbone of my career. It has provided me with a unique platform to evangelize my ideas and seek feedback from the industry. I’ve learned almost everything I know about audio, and met many of my closest colleagues, through AES activities. I can’t imagine achieving my career goals without AES there to support me.

“Outgoing Executive Director Roger Furness has done an incredible job over the past 17 years, and I deeply appreciate his decision to remain aboard throughout 2012,” Moses continued. “My initial task is to identify where the AES provides maximum value to its membership and the industry, and to advance new ways to enhance this value. Sixty-three years ago the AES was the place for the scientific community to share ideas. Over time, AES Conventions evolved as the best forum for manufacturers to exhibit professional audio products. But today, the Internet and persistent economic challenges worldwide have changed the game. Based on my own experience as an AES member, author, and exhibitor, I know the AES remains a vital resource for audio professionals. We need to clarify that value and communicate it better. I’m ready for the challenge.”

In 1987 after graduating from McGill University with an electrical engineering degree, Bob Moses joined Rane Corporation as a digital audio product designer. In 1995 he invented a novel means of transporting audio over Firewire and cofounded Digital Harmony Technologies (DHT) to deploy this technology. Moses worked as a consultant to numerous consumer and professional audio manufacturers until he was recruited by THAT Corporation in 2006 as Program Manager of its integrated circuit (IC) business. During the past five years he has concentrated his energies on managing new technology development at THAT.

As a member of the AES Board of Governors since 1999; VP Western Region, 2001 -2006; and President, 2007 – 2008, Bob Moses has served an increasingly integral role within the organization and on Convention development, including several consecutive turns as Product Design Track Chair.

“We are confident that Bob Moses will prove himself an imaginative and resourceful Executive Director as the AES moves forward in the coming decades,” Jan Abildgaard Pedersen concludes. “We recognize the invaluable contribution Roger Furness has served in this demanding role, and we are pleased he will be staying on next year to ensure a smooth transition to the future.”

The AES 132nd Convention will be held in Budapest April 26-29. The 133rd Convention is set for San Francisco Oct. 26 – 29.

Photo Caption: Bob Moses has been named Executive Director of the Audio Engineering Society.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Sonnox Announces 64-Bit Support For Oxford Plug-Ins

OXFORD, UK: In a move designed to provide full native 64-bit support for DAWs such as Logic and Cubase, Sonnox has announced the release of 64-bit versions of native Oxford Plug-ins. In addition to 64-bit compatibility, the new versions also sport updated graphic interfaces. Updates can be obtained from the Sonnox website for as little as $23.00 per plug-in. Sonnox Sales & Marketing Manager, Nathan Eames comments, “We’re constantly working with ever-advancing platforms, and are delighted to be giving our users native 64-bit compatibility with this update. We will also be adding AAX native plug-ins (for Pro Tools 10), free of charge to license holders of the new native versions.”

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For more information about Sonnox 64-bit plug-ins, or AAX native plug-ins,
please visit www.sonnox.com

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Formative AES Technical Committee on Sound for Digital Cinema & TV AESTC-SDCTV

New Initiative To Review Audio Reproduction For Digital Cinema

NEW YORK: The Audio Engineering Society has formed a provisional committee to review audio reproduction for Digital Cinema and Television . Spearheaded by Brian McCarty, Managing Director, Coral Sea Studios (Australia), the new AES Technical Committee on Sound for Digital Cinema & Television, AESTC-SDCTV is planning a meeting in Los Angeles in early 2012. To participate in this event or to join the AESTC-SDCTV Committee contact: Brian McCarty (http://www.aes.org/technical/aft/).

“Our mission is to identify a consistent approach to controlling perceived loudness and frequency response from installation to installation, and from position to position within Digital Cinema installations worldwide,” McCarty said. “And, for this to be adopted as the formal reference for all contemporary dubbing stage recording and mixing activities, and ultimately as the unified method for film reproduction at home.”

Originally addressed at AES Technical Committee meetings in London in 2010, the initiative was inspired by the AES historical involvement in film sound. The lack of electroacoustical response reference data for Digital Cinema systems was underscored by Dr. Floyd Toole’s statement, “It seems that no real science has been done in terms of Digital Cinema Sound.” Dr. Toole, Vice Chair of the committee, is developing a 1/2 day seminar on these issues to be held in L.A. in March that will serve as the first meeting of the committee.

McCarty underscores the point that global acousticians, engineers and systems installers have expressed the need for a working standard. “In simple terms, what is recorded digitally in the studio does NOT sound the same at the theatrical end,” McCarty says. “As an art form our goal should be consistency of sound quality. Acoustical design of theaters is typically incorrect for sound reproduction in large rooms. Current soundtrack EQ reproduction curves are inconsistent with large-room audio practice and, with the rest of the audio industry. And, loudspeaker technology typically used in theaters has yet to be optimized for proper playback of wide bandwidth soundtracks. Basically,” McCarty concludes, “the current Digital Cinema Audio System is simply not the best we can do. The AES is committed to improving this situation.”

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Professional Wireless Systems Pioneer Domed Helical Antenna

Innovative Design, Rugged, Road Friendly, Cost-Effective Wireless Performance

ORLANDO, FLA: This summer, as he began sorting out the RF co-ordination for the Lollapalooza Festival, Ohio-based Eighth Day Sound director of touring services Owen Orzack reached out to Professional Wireless Systems’ GM, Jim Van Winkle, for recommendations on multi-channel wireless distribution. Coincidentally, PWS was putting the finishing touches on their innovative new Domed Helical Antenna.

“We’d worked with Owen on previous tours for various major acts, and Eighth Day already owned a number of our proprietary Helical Antennas,” Van Winkle reports. “While Owen already planned to use our Helicals for Lollapalooza at Chicago’s Grant Park, I said we would be happy to supply our new Domes for him to try out at the event.

Shipping immediately, the new PWS Domed Helical Antenna incorporates the highly successful circular polarization configuration pioneered by their original Helical, but seals the unit within a unique new compact ‘Domed’ design. Constructed from rugged Polycarbonate, PWS Domed Helicals are designed to hold up to considerable road-related abuse. Developed to provide robust, uncompromised multi-channel wireless microphone, in-ear and intercom wireless connectivity, PWS Domed Helical introduce a new standard in wireless antenna performance and physical presence.

“The Dome offers the same solid benefits of the original Helical with its circular polarization and applies it to a wider coverage pattern,” Van Winkle says. “In addition to Lollapalooza, we also provided Domed Helicals for the Austin City Limits Festival in September. And, Owen just let us know the Domes were very well received on tour with The Fray. Now that we’ve confirmed their quality and dependability we are rolling the Domes out across the industry,” Van Winkle concludes.

Photo: PWS Domed Helical Antenna. Photo by Grant Oberg

For information on the PWS Domed Helical Antenna contact: www.professionalWireless.com

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Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in live concert, TV Broadcast, corporate, industrial, theatrical, house of worship and sports events. Credits range from major Broadway shows including Billy Elliott, Les Miz and Book Of Mormon to yearly Super Bowl broadcasts. The firm’s 3rd generation owner Geoff Shearing also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. The company’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, twenty minutes from mid-town Manhattan. (201) 939 8666, www.MasqueSound.com

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WSDG Names Three Partners

Architectural/Acoustical Design Firm Sees International & Domestic Growth

NEW YORK: “2011 has been a watershed year for the Walters-Storyk Design Group,” notes company co-principal Beth Walters. “We are extremely fortunate to maintain a project schedule that doubles as a magnet for attracting high-end assignments. And we are fully aware of the contributions our associates make to our ongoing success. In recognition of the invaluable roles they play in our efficiency, bottom line and esprit de corps, three key team members, CFO Nancy Flannery, a 21-year WSDG veteran, and Project Managers, Romina Larregina (10 years) and Joshua Morris (7 years) have been named partners in our growing firm.”

Completion of Ann Mincieli’s instantly iconic Jungle City Studios, a major new Oven Studio complex for Alicia Keys, and Village Studios an important production complex in Guangzhou, China, coupled with a series of high-end personal studios including: Cynthia Daniels’ MonkMusic in East Hampton, and elegant project studios in Connecticut and Vermont illustrate continuing strength in both the home and facility-for-hire sectors.

On the domestic education front, WSDG completed five additions to The Art Institutes’ on-going national teaching studio expansion program (twenty and counting). The firm is also developing a significant number of technology rooms for the Berklee College of Music’s largest-ever teaching studio expansion, a 12 story building in Boston and a major new international campus in Valencia, Spain (spring, 2012). WSDG Latin America recently completed multiple high technology suites for the Artes Building, a seven-story addition to The Vatican’s Javeriana University in Bogota, Colombia.

WSDG Worldwide:

The scale and complexity of WSDG’s international workload vividly reflects the firm’s array of capabilities. Dirk Noy and Gabriel Hauser of the Swiss office recently completed a significant acoustic upgrade for the KKL Luzern Concert Hall, and a compelling design for Symphonic Studios, an elegant three-room studio 30 minutes from Zurich (featuring a striking interior design by Beth Walters). Current Swiss projects include: Little Big Beat Mastering in Austria, (with WSDG Brazil’s Renato Cipriano); and the development of a new audio system for Switzerland’s Cathedral St. Ursen, including full broadcast inter-connectivity. The Swiss and Brazil offices are also collaborating on four auditoriums and a full-scale theater for The Tehran Book Garden. Longer than six football fields laid end-to-end, this will be one of the largest structures ever built in Iran.

Sergio and Sylvia Molho of WSDG Buenos Aires report an equally prodigious project schedule. Assignments include: Mexico’s recently completed world-class Artco Recording Studios; Disney’s new 15000 sq. ft. Panamericana Studios, TV production complex in Buenos Aires; and, acoustic consulting for Uruguay’s Hilton Garden Inn. Earlier this year WSDG BA created MTV Networks’ Latin America Studio Complex and, an elegant studio for Buenos Aires-based Roma and Romma Record label.
WSDG Brazil chief Renato Cipriano has enjoyed an equally extended period of exceptional assignments. Highlights include numerous acoustic and A/V projects including an innovative acoustic treatment for the pool house of a luxurious villa in Belo Horizonte; and a major production/post production complex for TV Globo the world’s 2nd largest TV broadcast company. WSDG Brazil is currently developing the critical audio and video systems designs for three major soccer stadiums: Known as the ‘World Temple of Soccer,’ Maracanã Stadium in Rio is Brazil’s largest sports ground, with seating for 82.238 fans; Mineirão Stadium will be Brazil’s 2nd largest soccer arena (75.783 seats); and, the Independência Stadium is currently being retrofitted as a polo training facility for FIFA’s 2014 World Cup.

“We are extremely proud to maintain this demanding international schedule, and that our new offices in Spain and Germany are now contributing to our whirlwind of worldwide activity,” John Storyk concludes. “With forty + years of experience and 3000+ projects in our portfolio, we have also built a world-class cadre of designers, project managers, and systems installation experts. Every assignment presents its own idiosyncratic challenges and rewards. Our system of pooling the creative design, system integration and project management assets of all our offices is a textbook example of international cooperation. For us, the art of collaboration is a key element of our design work, and we are privileged to be associated with so many high profile clients.”

PHOTO: (l-t-r) WSDG Project Managers Joshua Morris and Romina Larregina, and company CFO Nancy Flannery have been named partners in the growing architectural /acoustic design firm. Photo by Matthew Ballos.

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Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio, private studios for Goo Goo Dolls, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith; Green Day, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a six-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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AES NASHVILLE PRESENTS THE NASHVILLE RECORDING WORKSHOP + EXPO 2012

“Helping Creative People Make Better Recordings”

Immerse yourself in the art and technology of music recording – March 2-3, 2012.

NASHVILLE: The AES Nashville Section has developed a compelling two-day recording workshop and gear exposition focused on getting the most from your personal studio recording environment. AES Nashville, in conjunction with Audio Engineering Society, Inc. in New York is offering this two-day program on March 2 & 3, 2012 at a new location, the Rocketown event center at 601 4th Ave. South. Whether you are a recording musician, a songwriter laying down demos, or a professional engineer working in a personal production space, the Nashville Recording Workshop and Expo will provide essential insight and information geared to boost your career and elevate creativity.

Affordable and more powerful technology has made for a burgeoning market in recording equipment as songwriters, musicians and engineers create their own personal production spaces. Nashville has long been touted to have more personal studios per capita than anywhere in the country, and never has this been truer than in today’s DAW-centric recording environment. NRW+E presents a unique opportunity for personal studio owners to learn from the pros who put the Music in Music City, to check out the latest tools of the trade in the exhibition space and to “network” with their peers.

NRW+E presenters will include leading producers, engineers, acousticians, songwriters, and musicians sharing their professional techniques and knowledge in the areas of vocal and instrument miking, songwriters production of demos, arrangements and recording for better mixes, adding rhythm and spice with virtual tracks, collaboration across time and space, work environments that enhance creativity, practical acoustic and room treatment, and technical essentials.

Cosette Collier, Chairman of the Nashville Section of AES states, “We are thrilled to be able to offer the Nashville Recording Workshop + Expo once again. For two days, NRW brings musicians, songwriters, small studio owners, audio production students and home recording enthusiasts together with professional recording engineers and music industry professionals, not for the typical ‘How I Do It’ kind of sessions, but instead, ‘How YOU Can Do It.’ Inspiration is part of the experience, but “take away” information is key.”

Nashville Recording Workshop +Expo featured events and demos will appear in a live, on-stage setting on a regular schedule throughout both days, while exhibitor booths and displays complete AES Nashville’s own convention-type setting, featuring manufacturers representing all aspects of professional audio gear and services.

Collier continues, “Some of the best engineering and production talent will share practical techniques for producing great recordings and enhancing one’s creative production space, as well as how to get your music heard. Along with the workshops and demonstrations, the exhibits area lets attendees check out the latest in audio production hardware and software and explore new ways to enhance the creative process. The 2012 Nashville Recording Workshop + Expo continues to extend the focused content and involvement for all levels of audio production.”

“Early Bird” registration for AES members and members of participating professional songwriter, performance, musician and engineering organizations is $79, non-members is $99, student members is $39, and non-member students is $59. Early registration is open through February 3, 2012. For the full program listings, information on registering or to book an exhibition space visit: www.nashvillerecordingworkshop.com.

Now in its 7th decade, the Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the AES serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Sonnox Announces Compatibility With Avid’s New Pro Tools HDX System

Sonnox Announces Compatibility With Avid’s New Pro Tools HDX System

OXFORD, UK: Over the past four years, software developer Sonnox has consistently produced innovative plug-ins to meet the needs of music producers, engineers, TV/radio broadcast and feature film soundmixers. This year, the Sonnox Fraunhofer Pro-Codec (developed in collaboration with the original mp3 inventor) was introduced. Designed to provide real-time auditioning of audio codecs within a DAW environment, the Pro-Codec is considered by many engineers to be a truly game-changing plug-in.

Sonnox has now revealed yet another important advance – compatibility of Oxford plug-ins with Avid’s new Pro Tools|HDX system launched at the AES Show this week. In making the announcement Sonnox Managing Director Rod Densham remarked, “We’re extremely pleased to be an early adopter of the Pro Tools|HDX platform. The new AAX format will undoubtedly become an established plug-in standard, just as TDM has been. In recent months we have doubled the size of our development team to meet increased demand, and we are working overtime to complete the transition to AAX as soon as possible.”

Avid’s new AAX (Avid Audio eXtension) advanced plug-in format, offers improved workflows and sound parity when sharing sessions between DSP-accelerated and native-based Pro Tools systems. The format comes in two versions: AAX DSP plug-ins compatible exclusively with Pro Tools|HDX (TDM is not supported in Pro Tools|HDX); And, AAX Native plug-ins, compatible with any system running Pro Tools/Pro Tools HD 10 software.

“Sonnox consistently sets the pace for superior-sounding, innovative processing for Pro Tools, and we are thrilled to see their portfolio coming to AAX,” comments Ed Gray, Director, Partnering Programs at Avid. “Sonnox plug-ins running on a Pro Tools|HDX system will provide a winning combination for the next generation of audio professionals. We can’t wait to see what Sonnox brings to our users next.”

The highly acclaimed Oxford EQ and Oxford Inflator are the first in a line of many AAX plug-ins from Sonnox. They will be available when Pro Tools|HDX ships.

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For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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131st AES Convention Rocks New York

310 Exhibitors; 15,926 Attendees; Ben Folds, Judy Collins & Perfect Weather

NEW YORK: With the successful completion of the 131st AES Convention on Sunday, Oct. 23rd, one of the most positive, pages has been writ in the annals of AES history. As 310 Exhibitors and 15,926 attendees thronged to NY’s Jacob Javits Center for the “World Series of Pro Audio,” flawless fall weather and rampant enthusiasm coalesced in a textbook example of planning and execution. “Soon after the curtains fell on last year’s event, our 2011 Committee began the first of over a dozen intensive planning meetings,” reports Convention Chair Jim Anderson. Each Chair brought an extraordinary degree of commitment, enthusiasm and professionalism to the table. The results of their labors registered rave reviews and high praise from attendees and exhibitors alike.”

“I was taken by surprise when the first day of the show ended. The number of qualified customers and end-users who passed through our booth was overwhelming,” remarked Mick Olesh, Waves executive vice president.

“Right up until the last 5 minutes of the show, the intensity of the good, qualified traffic was far beyond our expectations. This year’s AES Convention had the feeling and pace of the glory days…” said Genelec marketing director, Will Eggleston.

“As first time exhibitors, we were delighted with numbers and quality of visitors to our booth,” reports Moog Music Inc., sr. marketing & brand manager Emmy Parker. “Their level of interest in our new products and our legacy was particularly gratifying. We are already thinking about the 133rd Convention in SF next year.”

“It’s always wonderful to be at the AES convention, where you can re-connect with old friends and make new ones. The mood was upbeat this year, we had good traffic at The Recording Academy booth, and I heard other exhibitors were also having a good show. The aisles were full of people and the energy was great,” P&E Wing Senior Executive Director, Maureen Droney

Special appearances by iconic recording artists Judy Collins and Ben Folds; and perennial AES Convention crowd pleasers such as Platinum Producer, Engineer and Mastering Panels; Technical Tours; Live Sound, Educational and Historical Presentations and Lunchtime Keynotes provided over 70 cumulative hours of invaluable information, and precipitated a positive buzz which permeated the entire 4-day event.

“Broadcast & Streaming Events Chair, David Bialik; Education Chair John Krivit; Facilities Chair, Michael McCoy; Games Track Chair, Steve Martz; Historical Chair, Harry Hirsch; Live Sound Co-Chairs Henry Cohen and Mac Kerr; Master Class Chair, Alan Silverman; Papers Co-Chairs Veronique Larcher and Agnieszka Roginska; Platinum Co-Chairs, Janice Brown, Bob Ludwig and David Weiss; Product Design Track Co-Chairs, Bob Moses and Jonathan Novick; Technical Tours Chair, Lou Manno; Volunteers Chair, Doron Schacter and Workshops/Tutorials Chair Natanya Ford all performed above and beyond the call of duty” Anderson said.
“Beyond coordinating Historical events, Harry Hirsch took advantage of the proximity of a number of pivotal contributors to advances in the art and science of pro audio, to produce additions to the on-going AES Oral History Project. Interviews conducted by industry ombudsman Paul Gallo include multi-platinum producer/engineer Tony Visconti; studio entrepreneur Howie Schwartz and AES doyen Irv Joel.

“Lastly, Executive Director Roger Furness remained an indomitable source of organizational and motivational direction throughout the year-long process,” Anderson concludes. “His invaluable experience in coordinating these enormously complex programs; his ability to deal with disparate issues ranging from logistics, budgets, venue wrinkles, last minute program changes and the myriad details, enormous and miniscule which need to interface, provided the Committee with a reassuring comfort level of professionalism. At the end of the day, when questions arose, Roger Furness was the man we turned to for decisions.”

The 132nd European Audio Engineering Convention will be held in Hungary’s Budapest Congress & World Trade Center, April 26-29, 2012. The 133rd AES Convention is scheduled for October 26-29 in San Francisco’s Moscone Center.

Photos: 131st AES Convention Opening Day

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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BROADWAY’S LONGEST RUN… MASQUE SOUND CELEBRATES DIAMOND ANNIVERSARY

75 Years Of Hits – From South Pacific to Book Of Mormon

EAST RUTHERFORD, NJ: Celebrating its 75th anniversary with a client roster that includes: Jersey Boys, Billy Elliott, Mary Poppins, Memphis and, The Book of Mormon,
Masque Sound, has been a fixture on The Great White Way since 1936 when three stagehands pooled their resources to create a new firm. An immediate success, Masque has provided flawless audio for the original Broadway productions of Oklahoma, South Pacific, Grease, Phantom Of The Opera, Les Miserables, Cats, Mama Mia, Lion King and countless others.

Under the guidance of 3rd generation-owner Geoff Shearing, this leading sound reinforcement, design and installation company has steadily expanded the size and scope of its services. Their 2004 move to a 70,000 sq. ft. corporate headquarters in East Rutherford, NJ was preceded by the 2002 purchase of Professional Wireless Systems. Florida-based leaders in the development and implementation of wireless technology, PWS counts over a dozen Super Bowl broadcasts to their credit, along with assignments for the NHL, wireless upgrades for NBC TV and many other complex broadcast, entertainment, corporate and government projects.

In 2007, Masque Sound added a highly successful permanent systems installation division to their growing services. Projects include Le Poisson Rouge, the celebrated Greenwich Village club whose eclectic on-stage talent, extraordinary acoustics and state-of-the art sound system, draws music fans from around the world; as well as NYU’s James L. Dolan Recording/Teaching facility. Masque Sound has also installed the complex systems for NY’s new DiMenna Center for Classical Music; the sound system renovation for the classic New Victory Theater on West 42nd St.; and the critical acoustic sound system upgrade for NY’s historic St. Bartholomew’s Church on Park Ave.

In celebration of their Diamond Anniversary, company General Manager, Stephanie Hansen reached out to legendary graphic designer Milton Glaser for an update to the firm’s graphic image. “I’ve been a fan of Milton’s for a long time, and recently saw a documentary on his work,” Ms. Hansen remarked. “We were thrilled when he agreed to marry his talents with our existing brand.”

“A 75th Anniversary is a significant milestone,” remarks company principal Geoff Shearing. “We are grateful to our many long-term clients, and to a dedicated in-house team, some of whom have been with us over twenty years. My father remains active, and enthusiastically monitors our on-going success from his New Hampshire home, just as my grandfather took great pride in dad’s nurturing of our legacy.

“I grew up watching them make decisions about what new technology to invest in, and how to grow the business in the most logical way,” Shearing adds. “Their most important lesson was that customer service is the basis for all success. Our concerns for solving client technical challenges in the most creative, efficient and cost-effective way has continued to be a key element in our on-going success.

“We are privileged to work on blue ribbon projects that run the gamut from hit Broadway shows to network TV and world-class corporate events,” Shearing concludes. “I look forward to celebrating our 100th anniversary in 2036!”

Photo: Masque Sound General Manager Stephanie Hansen and company principal
Geoff Shearing.

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A leading theatrical sound reinforcement, installation and design company, Masque Sound specializes in live concert, TV Broadcast, corporate, industrial, theatrical, and sports events. Credits range from such Broadway hits as Billy Elliott, Jersey Boys, Lion King and Book of Mormon, to yearly Super Bowl broadcasts. Formed in 1936 by three Broadway stagehands, the firm’s 3rd generation owner Geoff Shearing also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. The company’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, twenty minutes from mid-town Manhattan. (201) 939 8666, www.MasqueSound.com

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A Half Century of FM Stereo – A Very Special Event

Broadcast Legends Gather To Celebrate Half-Century Milestone

NEW YORK: Radio’s first four decades were strictly monophonic. Despite some early experimentation by FM inventor Edwin Howard Armstrong, even “high-fidelity” FM remained mono until 1961, when the FCC chose among competing systems to declare a standard for FM stereo broadcasting. On Friday evening, Oct. 21 from 7:30 pm to 9:00 pm, a panel of legendary FM Radio engineers will gather at the Clear Channel Studios in the PC Richards & Sons Theater 32 Avenue of the Americas in lower Manhattan to celebrate a half century of FM Stereo. The event is a highlight of the 131st AES Convention set for Oct. 20-23 at NY’s Jacob Javits Convention Center.

Developed by the New York Section of the AES and by AES Convention Broadcast/ Streaming Events Co-Chair David Bialik, the panel will be Co-chaired by
Bialik and Scott Fybush of Fybush.com / Inside Radio. Participants represent a gathering of iconic broadcast figures including: Richard Burden, an original member of the FM Stereo Committee; Frank Foti, Omnia Audio; Richard Mertz, Cavell and Mertz; Arno Meyer, Belar; Robert Orban, Orban; Skip Pizzi, NAB; Bill Sacks, Orban; Eric Small, Modulation Sciences; Jeff Smith, Clear Channel; and former WQXR Radio Chief Engineer, Herb Squire.

Topics to be addressed include: FM stereo’s birth; the merits of the competing systems that sought FCC approval; the initial technical challenges faced by the new medium; the development of high-density FM audio processing; and, the future of analog FM stereo in an increasingly digital world.

Seating is limited and tickets are available at the Tech Tour Desk in the Registration Area. Bus transportation to and from the event will be available from the Javits Center

The Audio Engineering Society thanks Clear Channel Communications for providing the theater for this event. For details on live streaming of this event please visit www.aes.org

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For details on AES Convention events visit: http://www.aes.org/events/131/calendar/calendar.cfm

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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