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Genelec Now Shipping 8010 Active Monitor: the Smallest Member of the 8000 Series

NATICK, MA, July 14, 2014 — Genelec, the world’s pioneer in active monitoring, is now shipping the 8010 Active Monitor, the smallest member of the acclaimed 8000 product range. The 8000 Series is widely used in the high-end professional audio, mastering, post-production and broadcast market sectors around the world. Its professional heritage is reflected in the compact-sized 8010. Suitable for professional work in small studios, it offers accurate monitoring capability with ease of installation. The outstanding sound quality makes the 8010 ideal for small editorial studios and OB vans, and a perfect companion for portable recording devices and other mobile production work.

Featuring a balanced XLR input, 3-inch bass driver, 3/4-inch tweeter and efficient Class D power amplifiers – one for each driver – the 8010 produces more sound pressure level than might be expected from a monitor of this size. The Intelligent Signal Sensing ISS circuitry saves energy by automatically putting the monitor to sleep when the audio signal has been absent for a period of time. Once a signal is detected again, the monitor wakes up automatically. This circuitry can be bypassed when the automatic standby function is not desired.

A full range of versatile accessories is available for the 8010, which cover all mounting needs. For example, an elegant L-shaped table stand can be used to optimize monitor orientation toward the listening position and to minimize undesired sound reflections. Thanks to its exceptional sound quality, small size and universal power supply, 8010 is the perfect monitor companion for music production professionals on the move.

The 8010 Active Monitor is now available at a U.S. MSRP of $440.00 each.

For more information, please visit www.genelecusa.com/.

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Bose® Panaray® Loudspeakers and L1® Portable System Offer Clear Sound for the Gateway to the U.S.’s Oldest City

High-definition videowall installed at the St. Augustine/St. Johns County Visitor Information Center is complemented by high-definition audio provided by Bose® Panaray® loudspeakers

Bose® L1® Model II portable sound system is part of an AV upgrade package for the Center that allows it to confidently feature live music in an acoustically challenging environment

Framingham, Massachusetts, July 14, 2014 – For half a century, visitors to St. Augustine have made the St. Augustine/St. Johns County Visitor Information Center (VIC) their first stop upon arriving in what is officially the United States’ oldest continuously-inhabited city and European settlement. The center offers information on special and cultural events, brochures and guidebooks for the area’s attractions and a gift shop. But while the VIC’s architecture evokes the region’s Spanish past, its large main hall also presents acoustical challenges. Fortunately, the thousands of visitors who are introduced to the region’s attractions via a high-definition videowall installation hear every bit of information clearly, thanks to a Panaray® modular line array sound system from Bose® Professional Systems. The Panaray system, consisting of three MA12EX loudspeakers, was installed by RP|AV Audio Video Design & Installation of Bowersville, Georgia, and acts like a high-definition soundbar for the videowall consisting of eight 55-inch LCD displays, also installed by RP|AV. The project was part of a larger renovation of the VIC that also included a celebrated exhibition of 39 Picasso pieces from Málaga, Spain, the artist’s birthplace, put on as part of St. Augustine’s 450th anniversary commemoration.

“The visitor’s center was built as a community center, and its main hall is big and boomy – a difficult acoustical challenge,” explains Ron Prier, Owner of RP|AV Audio Video Design & Installation. “The videowall is located in this entrance area and the video was filed by a high-definition RED camera, so we had to find a sound system that could provide sound quality that matched the quality of what visitors experience visually, while at the same time being able to address the acoustic issues of that space. The answer was the Bose Panaray system.”

Prier says the MA12EX loudspeakers provide highly intelligible sound while at the same time sounding highly musical, to accommodate the DMX® scoring of the informational video. “The Panaray loudspeakers let us keep the audio very tightly focused and off of the floor and back walls where it would create reverberation and echo,” he says.

As part of the AV package, RP|AV Audio Video Design & Installation also provided the VIC a Bose L1® Model II portable sound system with a T1 ToneMatch® audio engine and a pair of B1 bass modules. This is used for live music performances in the lobby space, again assuring that the music and spoken words are all heard clearly and intelligibly. “The Bose systems really work well in challenging environments like this,” says Prier. “It’s performance you can count on.”

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Bose Professional InfoComm 2014 Press Kit

Please click here or graphic below to vie Bose Professional InfoComm 2014 Press Kit

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Live Mixing Engineer Antonius Kern Chooses to Use WavesLive Tools for German Production The Voice Kids and Other Programs

TEL AVIV, ISRAEL, July 10, 2014 — Live FOH, broadcast, and monitor mixing engineer Antonius Kern is part of a growing trend of live audio professionals using tools from Waves Audio’s WavesLive division (http://www.waves.com/live-sound), a leader in all live sound market segments and an innovative developer of solutions for live platforms. Kern’s credits include German TV productions Popidol, Popstars, The Voice of Germany and The Voice Kids,and music acts such as Patrice, Max Herre, and Joy Denalane. Recently, Kern has been putting Waves tools to use on The Voice of Germany and The Voice Kids as both programs continue their successful runs.

While doing pre-production for the forthcoming 2014 run of The Voice Kids, Toni shared his thoughts about using Waves tools: “In The Voice Kids, some of the performers are obviously performing on a live stage for the first time in their lives. In order to give them confidence, I use Waves tools to provide them with the best mix possible. Initially, I naturally gravitated toward the tools I was familiar with from the analog world, meaning emulations of actual analog devices. Working with the DiGiCo SD7, it was great having all my Waves tools available to me from the console’s screen and touch-and-turn knob/button. The Waves-enabled SD7 console is equipped with Waves SoundGrid Server One in a redundant processing setup, which gives me the confidence I need for the broadcast environment.”

Toni adds, “My favorite Waves plugins are the SSL G-Master Buss Compressor for parallel compression; the CLA-2A Compressor/Limiter as a buss compressor for different audio subgroups and also as an input channel compressor for vocals and snares; the PuigChild compressor on the master compressor for some subgroups; and the SSL G-Equalizer for nearly all master subgroups. Working with Waves MultiRack SoundGrid, I only need one internal system – no D/A-A/D conversion or class-A signal processing tools. Waves tools are essential in meeting the challenge of mixing a dynamic band on TV.”

Visit http://www.waveslive.com for more information.

Photo Caption: Pictured L-R: Antonius Kern and Stefan Kling (Vocals mix engineer)

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AES 55th International Conference to Focus On Spatial Audio – Recording, Reproduction and Perception

New York, NY, July 10, 2014 — The AES 55th International Conference, focusing on Spatial Audio, is set to take place August 27-29, 2014, at the Helsinki Music Centre in Helsinki, Finland. Registration is open for this multi-day conference, which will bring together researchers and practitioners from all aspects of spatial audio, including recording and reproduction, perception, transmission, coding and more. Dedicated workshops will give a cutting-edge view of the practical implementation of spatial audio in applications such as broadcasting, game audio and the recording industry. Conference chairperson for this event is Lauri Savioja, along with Technical Program chair Ville Pulkki, Paper chair Tapio Lokki, and Workshop chairs Kalev Tiits and Florian Camerer. Conference sponsors are Aalto University, Genelec, Neumann, Nokia and the Sibelius Academy.

Spatial Audio – one of the largest research topics in the field of audio – has taken on ever-increasing importance and interest for both the professional and consumer audio markets. The 55th Conference will address the fundamental production and reproduction issues of multichannel audio systems, as well as techniques for creating and controlling multidirectional perceptions through headphones and loudspeakers.

The conference kicks off on Wednesday with an opening presentation titled “The Adventure of Spatial Sound Reproduction” given by chairperson Sascha Spors, which will be followed by three days of workshops, posters, papers and tutorials on Spatial Audio-related topics. Each day will offer up a variety of events on spatial sound techniques, engineering and psychoacoustics. Topics will include Sound Field Capture with Microphone Arrays and Proximity Microphones; Decoding of High Order Ambisonics; Sound Field Reproduction of Vibroacoustic Models; Immersive Multi-party Conferencing Systems; Evaluation of Sound Field Synthesis Techniques; and more. Additional events include a pre-conference tutorial entitled “Psychoacoustics and Technologies of Spatial Sound” given by Ville Pulkki and other spatial audio demonstrations at Aalto University, as well as a Thursday evening AES banquet in downtown Helsinki.

“Spatial Audio and its realized potentials have become hot topics at our conventions and conferences for several years now, and continue to grow,” states AES Executive Director Bob Moses. “With the increased challenges and opportunities brought about with ever-changing immersive audio products and entertainment, we continue to explore and set the standards, through conferences such as these, that will dictate production rules of audio perception for future generations. We are very excited to see what comes out of this conference as we look forward.”

For program details, registration, and travel information, visit http://www.aes.org/conferences/55/.

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GC Pro Helps Studio Owner and Producer Yaniv Farber Outfit His New Studio Space

— Farber is translating his success in the tile and stone business in Southern California into an expanded professional recording studio enterprise, and GC Pro is there to outfit the new facility from start to finish —

WESTLAKE VILLAGE, CA, July 9, 2014 — For over 20 years, Yaniv Farber’s main business has been Sandy Ceramic, Inc., a high-end tile, granite and marble installer in Southern California. But aside from that, Farber’s passion has been music, which he had recorded and edited on small home studio platforms. This year, he decided to make a big move; in a renovated building on his property he created the elegant facility Yaniv’s Studio. And it was outfitted from top to bottom with equipment sourced through Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users.

Products purchased for the studio by Farber through GC Pro include an Avid Pro Tools HDX system, Apogee I/O converters, Tube Tech MP2A dual-channel tube mic pre, Focal SM9 monitors and a microphone collection that includes a pair of AKG C414 XLII’s and a C 451 B 65th Anniversary model; a Blue Bottle Mic; Neumann TLM 49, U 87 AI, TLM 67 and M 147 mics; a Sterling Audio ST6050 Ocean Way Signature Series Microphone; and Sennheiser MD 441 and MD 421-II microphones.

“I decided to go for it,” Farber says, simply and earnestly. “I’m trying to make a business of it.” He has a lot of personal resources: in addition to his experience as a musician, engineer, editor and producer, his time in the construction business included working on other studios as they were being built, which gave him knowledge and insights for his own studio design, which includes a vocal booth and several iso booths. “It’s designed for my work but also to be available for other artists, engineers and producers to work in,” he says. “Most importantly, we can do live sessions here. It’s a great-sounding room to record in.”

What’s also great, Farber adds, was working with GC Pro. “Ziv Gross at GC Pro, he’s my man!” he exclaims, noting that the GC Pro Account Manager helped him choose gear, tweak his acoustical design and assemble some of the systems. “Then there’s the technical support, which is always there. Working with GC Pro has been a great experience.”

For more information, please visit www.gcpro.com.

Photo caption 1: The control room of Yaniv’s Studio, the new facility run by Yaniv Farber in Southern California and outfitted by equipment sourced through GC Pro. Photo courtesy of Yaniv Farber © 2014.

Photo caption 2: The live/tracking room of Yaniv’s Studio, the new facility run by Yaniv Farber in Southern California and outfitted by equipment sourced through GC Pro. Photo courtesy of Yaniv Farber © 2014.

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Focusrite RedNet Systems Chosen for Fifth Third Field, Home of the Dayton Dragons

Two RedNet 2 16-channel A-D/D-A converters and two RedNet 3 32-channel I/O digital interfaces transport audio signals across the production facility’s Dante network at near-zero latency

Los Angeles, CA, July 8, 2014 – Four Focusrite RedNet Dante-enabled multichannel audio interfaces were recently installed as part of a major renovation of the HD video control and broadcast production systems at the 7,800-seat Fifth Third Field, home to the Dayton Dragons Minor League Baseball (MiLB) team. The two RedNet 2 16-channel A-D/D-A and two RedNet 3 32 I/O digital interfaces enable access to and transport of audio signals across the production facility’s Dante network at near-zero latency.

The Dayton Dragons, one of five MiLB teams owned and operated by Mandalay Baseball, is the Single-A affiliate of the Cincinnati Reds and holder of the record for the longest run of consecutive sold-out games—1,000, as of May 9, 2014—in all North American professional sports. Scott Rohrer, Creative Technologist with Mandalay Creative Services, led the in-house team that designed the new production systems, collaborating with consultants WJHW in Dallas, TX, to generate a Request for Proposal and selecting sports venue specialist integration firm Alpha Video Sports & Entertainment.

“The design team initially considered an analog production structure, but soon realized it would be too complex and proposed a digital network,” says Rohrer, who is responsible for all aspects of the video production control rooms at each of Mandalay Baseball’s five properties. “We paid attention as Dante came onto the market and really started exploding. Out of that came Focusrite with the RedNet boxes,” he says. “We didn’t do any analog routing for this facility; all of the routing is done over the Dante network. It saved us a lot of money up front and gave us the exact same flexibility that we would expect out of a router, with a redundant system.”

The control room is divided into two areas, each with separate crews, that generate separate productions from shared resources. One area produces HD feeds to the stadium’s video scoreboard, closed circuit televisions and in-suite monitors, while the other produces streaming games for MiLB.TV and also delivers 25 home game productions a year to local CBS affiliate WHIO-TV. The four RedNet multichannel audio interfaces are integrated into a Dante network that interconnects a Soundcraft mixing console in each control room area, a Sound Devices A/V recorder and other equipment, while providing access to and from the control room’s HD video decks and servers.

“Even though we have a few digital recorders that take embedded audio, we still use the Dante system to feed the embedders and route audio that way,” says Rohrer. “Almost every source in the room can be isolated for recording. All of the replay highlights and master records are multitracked, and that gets provided to Creative Services, which does all of the promotional material for the Dragons. The flexibility of having all of those iso’d tracks is huge when they are putting together promos, highlights and other packages.”

“The ability to route audio and access just one channel or a group of channels anywhere on the Dante network offers a flexibility that cannot be achieved over MADI or some alternative digital transports,” he says. “Any network drop in the entire facility can be a mixing position, a contribution location, anything. We can play back audio from any computer on the network. It’s ridiculous how flexible it makes the system, putting everything on Ethernet connections.”

About Mandalay Baseball Properties
Mandalay Baseball Properties (MBP) owns and operates the Dayton Dragons, Single-A Midwest League affiliate of the Cincinnati Reds; Pennsylvania’s Erie SeaWolves, Double-A Eastern League affiliate of the Detroit Tigers; the Frisco RoughRiders, Double-A Texas League affiliate of the Texas Rangers; the Oklahoma City RedHawks, Triple-A Pacific Coast League affiliate of the Houston Astros; and, in partnership with the New York Yankees, the Scranton/Wilkes-Barre RailRiders, Triple-A International League affiliate of the New York Yankees, also in Pennsylvania.

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Introducing G3 from Listen Technologies, Powered by Televic

BLUFFDALE, UT, July 8, 2014 — Listen Technologies Corporation, a leading designer, manufacturer and distributor of assistive listening products for over 15 years, announces G3, the third generation of Confidea® Wireless Conferencing, and a continuation of Listen Technologies’ ongoing partnership with Televic. G3 offers more available frequencies for improved global communication compared to other wireless conferencing solutions. An intuitive user interface, upgraded battery technology, and built-in AES encryption for meeting confidentiality make G3 a comprehensive solution for contractors and system integrators’ clientele.

The G3 system integrates a new wireless engine that evolves conferencing communication. G3 allows:

More available frequencies in various countries for better global communication.
A simplified button layout with a more intuitive user interface.
Improved chairman control.
Better battery technology (Lithium-ion), and an engine that is less power-hungry.
Built-in AES encryption, ensuring security.

Controls and Features

Built-in high quality loudspeaker which is automatically muted when the microphone is active, to prevent acoustic feedback.
Microphone On/Off or request-to-speak button with two signaling LEDs.
Two headphone outputs.
One headphone volume adjustment.
The chairman version (CD) comes with a priority and next-in-line button.

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Chicagoland’s New Wire Club Distinguishes Itself with Great Sound Thanks to Bose® RoomMatch® Loudspeakers

RoomMatch® arrays provide great sound in a compact form factor ideal for the 400-seat venue

Framingham, Massachusetts, July 7, 2014 – The Roosevelt Road area of Chicago suburb, Berwyn, has its share of up-and-coming music clubs, including recent addition, Wire, which opened last fall in the former Oakwyn Theater. Built in 1934 and formerly a mid-century movie house and Teamsters union hall, the 10,000-square-foot space has been completely renovated with an expansive rebuild to house the 400-seat club as well as a mezzanine level with offices, recording studio and VIP area. Further setting Wire apart from the other venues in the area is a RoomMatch® loudspeaker system from Bose® Professional Systems.

Installed by regional professional audio integrator TC Furlong, Inc., the system is composed of four RM9020 modules, two RM12020 modules, two RM7010 modules and two RMS218 subwoofers. These are powered by four Bose PowerMatch® PM8500N networked amplifiers and managed by the Bose ControlSpace® ESP-00 engineered sound processor, using four ESP Link I/O cards.

“Roosevelt Road is becoming a real destination for live music in the area,” observes Brian O’Connell, TC Furlong Sales Manager and the Project Manager for the installation at Wire. “But the club had some very specific requirements. In addition to demanding great sound, we wanted to fly the speakers to keep the sightlines as unobstructed as possible. The RoomMatch speakers are the only ones that could give us the sound we needed in the right profile.”

There were also some reflection issues off the sides of brick-faced interior walls. The application of the Bose Modeler® sound system software quickly determined precisely the right RoomMatch loudspeaker configuration with exactly the right dispersion and coverage patterns for this room. “It sounds more like a concert hall than a club,” says O’Connell, who adds that while this was TC Furlong’s first RoomMatch system installation, it certainly won’t be its last. “This system sounds fantastic, to us and to the club’s owners and everyone who’s been there.”

Chris Neville, Managing Partner at Wire, stated, “Our partnership is made up entirely of musicians, and as such, great sound in our venue was our number-one priority. After looking at several options, the Bose RoomMatch system clearly stood out as the most flexible system out there, as well as offering the best clarity. Bose has been fantastic to work with too – they had their engineers working with us right up until we opened to make sure that the system met and exceeded our needs. The response has been unanimous among the musicians and patrons alike – this is the best sounding live venue system in the city!” Fellow Managing Partner Paul Bolger added, “The vocal intelligibility and even coverage are unparalleled!”

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Live Broadcast Engineer John Perez Chooses Waves MultiRack, the Waves Dugan Automixer and Waves plugins for Jimmy Kimmel Live

TEL AVIV, ISRAEL, July 7, 2014 — Live broadcast engineer John Perez (NFL On Fox, Fox College Football, The Academy Awards, Dr. Phil, The Doctors, An Inconvenient Truth, It Might Get Loud) chooses the Waves Dugan Automixer, MultiRack, and other assorted Waves products for Jimmy Kimmel Live.

On the Dugan Automixer, Perez notes, “That product has been great to have here at Jimmy Kimmel Live. We have a unique room in the El Capitan Theatre in Hollywood that presents many audio challenges. We have a very loud house PA combined with a low ceiling, a raging house band and hard surfaces that make mixing multiple lavalier microphones a pain in the neck. Before I started using the Waves Dugan Automixer, I would typically have to clamp down really hard on the dialogue buss, using Waves WNS Noise Suppressor, in order to take the roominess and hollowness out of the room; then I would have to bounce around on the faders to keep it as clean as possible. If we had a bunch of people talking out there, it could be a mess. Also, Jimmy would talk to various characters on the shows that were far away from him, and it could get roomy very quickly. But as soon as I plugged in the Waves Dugan Automixer, it worked perfectly. Very intuitive and almost no setup required.”

He elaborates on the signal chain: “From my Calrec console I just go 64 channels of MADI in and out to my processing system, which is Waves MultiRack Native, running on a MacBook Pro, SSL MADI Extreme (interface) and Magma PCIe to a Thunderbolt chassis. With Waves MultiRack I just insert my Waves rack with a Dugan Automixer at the end of the chain on each of the lavalier channels – and that’s about it. The beauty is that since the Dugan Automixer runs automatically at the end of each aforementioned rack, I can process the mics first with other Waves plugins if needed.

Perez also uses a selection of Waves plugins nightly. He remarks: “I used a wide selection Waves plugins extensively back in my recording studio days, and I’ve adapted them to broadcast television. My must-have plugins are the L2 Ultramaximizer, SSL G-Master Buss Compressor, WNS Noise Suppressor, PAZ Analyzer and the Dugan Automixer. L2 is used on the master buss. On the show, I use the L2 differently than if I were mixing a record. The network has strict level limits, so the L2 keeps me safe without affecting the sound. SSL G Comp goes across the master buss as well.”

Perez has found the use of MultiRack to be very beneficial: “Before I got into MultiRack, I was inserting Waves plugins on my shows by using DAWs like Pro Tools or Logic, and for a long time I wanted something simpler that is just an effects processor. I’m very happy with the way it all works. I get to use my favorite plugins!”

Visit http://www.waveslive.com for more information.

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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.

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