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Archive by Sue Sillitoe

Oxygen DCT Launches The GlueBox™ Mio HD/SD-SDI To HDMI/DVI Converter at BVE 2012

At BVE 2012, Oxygen DCT will be launching the GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter, a high quality, compact, reliable device for broadcast television and digital film industries.

This useful and practical product addresses the everyday and ever changing requirements of video conversion and interfacing by offering an exceptional range of facilities that overcome many of the limitations commonly found with other converters.

Ideal for a wide range of applications, the highly adaptable GlueBox Mio HD/SD-SDI to HDMI/DVI converter is equally at home in a master control room, in the back of a rack, on a studio floor or mounted on a crane. It can be powered from a 12v DC battery or from the AC to DC power unit that is supplied as standard with each box.

A key feature of this unique product is its flexible multi-mode scaler, which has 14 modes enabling automatic output scaling or user selection of 13 different output resolutions from 1920×1200 down to 1024×768. The box also incorporates broadcast grade filtering, which delivers superior image conversion, permitting greater detail and eliminating the artifacts often found on low quality converters.

The GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter accepts all HD-SDI signal formats including 3G-SDI (dual or single link), HD-SDI or SD-SDI and from 1080p/60 down to 525i with automatic signal detection. There is also an active, non-reclocked looped out that negates the need for additional distribution equipment in the signal path.

Steve Hathaway, Oxygen DCT’s Managing Director, says: “This product is packed with features that are often not available on similar converters. These include audio monitoring on HDMI – a really useful facility that allows users to fully monitor a HD-SDI signal on a low cost HDMI monitor. By incorporating audio output with the HDMI signal, the audio within any of the four groups embedded in the HD-SDI stream can be extracted and output as a stereo pair. The side mounted dip switches allow users to select the stereo audio pair for the HDMI output or blank the audio output to the HDMI signal, if required.”

The GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter also offers a DVI connector output interface, as well as a DVI to HDMI converter for HDMI applications. Two LED status indicators show the unit is powered up correctly and that it has a valid video signal, free from errors.

Steve Hathaway adds: “This unit is perfect for both studio and field portable applications and is widely used with HD-SDI signals to provide a DVI/HDMI output for use with large monitors such as Oxygen DCTs Evolution Pro-M series. The fact that this product is both simple to operate and very affordable makes it ideally suited to customers who want an inexpensive conversion solution without having to compromise on quality.”

For further information about Oxygen DCT’s GlueBox Mio range, please visit stand i60 at BVE 2012 or the company’s website at www.oxygendct.com

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About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles. www.oxygendct.com

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VISUAL UNITY EXPANDS ITS MANAGEMENT TEAM WITH TWO KEY APPOINTMENTS

Leading Broadcast and Multiscreen System Integrator Visual Unity has expanded its management team with two key appointments – Tony Hasek and Asheem Parikh. These appointments will further strengthen Visual Unity’s sales channel and its ability to help customers as they make the transition from traditional broadcasting to a modern multiscreen workflow.

As Vice President of Sales, Tony Hasek will drive Visual Unity’s international business development and take charge of internal sales management. He brings 20 years experience in both Systems Integration and Mobile technology to the role, having previously founded system integrator Kinetik and Anyware, a developer of custom and stand-alone applications for Apple’s iOS (iPhone/iPad) and Google’s Android OS, Blackberry and Windows Mobile.

Client Services Manager Asheem Parikh, who joins Visual Unity from KIT Digital, will assist customers with effective project deliveries. His extensive experience in programme management and professional services will ensure best practice and a smooth transition for customers who are expanding or adapting to the multiscreen environment.

Commenting on the new appointments, Visual Unity’s CEO Jakub Kabourek says: “Tony and Asheem are valuable additions to our team and their experience extends our unique expertise in linear and multiscreen solutions. They join at an exciting time for Visual Unity, following the successful delivery of a High Definition production OB vehicle to Czech TV and news that the national broadcaster’s online service iVysilani, driven by Visual Unity’s vuMedia™ integrated multiscreen content and delivery platform, has won two industry awards for innovation to power the second screen.”

Visual Unity is now consolidating its position as a multiscreen specialist by launching new and enhanced mobile features for its vuMedia™ platform and extending its Content Delivery Network outside Europe with new pops in the Middle East.

Over the next 12 months Visual Unity will be taking part in a number of trade events including the CABSAT, NAB and IBC exhibitions.

For more information about Visual Unity, its products and its services, please visit www.visualunity.com

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About Visual Unity
Visual Unity is an international Systems Integrator blending broadcast, IT and multiscreen expertise to help clients reach and engage audiences – wherever they are. The team has been designing and delivering turnkey broadcast-IT convergent and multiscreen systems since 1991 – from HD Outside Broadcast vehicles and major playout facilities to automated Direct-to-Web and second screen solutions.

Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetised in the multiscreen environment. Through four highly scalable and flexible modules, the vuMediaTM platform delivers a cutting-edge web-based and mobile viewing experience, comprehensive VOD services and secure, robust content distribution – all of which can be seamlessly deployed into existing workflows.

Visual Unity is based in Prague, London, Dubai and Belgrade.

For further information, please visit www.visualunity.com

Visual Unity: Na hrebenech II 1718/8, Prague 4, 147 00, Czech Republic
T: +420 271 742 111 F: +420 271 742 112 E: info@visualunity.com

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Jünger Audio Gives US Broadcasters The Tools To ‘CALM’ Audio Loudness

Dynamics specialist Jünger Audio will be attending the NAB 2012 convention (Booth SU3604) with two new additions to its *AP family of loudness control processors. These units are specifically designed to help US broadcasters stay within the parameters of the newly introduced CALM legislation.

The *AP family all incorporate Version II of Jünger Audio’s renowned LEVEL MAGIC™ adaptive loudness algorithm, which is compliant with all current broadcast audio loudness recommendations including ITU 1770 (versions 1 and 2), ATSC A/85, ARIB TR-B32 and EBU R128. Based on a Multi-Loop dynamic range control principle where slow changes (AGC), fast changes (Transient processing) and Look Ahead peak limiting are handled simultaneously, LEVEL MAGIC offers level management with exceptionally high audio quality and without coloration, pumping, breathing, distortion or modulation effects.

Peter Pörs, managing director of Jünger Audio, says: “When it comes to controlling audio loudness and ensuring that broadcast audio stays within the law, our *AP family provides broadcasters with all the tools they need. Major broadcasters around the world are choosing these products because they allow loudness consistency to be maintained in a very easy and cost effective way – and without any detrimental effects on sound quality.”

At NAB 2012, Jünger Audio will show its Award-winning T*AP TV Audio Processor, which made its operational debut at the 2011 Eurovision Song Contest and has now being installed in numerous broadcast facilities. Primarily designed for TV playout, the device provides Loudness control, Upmix and surround sound processing for up to eight channels of audio (8×1, 4×2, or 6+2).

T*AP focuses on automatic and adaptive loudness control and also offers Jünger Audio’s Spectral Signature™ as standard. This remarkable proprietary technology gives TV and radio broadcasters the ability to create a signature mask as a template so that they can recreate the same atmosphere and dynamics on subsequent audio content. Optional Dolby Decoding and Encoding (D, D+, or Pulse), as well as metadata management, are also provided along with 5.1 Downmix and Jünger Audio’s 5.1 UPMIX circuit, which has been upgraded to deliver greatly improved performance and a range of new settings.

The two new additions to the *AP family, which will be on show for the first time in the USA, include the D*AP LM4 and the D*AP LM2.

The D*AP LM4, a four-channel Digital Audio Processor aimed at television broadcasters and video production and post production companies that need to control audio loudness while creating and editing broadcast content. Similar in concept to the hugely popular Jünger Audio B46 processor, which it replaces, the D*AP LM4 also features on board AES/EBU digital I/O, along with optional 3G/HD/SD-SDI I/O or analogue I/O. This combination of formats is likely to open up many new markets for the unit. Control of this 19” rack-mountable unit is via a smart new front panel or via a Web interface for those who wish to operate it remotely.

The D*AP LM2 is a two-channel Digital Audio Processor that replaces Jünger Audio’s ground breaking D06 unit. The D*AP LM2 offers a powerful combination of dynamics and loudness control, making it suitable for a wide range of applications including television, radio, music production and PA. It can handle both analogue and digital (AES/EBU) audio and features an automatic input switchover with parallel output formats. It also fits neatly into a rack and is controllable through a newly designed front panel or via a Web based interface.

Both the D*AP LM2 and D*AP LM4 come with optional redundant PSU and a power fail bypass to ensure maximum operational security. They also feature Jünger Audio’s Adaptive Dynamics as standard, allowing customers to incorporate additional processing blocks such as compressors and expanders. Spectral Signature™ will become an option for these processors.

Jünger Audio will also be showing a prototype of the V*AP two-channel voice processor, a new addition to the *AP family that will be officially launched at IBC 2012.

The development of this unit has been driven by market demand for a voice processor that allows TV and radio journalists to capture their own narrative style, particularly when operating outside the studio. The V*AP will come with either a microphone (optional dual high end Mic preamps) or AES I/Os so that it can be used with a mixing desk as a high end outboard dynamics processor. Featuring Jünger Audio’s renowned audio quality, this 19” 1RU device will combine classic dynamics processing, filters, EQ and Spectral Signature, Jünger Audio’s new dynamic equalization algorithm. It is designed to be extremely easy to use and will have powerful User Interfaces including front panel operation, GUI selection and API for third party application (HTTP, Ember).
Junger Audio is completing its NAB line up with Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. This innovation is critical to all broadcasters who now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. The software, which is an MS Windows application, can be purchased from Jünger Audio on a license basis per PC and is protected by an USB dongle. The Loudness Logger works with Jünger Audio’s entire range of new box processors as well as with recent versions of LEVEL MAGIC™ cards in the modular C8000 system.
If you would like more information about these products please visit Junger Audio at NAB 2012 – Booth SU3604 – for a demo.

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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. www.junger-audio.com

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Oxygen DCT Presents Seven New Monitors And Award Winning Monitoring Innovations At BVE 2012

Renowned as the UK market leader in LCD monitoring products, Oxygen DCT will showcase a host of new monitors for broadcast and production at BVE 2012, including a new generation of 3D monitoring. The new products and technologies will touch a wide variety of television and digital film from DSLR camera operators to 3D shooting and production galleries for studios and outside broadcast.

Oxygen DCT has become the UK leader in broadcast monitors through its most extensive product range, expertise, objective advice and solutions. These new innovations compliment and expand on the existing product range of own label Evolution Pro Series monitors and those from Penta, Astrodesign and Osee for whom Oxygen DCT is an exclusive distributor. There will be a 5” DSLR monitor, a new 18.5” multipurpose monitor, 17” production monitor, 24” and 47” 10 bit, reference monitors as well as an impressive monitor wall with 3D monitoring.

Whilst the OxyStack monitor wall replicates a typical production gallery capable of monitoring up to 32 signals it raises the standards with grade 1, Penta 24”, 10 bit monitors giving precise colourimetry to REC709 standards, future proofing it for 1080p productions. Furthermore, the PVW preview and PGM programme reference monitors are able to displaying 3D images adding flexibility for use at live 3D events and productions. This OxyStack is available as a turnkey system and can be customised to individual requirements with installation available worldwide, in studios and outside broadcast vehicles.

“As part of our ‘customer choice’ package, we have introduced new 3D monitoring, which allows production crews to operate in 3D mode at a touch of a button,” says Steve Hathaway, Oxygen DCT’s Managing Director. “This is a high advantageous situation not only because of the flexibility but because it also allows the integrity of the gallery to remain in a familiar layout and design, thus negating the need for a special design for viewing 3D signals.”

By contrast Oxygen DCT is showing the MultiStack™, a low cost monitor wall system for temporary and permanent fixed installations. MultiStack™ has been designed as a more budget conscious monitor wall with individual source monitors arranged in rows according to production requirements. Whilst less than 60% lower cost than a 32 signal source Grade 1 monitor stack it has some benefits too as far as resilience is concerned and viewing angle as the 9.7” monitors use IPS LCD technology to give a wider viewing angle, approaching a full 180 degrees.

Hathaway adds: “Monitoring is often a challenge to many broadcast engineers as they try to balance monitor wall design with ergonomics and available budget. Oxygen DCT’s vast range of monitors and multiviewer systems, coupled with our extensive experience in monitor gallery design, enables us to provide our customers with the practical advice they need to achieve the very best results.”

Oxygen DCT’s new 18.5” multipurpose LCD monitors has been introduced as a replacement for popular 17” LCD monitors, which are fast approaching end of production. This new monitor will rack mount and has the benefit of a larger picture area. It inherits all the features of its predecessor such as simultaneous waveform monitor and vector display, audio metering, safe area markers, multiple inputs up to 1080i and audio outputs. The OBSM182 is shipping now and priced at well under £2000. Complimenting this is the 3G OBXM171, a dual display 3G, 1080p capable monitor with full signal monitoring and not just picture display. In addition to the waveform and vector display and audio metering, there’s signal status monitoring for CRC errors, Sync, signal format and more. It also incorporates Oxygen DCTs wrap around FlightDeck™ status display, simultaneously showing picture, audio, meters and signal status data.

For production people, the IBC award winning Evolution P3 7” and 17” monitors will be on display, together with a new 5” monitor range for DSLR cameras such as the popular Canon 5D and 7D.
In contrast, the new 47” Grade One reference monitor – the PDP-47-3G – offers customers such astonishingly life-like picture quality that many users have described it as ‘better than reality and like 3D’. Already in use as a grading monitor with BBC TV and another major post houses, the PDP-47-3G has at its heart 10 bit LCD technology that is driven from 16 bit over-sampled inputs and signal processing. The monitor also conforms to REC709 colourimetry, making its equally suitable as a reference monitor for grading as well as on set replay.

“The colour accuracy of this monitor is simply tremendous,” Hathaway says. “It also addresses the film sector as there are pre-set LUST for Cinespace and users can make their own colour look up tables according to production requirements.”

For further information about Oxygen DCT and its entire product range, please visit stand i60 at BVE 2012 or the company’s website at www.oxygendct.com

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About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles.

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UNITY Mobile Delivers Viewer Engagement & Effective

UNITY Mobile, a provider of cloud-based services, will showcase its innovative solution for mobile website creation, management and mobile video delivery at CABSAT 2012 on Stand S1.C20, 28 February – 1 March 2012, Dubai.

UNITY Mobile is revolutionizing the way that businesses connect to the entire mobile ecosystem, enabling organisations of all sizes to create and manage best-in-class mobile websites, mobile applications, multimedia content, e-commerce, and mobile marketing tools.

At CABSAT, UNITY Mobile will demonstrate how its platform helps broadcasters and content owners to engage and interact with mobile audiences, as well as implement effective, measurable mobile campaigns. Using video transcoding technology, the platform automatically converts and optimizes multimedia for streaming and download – making it easy to manage and monetize content. And thanks to a unique device recognition system, it is able to deliver video content to any device, providing the best mobile viewing experience possible for audiences on the go.

Thomas Wittig, CEO UNITY Mobile says, “Mobile is central to maintaining and attracting new audiences. A recent Nielsen report found that 86% of mobile internet users (and 92% of 13-24 year olds) use their devices simultaneously with TV. A quarter of them say they are browsing content related to what they are watching. That’s a compelling opportunity for broadcasters and content providers to complement the TV viewing experience on the mobile platform, particularly in the Middle East, where both mobile penetration and demand for mobile content are so high.”

UNITY Mobile will be co-exhibiting at the show with Visual Unity, a leading Multiscreen Systems Integrator. Together they will highlight vuMediaTM, Visual Unity’s integrated content management and delivery framework for TV everywhere. vuMediaTM comprises four scalable modules to manage, monetise and deliver multiscreen content and applications. The framework’s mobile component, vuMobileTM, employs UNITY Mobile technology to enable broadcasters (via the cloud, global or local Content Delivery Networks) to easily deploy and seamlessly integrate mobile services into existing broadcast workflows and business services– with minimum investment and minimum operational disruption.

Visit the UNITY Mobile in Dubai for a demo of their mobile platform, including tools for interactive mobile marketing and to learn how Visual Unity’s vuMediaTM framework, powered by UNITY Mobile, enables broadcasters to harness the enormous potential of mobile audiences.

About UNITY Mobile
UNITY is a provider of a cloud-based services platform that enables organizations to easily leverage Internet strategies and operations directly in the mobile channel. UNITY’s innovative publishing, management and marketing platform enables brands and advertisers to rapidly build on core digital media investments and processes and seamlessly access new mobile audiences.

Headquarters / EU Office: Na hrebenech II 1718/8, Praha 4 14700, Czech Republic
T: +420.226.003.400

US Office: 5401 W. Kennedy Blvd,Suite 1060 Tampa, FL 33609 T: +1.888.519.8561

Statement
Except for historical information, this news release may contain certain ‘forward-looking statements’. Forward-looking statements are statements that are not historical facts and are subject to a variety of risks, uncertainties and other factors that may cause the actual results, level of activity and performance to be materially different from the Company’s expectations and projections.

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Prism Sound’s New Loudness Test Suite Allows Broadcasters To Deliver Flawless and Legally Compliant Audio

With the CALM Act now law in the US and compliance soon to be mandatory, Prism Sound is using the NAB 2012 platform to highlight the importance of loudness meter verification by showing a new application for its award-winning dScope Series III audio analyzer.

This unique, freely-available test suite allows broadcasters and manufacturers to determine whether every aspect of their meter design complies with the latest international loudness standards.

Developed by Dr Rich Cabot, Founder and CTO of Qualis Audio, and Ian Dennis, joint-founder and CTO of Prism Sound, this comprehensive new suite of audio tests can be used to evaluate the performance and compliance of any loudness meter on the market. As US broadcasters are now legally obliged to comply with the ATSC A/89 standards, Prism Sound’s new test suite enables them to properly evaluate all loudness meters and ensure that their chosen product can deliver both ATSC and ITU BS.1770 compliance.

The new test suite will be on show at Prism Sound’s NAB 2012 booth (C3029). Visitors to the booth can obtain a FREE set of wave files and dScope Series III test files for verifying the performance of their loudness meters. The wave files have been specifically designed to expose any design flaws in a loudness meter, and the dScope Series III programmable test suite replicates these test signals in a highly convenient format, allowing the waveforms to be sourced directly from the dScope Series III digital signal generator.

Prism Sound is widely regarded as the leading expert in the field of audio test and measurement. The company offers a range of audio test solutions including the highly-acclaimed dScope Series III instrument, which incorporates precision, automatic gain-ranging that allows high resolution analogue measurements over a massive range, from a few micro-volts to more than 150 volts RMS, and from less than 1 Hz to over 90kHz. Its dedicated hardware interface uses DSP to provide a wide range of real time measurements, while its software exploits the host PC for almost unlimited number crunching and analysis options such as Fast Fourier Transforms, unique ‘Smart FFT’ soft instruments, swept sine and multi-tone testing. Designed to be highly programmable, the dScope Series III can be automated from a wide range of third-party software applications using Active X controls, or internally using VBScript.

Prism Sound will be showcasing its full range of audio Test & Measurement solutions at NAB 2012, 16–19 April, 2012, Las Vegas Convention Centre, Las vegas UAS, Booth C3029. For further information visit www.prismsound.com

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

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White Mark Helps Hogarth Worldwide Extend Its Production Facilities Around The Globe

Studio and acoustic design consultancy White Mark Ltd has completed two high specification audio production studios in Singapore for advertising implementation agency, Hogarth Worldwide. Both rooms have been built with locally sourced materials, making them the only White Mark rooms in the world that are constructed entirely of teak.

The two new studios are the latest in a long list of projects that White Mark has undertaken for Hogarth Worldwide.

“We employ White Mark to design all of our production facilities because they have a reputation for delivering exceptional results,” says Alex Buchanan, Technical Operations Director for Hogarth Worldwide. “White Mark has proved time and again that they are the best. We see White Mark as a partner in our global expansion programme and we greatly value their expertise and contributions on all our projects.”

Hogarth Worldwide, which is part of the WPP Group, implements international advertising campaigns in print, TV or digital media.

For Hogarth Singapore, White Mark has installed two 7.1 Dolby audio studios. The facility also has two Final Cut Pro edit suites and 36 open plan multifunction workstations.

The audio studios have fully isolated control room and voice recording booths and are equipped with Pro Tools HD Native, Avid ICON D-Command consoles and Exigy 7.1 surround sound systems installed by Matt Dobson. AKA Design was responsible for the desks in the control rooms and booths and both rooms were built by Oakwood and wired by WIRE: Broadcast.

White Mark has now started work on Hogarth Mexico City, which is due to open in March 2012. Two audio studios, identical in design to those in Singapore, are now being installed, along with two edit suites that are being built using White Mark’s new Fast Studio panel-based construction system.

Buchanan says. “The studios will mainly be used for broadcast audio recording and mixing, but there is also the possibility that they will be used for video as well.”

White Mark specialises in production facilities for music recording and the film and television industries. It has designed and supervised the construction of more than 170 audio production suites worldwide, including over 100 in London’s Soho alone.

White Mark’s Managing Director David Bell says: “Working with Hogarth Worldwide emphasises White Mark’s strength, which has long been to combine high quality studio facility performance with consistency. It is important to all clients to know that their facility ranks with the best in the world but to Hogarth it is especially important that, when walking into any of their rooms worldwide, the monitoring conditions and voice over quality are utterly compatible. Thus, even for the editing suites, the Fast Studio system was chosen so that the achieved working environment is compatible USA with London, Singapore with Mexico and in all other locations in between. It is great to be asked to produce such a suite of facilities and for our approach to be recognised so globally.”

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About White Mark:
Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last decade it has designed and supervised the construction of over 170 audio production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Hit Factory in New York (for which the company won a coveted TEC Award for Best Acoustic Design), Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 100 studios for more than 40 companies in Soho alone. The list includes Grand Central, Hackenbacker, Envy, Scramble, Lipsync, Molinare, Ascent Media, Wave and Boom. This impressive achievement means that a significant proportion of mainstream British television output passes through rooms designed by White Mark. www.whitemark.com

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DK-Technologies New DK Meter Is Now Even Better!

DK-Technologies’ new DK Meter is now even easier to use thanks to the addition of new software (V.2011-12-06), which enhances the user experience and significantly improves the meter’s performance.

The company has also released a new user guide that reflects this change and advises all DK Meter distributors, dealers and customers to visit www.dk-technologies.com where they can download both the new guide and the latest version of the software.

The DK Meter has received a fantastic response from the industry following its launch at NAB 20122, where it won a Broadcast Engineering Pick Hit Award for the technical and financial improvements it can bring to a facility’s operation.

At just $1295.00 in the US and €995.00 in Europe, this highly portable Compact Audio Loudness Meter (CALM) is no bigger than a smart phone and comes in two versions – the stereo DK1 and the 5.1 surround sound DK2. Both versions are easy to use, easy to install and can be powered from a computer USB port, making them ideal for location recording. They accept digital audio inputs and are supplied with all known loudness measurement recommendations as well as the standard DK-Technologies meter scales. As they use the same software as DK’s existing products, there are no technical issues when switching between a DK Meter and one of the larger meters in the company’s range which provides facilities for loudness logging.

Richard Kelley, Sales and Marketing Director for DK, says: “The new DK Meter is exactly what the industry has been waiting for – an affordable audio metering solution that not only delivers conventional metering but also ITU, EBU R128 and ATSC-compliant loudness metering at the same time, on the same display and in a single box.”

For more information about the DK Meter, please visit www.dk-technologies.com

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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

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Jünger Audio Shows Its *AP Family of Audio Processors At CABSAT 2012

Audio Loudness and dynamics specialist Jünger Audio will be showing two powerful new additions to its range of LEVEL MAGIC™ processors at this year’s CABSAT exhibition in Dubai. These new units, which form part of an expanding family of products that began with the launch of the Award-winning T*AP TV Audio Processor at NAB 2010, will be on show at the Qvest Media stand S2.D3.

The first unit, the D*AP LM4, is a four-channel Digital Audio Processor that incorporates Version II of Jünger Audio’s renowned LEVEL MAGIC™ algorithm, which is compliant with all current broadcast audio loudness recommendations including ITU, EBU R128 and ATSC A/85.

D*AP LM4 is aimed at television broadcasters and video production and post production companies that need to control audio loudness while creating and editing broadcast content.

Similar in concept to the hugely popular Jünger Audio B46 processor, which it replaces, the D*AP LM4 also features onboard AES/EBU digital I/O, along with optional 3G/HD/SD-SDI I/O or analogue I/O. This combination of formats is likely to open up many new markets for the unit. Control of this 19” rack-mountable unit is via a smart new front panel or via a Web interface for those who wish to operate it remotely.

Jünger Audio’s second new product – and the third in the new *AP family – is the D*AP LM2. This two-channel Digital Audio Processor also incorporates LEVEL MAGIC™ Version II and is compliant with all current broadcast audio loudness recommendations including ITU, EBU R128 and ATSC A/85.

Designed as a successor to Jünger Audio’s groundbreaking D06 unit, the D*AP LM2 offers a powerful combination of dynamics and loudness control, making it suitable for a wide range of applications including television, radio, music production and PA. The D*AP LM2 is capable of handling both analogue and digital (AES/EBU) audio and features an automatic input switchover with parallel output formats.

Both the D*AP LM2 and D*AP LM4 come with a power fail bypass to ensure operational security. They also feature Jünger Audio’s Adaptive Dynamics as standard, allowing customers to incorporate additional processing blocks such as filters, compressors, expanders and the recently introduced proprietary Spectral Signature processor. This remarkable proprietary technology gives TV and radio broadcasters the ability to create a signature mask as a template so that they can recreate the same atmosphere and dynamics on subsequent audio content.

In keeping with the T*AP TV Audio Processor, the 19” D*AP LM2 fits neatly into a rack and is controllable through a newly designed front panel or via a Web based interface. It comes with a power fail bypass as standard for additional operational security.

At CABSAT, Jünger Audio will also be showing the founder member of the *AP family, the T*AP TV Audio Processor, which made its operational debut earlier this year at the Eurovision Song Contest. Primarily designed for TV playout facilities, the device fulfils the quality requirements set by major broadcasters around the world by providing Loudness control, Upmix and surround sound processing for up to eight channels of audio (8×1, 4×2, or 6+2).

T*AP focuses on automatic and adaptive loudness control using Jünger Audio’s LEVEL MAGIC™ II algorithm and also offers Spectral Signature as standard, enabling broadcasters to dynamically equalise and ‘colour’ their sound in a much easier manner than can be achieved with a traditional multi-band sound processor. Optional Dolby Decoding and Encoding (D, D+, or Pulse), as well as metadata management, are also provided along with 5.1 Downmix and Jünger Audio’s 5.1 UPMIX circuit, which has been upgraded to deliver greatly improved performance and a range of new settings.

If you would like more information about these products please visit Junger Audio’s distributor Qvest Media on Stand S2.D3 for a demo.

-ends-

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. www.junger-audio.com

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German Broadcasters Turn To Jünger Audio’s LEVEL MAGIC™ Algorithm For EBU R128-Compliant Loudness Processing

The recent announcement by the EBU that German public and commercial TV broadcasters are harmonizing on the R128 Loudness recommendation for their audio levels has come as no surprise to dynamics processing manufacturer Jünger Audio, which already supplies EBU R128-compliant loudness processing equipment to all of the major players in the German market. more

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