A virtual press conference from Sound & Video Contractor

Archive by Howard Sherman

SONNOX & FRAUNHOFER INTRODUCE NEW COLLABORATION: CODEC TOOLBOX

OXFORD, UK: Musicians, DJ’s, producers and engineers seeking an affordable solution to encode music for the web can now rely on the new Codec Toolbox. A collaboration between innovative plug-in developer Sonnox and mp3 creator Fraunhofer IIS, Codec Toolbox offers real-time codec auditioning, metadata editing and batch encoding, for only £35 GBP (approx. $55. ex. sales tax.)

Sonnox Sales & Marketing Manager explains, “The impact made by the Pro-Codec on the professional mastering world convinced us that today’s generation of independent producers, engineers and artists need their music to sound great in every format. The Codec Toolbox uses high quality codecs from Fraunhofer and Apple to ensure that every mix sounds as good online as it does in the studio.”

Codec Toolbox is comprised of two applications: the Toolbox Plug-In, for real-time mix auditioning through various codecs; And, the Toolbox Manager, for encoding and adding metadata. A ‘clip safe’ function ensures clean encoded files, as the software auto-compensates for any overs during the encode process.

The Codec Toolbox is available to try for 15-days or to purchase at www.sonnox.com/codectoolbox

To learn more and watch an overview video, visit: www.sonnox.com/codectoolbox

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Photo: The Codec Toolbox

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WSDG COMPLETES 130,000 SQ. FT. PRODUCTION COMPLEX FOR NON STOP TV IN BUENOS AIRES

BUENOS AIRES: Non Stop TV is a thirty-year-old, full-service TV production complex, which totally lives up to its name. Founded in 1983, Non Stop produces content and provides audio, video and sophisticated post-production services for top rank clients in Latin America, Europe and Asia. With a staff of over 450, the studio turns out over 800 hours of programming each year for Disney Channel, Sony, Fox Sports, History Channel and many other leading broadcast/cinema content producers.

In 2010 this hugely successful facility had far outgrown its original B.A. home. Company principals reached out to the Walters-Storyk Design Group’s Argentine branch for architectural and acoustic design of a new 130,000 sq. ft. facility. The projected home for this major complex was the four-building compound of a former leading film production studio. WSDG was tasked with developing a design program for the entire full-service broadcast production facility.

WSDG Partner/Director of International Relations Sergio Molho, reports that the entire multi-office design team collaborated on developing a multi-purpose, state of the art, facility for Non Stop TV. “This 21st Century movie lot is literally a self-contained city in a Buenos Aires suburb,” Molho says. “The massive project called upon the expertise of members of WSDG designers, renderers, systems integrators and project managers in Europe, the U.S. and Latin America. Our collaborative effort over the past two years has enabled Non Stop TV to far exceed its position as the hub of Latin American entertainment programming production for the foreseeable future,” he adds.

Completed in April, 2013, the new studios feature six individual shooting stages, and more than three dozen individual production, post production and support service suites, distributed throughout the multi structure compound. Non Stop’s largest component is Studio Six, a 10,000 sq. ft. sound stage dedicated to producing original Disney Channel programming for Latin America. Amenities include (5) dressing rooms; make up, wardrobe, video library, dubbing stage, and set construction. Additional support services such as, Subtitle Division, Authorship, Media Asset Management (MAM), Electronic Art Department, Offline Editorial Suites, Multi-Format Production, Audio Recording and Mixing, and Live Transmission are also housed within the complex. Additionally, the facility houses two 5,000 sq. ft. stages, a 4000 sq. ft. stage with a spacious main control room, and a 1000 sq. ft. stage (devisable into two separate 500 sq. ft. shooting stages.)

Technology highlights include a six-channel HD EVS XT series server controlled by an EVS’ IPDirector suite of video production management applications; Final Cut PRO, Media Composer, Adobe Premiere Pro, Client-server architecture, Centralized Storage, Production Automation, Archive, Fiber Optics Connectivity, and a full complement of cameras, lights, microphones and related gear.

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Photos:

1. Non Stop TV Master Control
2. Non Stop TV CMR
3. Non Stop TV Studio Six
4. Non Stop TV Production Offices
5. Non Stop TV Exterior
6. Non Stop TV Floor Plan

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 Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, Sergio Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as: Frank O. Ghery (Novartis Campus,) Rafael Vignoly (Jazz at Lincoln Center,) Norman Foster (El Aleph,) Oscar Niemeyer (CAMG,) Phillipe Stark (Faena Hotel,) Grimshaw (Zurich Airport,) and Santiago Calatrava (Berklee Valencia.) WSDG is a seven time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for NY’s Jungle City. WSDG maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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DEEPAK CHOPRA/OPRAH WINFREY 21-DAY MEDIATION CHALLENGE

Motivational Music & 21st Century Post-Production Technology Create A ‘Clear’ Inspirational Voice

NEW YORK: Author, teacher, physician, holistic health guru, Deepak Chopra is a trusted voice in alternative medicine. A long-time advocate of the physical and emotional advantages of mediation, Chopra developed a 21-Day program to help novice and accomplished mediators experience and master its life affirming benefits. A discussion with celebrated humanitarian and media icon, Oprah Winfrey led to a unique collaboration. Their latest offering, Oprah & Deepak 21-Day Mediation Challenge™: Miraculous Relationships offers an illuminating, eminently accessible program of concentrated contemplation. This past August, nearly 700,000 people participated in the online audio version of the challenge.

To produce this worthy addition to the meditation lexicon, the Chopra Center, engaged composer/recording artist Scott E. Moore and his production company WingTip, Inc. In addition to his musical talents, Moore is an accomplished writer/director who had previously worked with Chopra on several high-end wellness videos. The assignment was to compose, produce and record 120 minutes of original music to serve as the instrumental soundtracks for Chopra’s recorded mediation guides.

“My first creative decision after getting the job was to call guitarist/composer/producer/engineer, Rich Tozzoli in to collaborate with me on this challenging project,” Moore reveals. “I’ve worked with Rich for years on many creative projects in the music and film worlds, and I knew he was gifted with the inspiration and the technical ability to help me develop two hours of innovative music within our six-week production time-frame.”

Each of the 21 individual tracks features a two-minute introduction by Oprah Winfrey, followed by a three-minute inspirational/instructional message recorded by Deepak Chopra before transitioning into a harmonious 8 minute “sound-scape” composed by Moore and Tozzoli. The objective of their collaboration was to approximate a film score “without the images,” a soothing aural environment to stimulate the mediators imagination.

Recording in a variety of Locations, Moore and Tozzoli invited a diverse group of skilled musicians to perform on the tracks. Guest artists included Akua Dixon (playing a 100 year old Cello), David Ondrick (Tibetan Bowls and toning chants), Kristen Hevner-Wyatt (acoustic piano), Andy Munitz (Violin), Bruce MacPherson (vintage anologue synthesizers) and Laura Josephson (classical Flageolet flute, circa 1830) and Ray Levier (drums, percussion, bowed vibraphone). Moore and Tozzoli added their own performances on both vintage and contemporary 6 and 12 string guitars, classical guitars, keyboards and electronic sound design. The tracks also incorporate ‘natural sounds’ including ocean, streams, bird songs and even the 17-year cicadas.

In creating the music, Tozzoli used the Sonnox Reverb, EQ, Dynamics and Inflator Plug-ins. Applying the Just Reverb setting helped him to create custom ambiences in conjunction with Altiverb and Eventide Space. He found the Inflator particularly useful on the acoustic instruments, in enabling him to increase their presence in the mix. He employed the EQ Plug-in to cut extraneous low end out of the reverbs, ‘cleaning’ the mix so as not to interfere with Deepaks voice – which includes numerous low frequencies. The Sonnox Oxford Dynamics Plug-in aided him in taming occasional instrumental ‘peaks’ in a clean, non-invasive way.

“Our project was well underway when we received Deepak’s initial introductory recordings,” Moore recalls. “Having worked with him on a video project, and being familiar with his work and speech patterns, I was aware that he had a rich tone, but also has a pronounced sibilance in his voice. Rich Tozzoli who has extensive engineering credits and is one of the most technically proficient recording artist/composers I know, immediately proposed that we suggest using the Sonnox Oxford SuprEsser plug-in to minimize this issue.”

“The SuprEsser proved itself to be a highly-featured De-Esser with an intuitive graphic display and three distinct listening modes. The Chopra Center’s engineers, who were responsible for marrying Deepak’s narration to the music, were able to dramatically improve the quality of Deepak’s voiceover, from previous recordings. The SuprEsser’s Automatic Level Tracking, and full (20Hz-20KHz) spectrum operation made an invaluable contribution to the overall quality of this project,” Moore adds. “We are really proud of our work on this, and especially to be part of creating something beautiful that can have such a positive impact on people’s lives.”

The Oprah & Deepak 21-Day Mediation Challenge™: Miraculous Relationships is currently available on CD, in two forms: the original guided meditation challenge and the Music & Mantras version.

http://bit.ly/W1ngt1p

https://chopracentermeditation.com/home

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Photo: Rich Tozzoli (left) and Scott E. Moore in Tozzoli’s home studio. Photo by Claudine Ohayon

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

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Sonnox Announces Compatibility with Avid’s AAX Plug-In Format For Pro Tools 11

Avid’s Audio Community to Enjoy Additional High-End Plug-ins with Pro Tools 11

OXFORD, UK: Sonnox has announced the release of 64-bit AAX DSP and AAX Native plug-ins for Pro Tools 11. The latest version of Pro Tools, the most used and trusted DAW in the industry, provides exponentially improved AAX plug-in performance over prior versions, including such time-saving capabilities as offline bounce to disk, and complete sound parity when sharing sessions between DSP-accelerated and native-based Pro Tools systems.

Currently available Sonnox AAX plug-ins include: Oxford EQ, Dynamics, Inflator, TransMod and, Oxford Limiter. Sonnox reports that additional AAX plug-ins will be forthcoming throughout 2013, as the company continues to port its entire range to the new AAX plug-in standard for Pro Tools.

To learn more about Sonnox and AAX please visit: www.sonnox.com

Photo: Sonnox AAX Plug-ins are now available for Pro Tools 11

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Historic Buenos Aires Building Revitalized As Di Tella University Campus Alcorta

WSDG Provides Acoustic, A/V & Interactive Expertise To Educational Complex

BUENOS AIRES: A once grand, but long-abandoned, state building, has been reclaimed as the new Di Tella University Campus Alcorta in Buenos Aires. A work in progress since 2004, the ambitious re-development was designed and coordinated by RDR Arquitectos, an architectural firm with offices in Argentina and Switzerland. The multi-national, Walters-Storyk Design Group provided integral acoustic design and consultation, and played a key role in the project’s audio/visual and interactive technology system integration.

“The original (1937) 31,000 sq. ft. + State Water Company Building was decommissioned in 1990,” states WSDG, Partner Sergio Molho. “Comparing historical pictures with contrasting photos of the structure’s deterioration confirmed it had ‘good bones,’ and tremendous potential. “Images of derelict offices and meeting rooms served as a catalyst, our entire design team was inspired by the opportunity to bring a useful new life to this structure.”

WSDG devised a three-stage plan to revitalize the building. The process began with a comprehensive acoustical measurement and analysis program, which formed the basis for their overall systems integration plan. This included: acoustical isolation, control of reverberation time, solutions to improve speech intelligibility (STI); audio/visual technology, interactive screens, microphones and speakers to support communications between classrooms and off-campus locations. Crestron Automation Systems were engaged to facilitate complete lighting, communications, energy and security system management.

A 2000 sq. ft. multi-media screening room was created and outfitted with a large HD screen, Blu-ray, projector, receiver and a 5.1 surround system. A studio-quality acoustical door and pro acoustical wall and ceiling treatments were stipulated for optimal sound isolation between theater, classrooms and hallways. WSDG also supervised the AV technology installation to meet professional standards.
Construction of Di Tella University began in 2004 under the direction of renowned Argentinean architect, Clorindo Testa. Planned in stages, the program enabled Di Tella to commence activities on Campus that year. The ultimate goal was to completely restore the main building and link it to the University’s neighboring facilities to create a unified campus. Remodeling continued through 2011 when the University moved forward with the final stages of the project, bringing all its majors and programs under one roof.
The large common areas are located in the basement, main and first floor, including the library, classrooms, reading rooms, workshops, canteen, and student services. The second floor features a large classroom to promote collaboration between students from all levels. Offices for faculty members, researchers and University authorities are situated on the third floor. The fourth floor is distinguished by a multi purpose room, with impressive river views.

With 32 classrooms, reading rooms, a multi-media screening room, 5 conference rooms and 130 offices, Di Tella University offers eight undergraduate degrees in Business Administration, Architecture, Economics, History, International Relations, Law, and Political Science and Government. The Business School offers a variety of Executive Education programs, and the schools of Architecture and Urban Studies and the Art Department offer professional development programs. The University provides over 50 exchange programs with universities in Europe, North America, South America, Australia, Africa and Asia. Current enrollment stands at 1000+ undergraduate and over 1500 graduate and professional students. On-going expansion of Di Tella’s curriculum, faculty, and graduate programs underscored the need to develop Campus Alcorta.

“This project engaged members of the entire WSDG team,” Sergio Molho emphasizes. “Designers, project managers and systems integrators from all six of our international offices made meaningful contributions to this project. WSDG has worked on a number of University assignments, from the NYU Steinhardt Center to the new Berklee College of Music Valencia campus, and the $100 + million Berklee Boston campus currently under construction. WSDG is committed to education and we are extremely proud of our association with Di Tella University.”

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Photos:

1-3 Di Tella University Buenos Aires
4 Abandoned State Water Company Building prior to reclamation as Di Tella U

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QATAR TELEVISION (QTV) SELECTS WSDG FOR NEW STUDIO PROJECTS

Successful Acoustic Treatments Lead To Audio Post Suite Design

DOHA, QATAR: When WSDG Partner/Director of International Relations Sergio Molho tasked project engineer Marc Viadiu with attending the Broadcast & Film Africa 2012 Conference in Kenya last year, they didn’t anticipate initiating a major new project. However, Viadiu’s meeting with, Qatar Television (QTV), Support & Development Committee, Audio Chief, Xavier Massard, produced exactly that. In preparing to open a world-class TV production complex, QTV, required precise acoustical measurements and specific recommendations for reducing reverberation time on their three primary studio sets. The multi-national, Walters-Storyk Design Group specializes in those services.

“In Kenya, Marc Viadiu provided Mr. Massard with examples of WSDG’s testing procedures and expertise in broadcast production facility design in Europe, South America and the U.S.,” Molho says. “I made an initial site visit in mid-October and returned with Marc in November to perform acoustic measurement and simulation tests. We made a third site visit to present our evaluation report and recommendations.”

QTV has three permanent program sets. The 14,788 sq. ft./39.4 ft. high News Show and 10,764 sq ft./39.4 ft. high Evening Show sets live within the TV Production Complex, The 3230 sq. ft./ 26.2 ft. high Morning Show set is situated within “The Pearl,” a large commercial mall. WSDG’s mandate was to fine tune the interior room acoustics, and resolve disparate isolation issues for all three studios. A primary condition was that the work be completed within a two-month, time frame to enable the station to begin scheduled broadcasting on December 16, 2012.

“WSDG worked with leading acoustical material manufacturers in Europe to provide the requisite isolation treatments,” Molho reports. “We had the necessary custom acoustic absorption panels fabricated to international broadcast industry standards. And, we met the 60-day deadline. Additionally,” Molho emphasizes, “WSDG supervised the design, construction and certification of two 9’ high, 3.5’ wide custom acoustic doors for the Evening Show Studio. Those doors, each weighing a full ton, were installed during the second phase of the project in February, 2013.”

Working closely with Xavier Massard and with Kinan Massard, QTV, Chief of Video, WSDG focused on providing highly effective acoustic solutions, including 1250 sqm of Melamine foam, (61 cubic meters) and 700 sqm of polyurethane foam (21 cubic meters). As per client directives, the installation is completely undetectable to viewers.

“The success of this initial project has led QTV to engage WSDG for a 2nd project, a new audio post suite,” Molho concludes. “We are very pleased to have established a productive working relationship with QTV, and we look forward to being of additional service to them in the future.”

Photo 1. (l-t-r) QTV, Support & Development Committee, Audio Chief, Xavier Massard, WSDG Partner/Director of Int’l Relations, Sergio Molho and QTV, Chief of Video, Kinan Massard,
2 & 3. QTV News Show set
4. QTV Evening Show set
5. QTV Building (during construction)

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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 Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, 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 seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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RPG Celebrates 30 Years of Developing Innovative Acoustical Solutions

To Enhance the Music, Improve the Intelligibility and Quiet the Noise

UPPER MARLBORO, MD: Dr. Peter D’Antonio began his career as a diffraction physicist at the Naval Research Lab (NRL) in 1967. A musician and composer with an interest in recording, Dr. D’Antonio designed and built the Underground Sound Studio in his home in the late 1970s. In the early 1980s, he became intrigued with the possibility of using diffusing surfaces based on a mathematical number theory, initially developed by Carl Friedrich Gauss in the 18th century, to diffuse rather than absorb the reflected sound from the rear wall of his control room. D’Antonio was familiar with these new, periodic diffusing surfaces; because they were 2-dimensional versions of the 3-D crystal lattices he was studying using X-ray diffraction. As a result of this research, the RPG® Diffusor was born, along with a new Live-End-Dead-End design for control rooms, using a ‘Reflection Free Zone,’ (RFZTM,) which remains the de facto design standard today.

While still working as a diffraction physicist, he incorporated RPG Diffusor Systems, Inc. in 1983. “The RPG Diffuser, which was inducted into the music industry’s TECnology Hall of Fame this year, was the first innovation inspired by our mission of ‘expanding the acoustical palette through a continued commitment to fundamental acoustics research,’” D’Antonio reveals. “Recording studio owners and designers were quick to embrace these revolutionary units. They proved highly effective in improving room acoustics and they provided handsome aesthetic enhancements as well. We literally launched a new industry.” In 1996, Dr. D’Antonio retired from NRL to devote full time to growing RPG from a pioneer in the recording industry to providing new solutions in the general architectural acoustics market. Over the past thirty years, RPG Diffusor Systems, Inc.’s award-winning innovations have changed the face (and the sound) of recording, broadcast, and performance environments. Today, a wide array of RPG products are engaged to enhance an astonishing range of acoustically challenged environments around the globe.

RPG recently instituted a new management team. Dr. Peter D’Antonio is now Chairman/ CEO, and two long-term RPG team members who have contributed greatly to the firms success, have been promoted to senior management positions. John Groth has been appointed President/CFO, Jeff Madison has been named Executive Vice President. Research continues to nourish RPG product advances.

The firm has pioneered a 3-decade-long progression of groundbreaking developments, now considered indispensible to architects and acousticians. Today, a mature assessment of the need for improved acoustics is manifest far beyond the professional audio recording and broadcast studio enclave. RPG products are employed by a client base that encompasses schools, corporate boardrooms and auditoriums, concert halls, motion picture and live performance theaters, Houses of Worship, home theaters, stadiums, restaurants and the burgeoning Project Studio market.

“On-going dialogues with professional organizations such as the Audio Engineering Society, the Acoustical Society of America and Syn-Aud-Con, coupled with long-term relationships with leading architects and acousticians have inspired a number of our new products over the years,” D’Antonio says. In addition to the RPG Diffusor System, which has continued evolving to include the widest range and highest performance sound diffusors, RPG has also developed a wide range of innovative absorbing surfaces.

The ModffusorTM eliminates all the limitations of the original QRD® and represents the highest diffusive performance to date; Waveform® is a patented wide range of optimized curvilinear shapes for wall or suspended cloud installation; Topakustik® and Topperfo®, are key elements in the most expansive and versatile sound absorbing wood plank and panel system, representing hallmarks of high quality installations. “Newer products like Quietstone® , an innovative approach to utilizing recycled stone aggregate or glass to control noise, sound reflections and excess reverberation, and Clearsorber® Foil and Deamp, transparent sound absorbers with microperforations and micro-slits, respectively, illustrate the validity of our philosophy of dedicated R&D,” D’Antonio asserts.

An increasing commitment by architects to improving the sound quality in new public and private buildings has seen RPG products perform noteworthy acoustical services in many significant international projects. These include: The New York TimesCenter, designed by Renzo Piano; Burj Khalifa, the world’s tallest building, recently completed in Dubai; Denver Museum of Nature and Science; Museum of Fine Arts, Boston; Jungle City, NY’s acclaimed destination recording studio; Sony Computer Entertainment America, San Mateo, CA; the renowned Jazz At Lincoln Center Complex; and, most recently the SFJAZZ Center an extraordinary new 35,000 sq. ft ‘sanctuary for jazz,’ in San Francisco.

“We consider the past 30 years a prelude to the next 3 decades,” Peter D’Antonio adds. “Sophisticated new research, measurement and simulation tools and innovative new acoustic materials are constantly being introduced. Awareness of the critical role performed by acoustics in our social, business and entertainment worlds has never been higher. Our commitment to on-going research and our state-of-the art measurement facilities for determining the absorption, scattering and diffusion coefficients are increasingly productive. RPG’s staff of mathematicians, acousticians, musicians and architects continues to guide our firm towards more breakthrough developments; and to on-going improvements to products already established as industry standards. The future looks good to us, and we’re dedicated to making it sound even better,” he concludes.

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Photo 1. Dr. Peter D’Antonio, RPG Difuser Systems, Inc. Founder/Chairman/CEO
Photo 2. (l-t-r) RPG Difuser Systems, Inc. Founder/Chairman/CEO, Dr. Peter D’Antonio,
President/CFO John Groth, and Executive Vice President Jeff Madison.

NOTE: In 2007, Dr. Peter D’Antonio established the Chesapeake Acoustic Research Institute, LLC www.cari-llc.com, The Institute is focused on providing the architectural acoustics community with continuing acoustical education, experimentation/proof-of-performance testing and exploration of more effective room designs, with the ultimate goal of improving the acoustics of the built environment.

Formed in 1983, RPG Diffusor Systems, Inc. is committed to continually expand the acoustical palette of tools available to the design community, builders and customers. RPG is located at 651 C Commerce Drive, Upper Marlboro, MD 20774 Phone:301 249 0044, Email: info@rpoginc.com or visit: http://www.rpginc.com/

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OXFORD LIMITER RELEASED FOR AAX + JUNE PROMO – 40% OFF SONNOX ENHANCE

OXFORD, UK: Sonnox has released the Oxford Limiter plug-in for Avid’s AAX format. Sonnox Sales & Marketing Manager, Nathan Eames reports, “The demand for AAX plug-ins has been growing exponentially, as the Pro Tools HDX user-base expands. Our design group continues to work diligently on developing 64-bit AAX versions for the forthcoming Pro Tools 11. The work is time consuming, but absolute accuracy is paramount, to bring these much loved classics to the HDX platform.”

To mark the release of the Oxford Limiter (AAX), Sonnox is offering its Enhance Collection throughout the month of June with a discount of 40%. The Sonnox Enhance Collection contains three popular Oxford plug-ins – Limiter, Inflator and Transient Modulator – whose combined punch can greatly enhance any mix. While all three plug-ins are available in AAX format, they are also compatible with other plug-in formats – TDM, RTAS, Audio Units and VST.

For more information on the Sonnox Enhance Collection and to watch a demo of the three plug-ins in action, visit: http://bit.ly/enhance40

Photo: Sonnox AAX Limiter Screen Shot

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

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OXFORD LIMITER RELEASED FOR AAX + JUNE PROMO – 40% OFF SONNOX ENHANCE

OXFORD, UK: Sonnox has released the Oxford Limiter plug-in for Avid’s AAX format. Sonnox Sales & Marketing Manager, Nathan Eames reports, “The demand for AAX plug-ins has been growing exponentially, as the Pro Tools HDX user-base expands. Our design group continues to work diligently on developing 64-bit AAX versions for the forthcoming Pro Tools 11. The work is time consuming, but absolute accuracy is paramount, to bring these much loved classics to the HDX platform.”

To mark the release of the Oxford Limiter (AAX), Sonnox is offering its Enhance Collection throughout the month of June with a discount of 40%. The Sonnox Enhance Collection contains three popular Oxford plug-ins – Limiter, Inflator and Transient Modulator – whose combined punch can greatly enhance any mix. While all three plug-ins are available in AAX format, they are also compatible with other plug-in formats – TDM, RTAS, Audio Units and VST.

For more information on the Sonnox Enhance Collection and to watch a demo of the three plug-ins in action, visit: http://bit.ly/enhance40

Photo: Sonnox AAX Limiter Screen Shot

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

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134th AES Convention Draws Int’l Pro Audio Community To Rome

High Level Dialogues On Loudness, Digital Cinema & Spatial Audio

ROME: “Our 134th convention exceeded expectations in every way,” reports AES executive director Bob Moses. “Our 4 day program of over 150 workshops, tutorials and round table discussions on digital cinema, loudness, spatial audio and other timely topics, packed our presentation rooms. In addition to a solid pro industry turnout, we attracted many enthusiastic students whose quest for information and mentors was palpable. Our sponsors were uniformly pleased with the new customers in attendance throughout the Convention. I feel confident that we are on a good path in Europe and look forward to expanding this new AES model in future years,” he adds.

The 134th AES Convention was held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. Under the guidance of Convention Chair, Umberto Zangheri, the Convention program presented attendees with the opportunity to discuss the issues that impact the vitality of the pro audio industry.

“This Convention provided a unique environment for deliberating hot issues, and incubating future innovation and growth in the pro audio industry,” Moses states. “Many events were educational in nature, bringing professionals up to speed on important topics. Many others crystallized critical technical milestones in rapidly evolving fields such as Digital Cinema. One of our missions is to take all this amazing mental power in our industry and turn it into new standards and best practices. The work in the Digital Cinema community is a prime example of this synergy. They’re not just talking about the future; they’re making it happen in our meeting rooms. It’s very important work!” he adds.

Brian McCarty, chair of the AES Technical Committee of Sound For Digital Cinema and Television reports, “the standing-room only attendance for virtually all our Sound for Pictures Track events was augmented by the fact that these meetings were extremely productive in terms of producing demonstrable findings to support our Standards Committee activities.”

Following through on his promise to serve businesses in new ways, Moses says the decision not to have an exhibition floor was deliberate. “I wanted to test a model based on sponsorship,” he said, “in contrast to a traditional exhibition. This event and venue was a good opportunity for such a test. If you look at what our sponsors did – training, product placement, and so on, you can see some very interesting and creative ways for AES to serve them.

“I’m very grateful to these companies for supporting us and coming out to play,” Moses adds. “I heard many success stories from them, and I’m looking forward to stepping our sponsor program up another level in 2014.”

Commenting on her reaction to the Convention, Gioia Molinari, Head of Marketing for Gold Sponsor, RCF remarked, “The emphasis on serious industry issues and meaningful technical dialogues distinguished this event from the new product introduction focus of many large scale conventions. The AES European gathering is sized and designed to establish critical new business relationships and, to help us assess where the industry is headed technically. We were extremely pleased with the quality of the attendees and the genuine enthusiasm expressed by our co-sponsors. This was one of the most productive and stimulating Conventions we have participated in.”

“AES Conventions are unsurpassed environments for student interaction,” said Stephen Webber, Gold Sponsor, Berklee College of Music’s Valencia Campus Director for Technology Innovation. “These are the kinds of events, which inspire dialogues that spark creative breakthroughs. The students we engaged with were bright, inquisitive and, grateful for the opportunity to meet with both their international peers and the industry professionals who are pioneering the changes which are moving our industry forward.”

“The AES Rome Convention technical program focus appealed to us as a manufacturer,” said CharterOak President Michael Deming. “The format successfully allowed us to present our products in a focused way in two technical training sessions ‘Intelligent Compression In the Analog Domain’ and ‘Wide Bandwidth Equalization in the Analog Domain.’ Our presentation room was filled with industry pioneers, working professionals and wide-eyed students, creating an environment for training and technical discussions, that doesn’t happen on a crowded exhibits floor,” Deming adds.

AES President, Frank Wells concludes, “In the marketplace of ideas, the 134th Convention proved that the AES remains professional audio’s prime source for the fundamental information, leading edge technology and technique, standards and practices-AES convention attendees have the information available to allow them lead the curve while others follow.”

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Photos
1. Keynote crowd at 134th AES Convention in Rome
2. Members of the 134th AES Convention team in Rome
3. 134th AES Convention co-sponsor, CharterOak, President, Michael Deming during a presentation in Rome.

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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