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Archive by Sue Sillitoe

Axon Introduces Jünger Audio’s Loudness Control For Its Synapse Control Modules at NAB 2013

Leading modular AV signal processing and control specialist Axon Digital Design is incorporating Jünger Audio’s LEVEL MAGIC™ loudness control technology into its Synapse audio and video signal processing and control modules. The result of this collaboration will be on show for the first time at NAB 2013 at the Axon booth, N.6006.

Under the terms of the new partnership, four new audio processing modules will be incorporated into Axon Synapse, thus creating a new standard in a range of modular products covering applications such as audio up-mixing and loudness control. With Jünger Audio processing on board, Axon customers can now eliminate annoying loudness variations between program segments and between programs and commercial breaks.

Axon’s Synapse is a modular system comprising multiple 19-inch frames, active hot swappable cards and (mostly) passive connector panels. It is designed to support demanding mission critical broadcast applications, especially the conversion of composite analogue video signals into HD.

Jünger Audio has developed a custom digital signal processing (DSP) board that integrates seamlessly within a standard Axon Synapse module. Building on this seamless interoperability, the two companies have jointly developed four new Synapse modules, which provide a combination of sophisticated up-mixing and loudness control capabilities within both stereo and 5.1 multi-channel audio environments.

Further extending their application versatility, these modules are available as either 3Gb/s or HD capable. The HD version offers a 3Gb/s upgrade pathway for future migration to the greater demands of 3Gb/s operations.

“Jünger Audio is well known as a pioneer in audio technology and we are delighted to have developed a close partnership with the team there,” commented Peter Schut, Chief Technology Officer at Axon. “Together, we have created a range of audio processing solutions which offer significantly new feature-sets and functionality. These innovative products will open new markets to Axon.”

Peter Pörs, Managing Director of Junger Audio, says: “Loudness control is a hot topic and there is increasing demand from broadcasters for an effective solution that can eliminate jumps in audio levels. More and more customers are demanding our LEVEL MAGIC™ process in individual hardware and software solutions because it delivers high quality audio and supports all known loudness standards including ITU, EBU and ATSC. With AXON, we have found the perfect partner to enable us to address this demand.”

Jünger Audio’s LEVEL MAGIC™ technology uses Wideband processing to control loudness and peak level, and avoid defects like breathing, pumping, and spectral changes. The processing relies on a highly sophisticated, adaptive level con¬trol algorithm.

By incorporating LEVEL MAGIC™ into its Synapse modules, Axon customers can set their desired Loudness Target, or Operating Level, and Peak Level. Once set, processing takes place automatically providing continuous loudness control, regard-less of the source of the audio.

For further information during NAB 2013, please visit Axon at Booth N.6006 or Jünger Audio at Booth C.2333. Alternatively please visit the companys’ websites – www.axon.tv or www.junger-audio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities.

Prism Sound Shows The New Lyra Audio Interface At Prolight + Sound 2013

European studio producers, musicians and DJs will have their first opportunity to see Prism Sound’s new Lyra family of Audio Interfaces at this year’s Prolight + Sound exhibition in Frankfurt (Hall 5.1, stand B50A).

With Lyra, Prism Sound is bringing its high performance audio technology to an even wider audience. This brand new family of interfaces is aimed at musicians, composers, project studio owners, DJs, re-mixers and other audio content producers such as radio and podcasting. It is also anticipated that high-end home audio enthusiasts will find the USB interface and stereo configuration with digital volume control an attractive package.

Based on the award-winning and critically acclaimed Orpheus interface, Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much improved price point.

“Lyra connects seamlessly with both Macs and PCs via a simple USB interface,” says Graham Boswell, Sales and Marketing Director for Prism Sound. “For recording professionals who don’t need eight channels of analogue I/O, Lyra is the perfect interface because it allows them to access Prism Sound quality in a convenient package and at an affordable price.”

Prism Sound plans to launch a number of different variants of Lyra and has started the ball rolling with Lyra 1 and Lyra 2. Both incorporate new ARM Cortex-based ‘Xcore’ processor design offering class-compliant USB interfacing, plus DSP and a low latency ‘console-quality’ digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT.

Lyra 1, which retails at £1,349 plus VAT, will be of particular interest to the musician and project studio market. This unit offers two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. With Lyra 1, musicians can connect a guitar and a microphone through the input channels, plug into their software mixer via a simple USB connection and start laying down basic tracks in a matter of minutes.

Lyra 2, which retails at £1,849 plus VAT, takes the concept a little further by offering two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchronization with other digital devices.

Both products are ergonomically designed to look as good as they sound. The front panel has a master volume control assignable to selected output channels, while the unit’s small size – just 11 inches wide – makes it very easy to transport for musicians, producers and DJs on the road. For studio use, Prism Sound can supply dedicated rack mounts as an extra.

“We know there is a market for Lyra because our customers have been demanding this product ever since we launched Orpheus,” Graham Boswell adds. “However, we are very protective of our reputation for delivering the highest possible audio quality so we were not going to bring any product to market until we were 100% convinced that it could live up to our exacting specifications. Lyra does just that, and we are very proud to introduce it.”

Lyra will start shipping in April 2013 and will be fully supported by Prism Sound’s acclaimed technical and after-sales service staff.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Award-Winning Composer Michael Price Invests In Prism Sound’s High Quality Audio

Award-winning composer and producer Michael Price is using a Prism Sound Maselec Master Series MEA-2 equaliser on his latest project – creating the music for ITV’s acclaimed supernatural drama series Lightfields.

“I wanted something fabulous that could add some sparkle and warmth to the TV mixes we were doing in the studio for Lightfields. I loved the MEA-2 when I’d used it at Abbey Road so I decided to invest in one for my own studio,” Michael explains.

Prism Sound’s MEA-2 is a stereo or two-channel, four-band precision equalizer that is designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required. The unit provides a very transparent signal path where only the desired equalization is obtained, without adding any particular sonic signature.

Developed for Prism Sound by engineer/producer Leif Mases, who has worked with a diverse range of artists including Abba, Led Zeppelin, Jeff Beck and Black Sabbath, the MEA-2 is one of a number of products in the Maselec Master Series range. All of these combine Leif Mases’ experience with the creative process and Prism Sound’s focus on engineering and technical excellence to ensure the delivery of great-sounding audio in an intuitive and easy-to-use package.

Michael, who has worked on more than 30 major studio pictures, says: “The MEA-2 is incredibly well made, but more than that it has a peculiar sonic ability to make things just sound better, without stamping too much of its own opinion on the music. It’s no surprise that mastering engineers love them, but it’s also a super useful thing to have in a mix studio.”

Michael bought his MEA-2 from Studioxchange, the official Prism Sound Retail Partner. It now has a permanent home in his project studio in Berkhamsted.
“This studio has been mostly digitally equipped up till now,” he says, “but I’m really excited about getting more into high-quality analogue gear. I’m really delighted with the sound I’m achieving with the Prism Sound MEA-2 and we always try and specify them when we are recording in studios like Abbey Road. Now that I own one, try prising it out of my hands. It’s going nowhere!”

As a film, TV, classical music and contemporary dance composer, equally at ease writing in full orchestral or more electronic idioms, Michael is in great demand. He is currently writing a new album for Erased Tapes Records, which will be released on vinyl later in the year, and is scoring the new independent British film, Delicious, on which Michael makes his producer debut.

He started his career as assistant to the film composer, Michael Kamen (Robin Hood Prince of Thieves, Lethal Weapon), then worked as a music editor (Lord of the Rings, Children of Men and Love Actually), before returning to composition. Since then he has written the score for BBC’s critically acclaimed Sherlock series with David Arnold – a project that won them a Royal Television Society Award and BAFTA and EMMY nominations – and composed music for the Inbetweeners movie, Horrid Henry: The Movie and Cheerful Weather for the Wedding.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Media Group International Receive Prestigious ISO 9001:2008 Certification

Dubai, UAE, 25th March 2013: Media Group International (MGI), the region’s leading systems integrator, has been awarded ISO 9001:2008 certification, the world’s most recognised quality management standard. MGI is the first company of its kind to receive the prestigious accolade within the Middle East region, guaranteeing customers world-class quality assured products.

The certification follows a thorough auditing and validation process by British Standards Institute (BSI), and will see the company regularly continue to comply with quality monitoring processes. ISO 9001:2008 accreditation guarantees optimum quality assurance and control to MGI’s customers.

Paul Hennessy, CEO of Media Group International says: “This great achievement is a strong stepping stone for Media Group International towards excellence. The award of the ISO 9001:2008 certification is evidence of the company’s on-going commitment to quality management and continual improvement. It also demonstrates Media Group International’s promise to consistently provide quality products and services to its customers.

“I would like to congratulate the entire project team, senior management and all staff members who were involved in this project.”

Representatives from the BSI attended leading industry event CABSAT 2013 to present the certificate to MGI’s Chief Executive Officer, Paul Hennessy. Formerly known as Salam Media Cast, MGI debuted under its new name at the trade event held earlier this month at the Dubai World Trade Centre.

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Media Group International
Media Group International is a proven media broadcast and communications technologies systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, and Saudi Arabia. MGI opened its first European office in London in August 2012, under the direction of Managing Director, Neils Thomas, who formerly worked as Head of Sales for North Europe at Sony Professional Solutions Europe.
Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor and multisensory environments. Media Group International provides solutions from safeguarding national security such as in government operations, creating the best venues for education such as museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.

To support the workflow and innovation demands of our valued customers, the team has grown with new local and international talent. We use our expertise to help realise your goals and ambitions – we listen, advise, design and build great workflows that work for you. Our ambition is to be your trusted partner in the Gulf region.
Website: www.mgi.tv
About Ghanim bin Saad Al Saad & Sons Group Holdings

Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.
GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.
The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
info@gssg.com
www.gssg.com

MAGIX Becomes The First DAW Manufacturer To Embrace The Music Producers Guild’s ISRC Initiative

The Music Producers Guild’s efforts to establish an industry standard for embedding ISRC data within digital music files has received a significant boost with the announcement by MAGIX Software GmbH that it will incorporate EBU (European Broadcasting Union) Broadcast WAV files in the latest software upstate for its popular Sequoia Digital Audio Workstation.

André Standke, Product Manager Sequoia, MAGIX Software GmbH, says: “For years, Sequoia has been an integral part of leading broadcast and mastering studios worldwide. We focus our attention on delivering the best sound and tools by working closely with engineers and music producers including Sterling Sound in New York, Air Studios, Alchemy Mastering in London and many more.

“As optical media is gradually replaced by file and server based audio content, we will continue to support the changes to the mastering process with innovative developments such as EBU tech3352 and we are happy to announce this feature is now incorporated into Sequoia, our number one product on the market.”

From the MPG’s point of view, the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

In the past the ISRC information was included within sub data streams of a CD, but in today’s digital age, where music is often stored on digital WAV files, the ability to securely associate ISRC data with specific tracks has been lost. This is because the only common way to incorporate ISRC into a WAV file is via the file name – and if someone changes the file name or it is truncated or amended by a software program, the vital ISRC information can easily go missing.

To resolve this problem, the MPG’s Mastering Group has been working closely with the EBU to develop an industry-approved method for embedding ISRC data within a WAV file. Following discussions, it was agreed that the best solution was to use was the EBU’s existing Broadcast WAV File (BWF), a variant of the traditional WAV file that was developed for use by broadcasters. The EBU has now agreed to adopt the BWF as standard so that all-important ISRC data can be securely associated with specific tracks.

MPG Mastering Group board member and Alchemy Mastering Engineer Barry Grint, who is leading the BWF initiative, adds: “MAGIX’ decision to incorporate BWF into Sequoia is a significant step forward for the MPG’s initiative and we are delighted that the company has embraced BWF as the standard specification for file exchange. The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain. We now hope that other DAW manufacturers will follow suit.”

Grint adds that ISRC is set to become the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification.

“The entire music industry needs a robust and secure system for identifying tracks, and who had input into their creation, so that we can safeguard the incomes of all artists and copyright owners,” he says. “Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain. Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition.”

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For more information about Sequoia Digital Audio Workstations, please visit www.sequoia-audio.com.

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

DPA Microphones Brings Unobtrusive Audio Quality to NRCU

The National Radio Company of Ukraine (NRCU) has expanded its stock of microphones by investing in six DPA Reference Standard 4011C compact cardioid microphones.

Vyacheslav Zhdanov, Head of Audio at NRCU, says “Buying these microphones was not a difficult decision to make. We had previously been renting DPA microphones so our engineers were familiar with them and knew they offered exceptional sound quality. We also knew that, coming from such a well-known Danish company, we would have no problems with their reliability and build quality.”

Zhdanov adds that the small size of DPA’s Reference Standard 4011C compact cardioid microphones was another attractive feature as they can be used discreetly, particularly on television broadcasts.

Designed for situations where unobtrusive miking is required, DPA’s 4011C microphones are ideally suited to television, film, theatre, concert and studio performances where they deliver a clean, natural sound while reducing the noticeable effect of lighting reflection and minimizing bleed from other instruments.

NRCU’s microphones were supplied by DPA’s Ukrainian distributor Realmusic and are now being used to record classical and folk music concerts for radio and television broadcast across all three of its national channels and one international channel. The majority of these recording are taking place at House Recording NCGR in Kiev.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

The Band The xx Joins DPA Microphones d:facto™ Vocal Mic Fan Club

Award-winning band The xx has bought two DPA d:facto™ II Vocal Microphones after being impressed by their audio quality and ability to deliver an incredibly natural sound during a recent tour of the US.

The band, which comprises Oliver Sim, Romy Madley-Croft and Jamie Smith, won the 2010 Mercury Music Prize for their debut album xx. They were introduced to DPA’s d:facto Vocal Microphones by their live sound engineer Rik Dowding who was keen to find an alternative to the microphones Oliver and Romy had been using.

“One of the most important things about working with this band is the translation of the very intimate, late night vocals of the albums to a live situation,” Dowding says. “Higher mic gains introduce unwanted stage noise into the microphones, especially in smaller venues. In order to get that ‘in your face’, yet delicate sound, I needed a mic that had great feedback rejection. In truth, I’d been looking to improve our microphone choice for some time.”

Dowding’s solution was to hold a microphone shoot-out to see what else might work. His monitor engineer, Craig Donaldson, recommended including the new DPA d:facto vocal microphone after reading an article about them in the trade press.

“DPA has a great reputation for audio quality so we were interested to see what this new vocal microphone was capable of,” Dowding says. DPA’s UK distributor Sound Network was happy to supply a demo unit and the battle began.

“It was immediately obvious that the d:facto was the best microphone on show, especially for Romy who has a very warm, breathy and distinctive voice with some sibilance,” Dowding says. “To deal with that we needed a microphone that could deliver exceptional audio clarity, yet not display the usual Rock n’ Roll coloured sound associated with proximity effect and artificial high mid boosting. The d:facto was perfect – in fact Romy noticed the difference immediately, noting how much clearer her voice sounded when she heard it through her in-ear monitors. It was also noticeable to me how good the mic’s feedback rejection was.”

The DPA d:facto Vocal Microphone was tested even more thoroughly at a pre-US tour gig at Brixton Academy, London, and once again it performed flawlessly.

“At that point we decided to use it for Oliver’s vocals as well because we were so pleased with the sound we were getting,” Dowding says.

The xx toured the US with d;facto vocal microphones and are using them on the next leg of their tour which takes place in Australia. They also used them for a gig at Abbey Road Studios where they were recorded for a live session on Absolute Radio.

“There is no doubt that the d:facto Vocal Microphone does take a while to get used to because it doesn’t colour the sound and has a flat response,” Dowding adds. “But once you realise how good it is in dealing with proximity effect, and how much clarity it delivers, you quickly become a convert. Add to that the ability to use it with most wireless systems without compromise and you have a very powerful package.”

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Editors’ information:

DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

ITV Chooses DK-Technologies Waveform and Audio Monitoring For Three New Facilities

After successfully implementing Multichannel Waveform and Audio Monitoring systems from DK-Technologies into its new ITV Meridian facility, ITV has now rolled out the same solution to its News broadcast facilities in Leeds and Manchester.

All three facilities are now equipped with five DK Waveform Monitoring systems comprising a PTO760 with HDSDI input core, a PTO760-I/P-8A analogue audio input module and a PTO760M-O/P-8A analogue output module. Each system is augmented with a matching secondary passive display unit. ITV News Leeds and Manchester facilities have an additional PTO710 Waveform Monitor, which is being used for its studio vision control position.

ITV Meridian was the first of the regional News operations to install DK-Technologies equipment, specifying the system as part of its 2011 move into a totally new facility.

Gerard Jennings, ITV News and Regions’ Engineering Manager, says: “With the ITV Meridian move, we took the opportunity to replace most of the core broadcast infrastructure with new HD compliant equipment.”

The decision to use DK-Technologies equipment was taken after the project’s technical team looked at systems from various manufacturers to compare features and cost. They eventually chose the PT0760M system because it offered flexible waveform and audio monitoring for the HD environment.

“The multiple inputs, video and audio, removed the requirement for external monitoring switchers, while the flexible configuration features allowed us to create specific presets for each of the user groups,” Jennings explains. “ITV Meridian’s operational staff were also consulted on the configuration features to make the units operator-friendly. An additional benefit to the News division is that they can be fully controlled and monitored over the ITV WAN to enhance nationwide out of hours support. Although these features are implemented in other makes of waveform monitor/rasteriser, the Java interface in the DK-Technologies range produces the best remote response. The DK display is one of the best we’ve seen for clarity and most importantly viewing angle which is critical in the raked upstands of control desks and is an area where some other makes of monitor have been found wanting. The displays are also cheap to service as we can change the backlight ourselves at a modest cost.”

At ITV Meridian, which has become the template for subsequent installations, ITV was keen to standardise monitoring stations so five physically identical sets of DK equipment were installed, each appropriately configured for the different applications required. Two of them are situated in the Traffic area, one is in CAR and the remaining two are in the craft edit suites. Each system is mounted in custom built control room furniture, designed by Lund Halsey to take a 3ru rackmount waveform monitor arrangement. Valuable rack space was saved because ITV Meridian did not have to accommodate any additional monitoring switching.

The success of this set up led ITV News to roll out similar systems to Leeds and Manchester and these are now up and running.

“The DK units do away with need for additional monitoring switchers because they perform that function for us,” Jennings says. “They also control independent loudspeaker and headphone monitoring for each position.”

The equipment choices that ITV News made for its new Meridian premises will not only enable the broadcaster to move seamlessly to HD, but have also formed the basis for the way other ITV News facilities have now been equipped.

“We have rolled out ITV Meridian’s core equipment choices to other regional News sites as we have refurbished them,” Jennings says. “ITV Meridian’s new complex has been a good proving ground.”

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

THE MUSIC PRODUCERS GUILD AND PPL HIGHLIGHT THE BENEFITS OF THE ELIGIBLE STUDIO PRODUCER FORM

The Music Producers Guild and PPL hosted a session to explain the value and importance of the Eligible Studio Producer Form which PPL launched last year.

More than 50 people attended the event, which was hosted by MPG Chairman Steve Levine. The panel consisted of Camilla Waite (PPL Head of Legal & Business Affairs), Penny White (PPL Head of Member Services) and MPG’s Tommy D (producer, artist and label owner, who has worked with artists such as Catatonia, Beyoncé, Jay-Z and KT Tunstall).

The Music Producers Guild and PPL have worked closely together to launch the Eligible Studio Producer Form which, while not introducing a change in policy, was designed to provide evidence of a studio producer’s performance at the time of recording. The form, which was launched in June 2012 and is being trialled for one year, allows all parties to agree, at the point of recording, what contributions have been made on a track. This simple form eases the path for producers to make royalty claims with PPL by providing an elegant and transparent process that clarifies future payments.

Steve Levine, chairman of the Music Producers Guild, says: “As this income is an important revenue stream for recording musicians, record companies and producers, we wanted to ensure that our members understood the process so that they don’t lose out on any potential income. This seminar answered many of their queries and we hope it will give them the confidence to make claims for payments using PPL’s new Eligible Studio Producer Form.”

During the debate Tommy D said he hoped the new form would eventually replace the track sheets that were used historically. He pointed out that the form’s main benefit was to identify the role the producer had played during the session in order to avoid future royalty disputes. Where a studio producer does not give an audible contribution (such as vocals or instrumentals) they may still be eligible to receive royalties from PPL if they conduct (or provide a similar musical direction) to another performer’s live performance as it is being recorded. The form is designed to be submitted to PPL as evidence in support of these “non-audible” contributions. If producers have also performed audible contributions, such as vocals or playing an instrument, then PPL recommends that studio producers make claims with PPL for each of these roles (if not already included in the data submitted by the record company).

After the panel discussion, which generated some lively debate, attendees were able to access personal advice from PPL‘s member services team who were on hand to help with PPL-related queries.

The new Eligible Studio Producer Form can be downloaded from: http://www.ppluk.com/I-Make-Music/Studio-Producers/

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

About PPL

PPL is the UK-based music licensing company which licenses recorded music for broadcast, online and public performance use. Established in 1934, PPL carries out this role on behalf of thousands of record company, producer and performer members. In 2011, the last year for which numbers are currently available, PPL collected revenue of £153.5m

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du and Visual Unity Partner to Deliver Turnkey Solutions to Middle East Broadcasters

The UAE’s integrated telecom service provider – du, and leading international Multiscreen Solution Provider – Visual Unity, announced signing a strategic partnership agreement in order to extend service offering and experience to a wider broadcast industry customer base in the UAE.

This agreement will enable du to strengthen its position as the preferred provider of content delivery solutions for Middle East broadcasters by offering them end-to-end delivery solutions to execute their online strategy.

Under the terms of the agreement, du will resell Visual Unity services as part of an integrated solution together with its connectivity, satellite, playout and content delivery network (CDN) capabilities. du’s extensive experience and strength in satellite and CDN delivery, combined with Visual Unity’s vuMedia™ solution and experience in broadcast system integration, will ensure that du’s current and new broadcast customers can look to the telecom as a single provider offering an end-to-end content delivery platform. With Visual Unity’s Broadcast System Integration and Multiscreen Solution, du customers will now have further visibility and control of their end to end content delivery flow.

Farid Faraidooni, Chief Commercial officer, du, says: “Ever since we took ownership of the Samacom teleport in 2007, we have established ourselves as a market leader in satellite services. While we are emphasizing our position as a satellite service provider, we are undertaking several initiatives to address the complete set of functionalities required by our broadcast customers, by taking away the heavy lifting and investment to fit content to multiple devices. This will allow them to concentrate on their core business – content. Our partnership with Visual Unity is a proof of this commitment.”

Gabriel Dusil, Vice President Marketing and Corporate Strategy, Visual Unity, says: “Through this strategic partnership with du, we are able to extend our existing turnkey systems and solutions to a wider number of customers across the Middle East region. Visual Unity has over twenty years of experience in designing such systems, and we are confident that, with du’s infrastructure and connectivity, we will be able to grow together to better service the needs of broadcasters across the region.”

du is one of the largest satellite service providers in the region, currently serving over 270 channels and more than 60 broadcasters. Extending its scope to the digital realm, du successfully launched its Content Delivery Network (CDN) offering in 2011 and is today delivering Middle Eastern broadcasters’ content over the web through a secure cloud-based delivery network. The World Teleport Association’s (WTA) ranking of the Top Teleport Operators of 2012 has UAE-based du in the top 20 of its three listings. The WTA’s listing has du positioned at the 8th, 13th and 19th in the Top Twenty, Fast Twenty and Global Top Twenty categories respecitively.

The both companies will showcase their solutions at CABSAT, the biggest broadcast exhibition in the Middle East 12th – 14th March in Dubai, du – Hall 4 stand No.D4-10, Visual Unity – Hall 8 stand No.E8-22.
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About du
We opened for business in 2006. We offer mobile and fixed telephony, broadband connectivity and IPTV services to individuals, homes and businesses. We also provide carrier services for businesses and satellite up/downlink services for TV broadcasters.
As a rapidly-growing enterprise, we have a team of experts working to enhance and expand our bouquet of service offerings. Our people come from over 60 countries – we mirror the rich cultural diversity of our nation, while being able to serve our customers in a variety of languages.
Over 50% of our senior management team and customer-facing employees are UAE nationals, and we remain committed to providing fulfilling opportunities for quality talent in a cosmopolitan working environment.
By the end of 2012, more than 6.45 million people and over 50,000 businesses have chosen to use our services. In a survey conducted by ARC Chart, we were named the Best Mobile Broadband Network 2012 in the Middle East and Africa region. We also ranked first in MENA’s Standard & Poor/Hawkamah Environmental, Social and Corporate Governance Index in 2011.
du is 39.5 percent owned by Emirates Investment Authority, 20.081 percent by Mubadala Development Company PJSC, 19.5 percent by Emirates Communications and Technology LLC and the remaining stake by public shareholders. du is listed on the Dubai Financial Market (DFM) and trades under the name ‘du’.

About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai. For further information, please visit www.visualunity.com

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