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Archive by Sue Sillitoe

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.

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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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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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Visual Unity Introduces Middle East Broadcasters To Its Award-Winning vuMedia™ Multiscreen Platform

Leading Broadcast and Multiscreen System Integrator Visual Unity will use CABSAT 2012 (Stand S2.C20) to highlight its integrated content and delivery framework that allows broadcasters to effectively deliver and monetise content in the multiscreen environment.

With more than 20 years’ experience of Broadcast and Multiscreen System Integration including the design and delivery of turnkey TV systems, broadcast-IT convergent and multiscreen solutions for global brands, Visual Unity helps broadcasters bridge the gap between traditional broadcast and new media systems, enabling them to integrate web and mobile delivery into existing workflows and improve operational performance.

Visual Unity’s President Tomas Petru says: “The Middle East presents a unique set of challenges for the delivery and consumption of multiscreen content. Audiences are culturally diverse, with a large international migrant population and young tech-savvy demographic; this mix is reflected in the demand for a wide range of content, particularly across mobile devices.”

Petru adds that whilst advanced “last-mile” services are well established at a local level across the Middle East, “multiscreen” content is for the most part distributed through bottlenecks (often hosted in the USA) that severely restrict the user experience. This has left regional broadcasters in an untenable position, with poor delivery hindering opportunities for revenue generation.

He explains: “Broadcasters need to adapt their business models and culture to meet the demands of the emerging social viewer by engaging and interacting with audiences and delivering real value in real time – whether the viewer is mobile or at home in front of the TV set. Visual Unity is well placed to help them become more agile and competitive, thanks to our proven experience in broadcast integration and vuMediaTM, our award-winning integrated content management and delivery platform.”

At CABSAT, Visual Unity will demonstrate how vuMediaTM helps manage, automate and monitor multiscreen delivery. Through four highly robust and scalable modules, it delivers a cutting-edge web-based and mobile viewing experience, comprehensive VOD services and secure distribution – all of which can be seamlessly deployed into existing workflows:
• vuChannelTM for web-based and mobile viewing, fully integrated into the station backend;
• vuDemandTM for comprehensive VOD services, including billing & reporting;
• vuMobileTM for mobile content and applications;
• vuNetTM providing secure content control over distribution and user-experience management.

“We are excited to showcase the full capabilities of the vuMedia™ platform, particularly the vuMobile™ module, which provides mobile-optimised content and enhanced video, with application and interactive marketing tools, to effectively engage mobile audiences,” says Visual Unity’s CEO Jakub Kabourek.

Especially relevant to Middle East broadcasters is vuNetTM, which provides a robust and secure infrastructure to effectively ingest, manage, monetise and distribute assets. vuNet™ connects seamlessly with global CDNs and cloud-based services. However, in regions such as the Middle East where cloud access is unavailable, expensive or may be unfavourable to the content owner, clients can benefit from Visual Unity’s own Content Delivery Network (CDN), with a current installed capacity of more than 100 GBps and almost 400 TB storage space. Capable of supporting tens of thousands of concurrent users, the CDN provides coverage across Europe and Central Europe, including Germany, Hungary, Slovakia and Romania and Visual Unity has recently established pops in Dubai, Bahrain and Saudi Arabia.

Kabourek concludes: “With pops now across the Middle East, Visual Unity’s CDN is effectively supporting the development of more regionally executed services, delivering a much-improved user experience and securing the future of multiscreen broadcasting in the region.”

Visual Unity will be showcasing its leading integration capabilities and demonstrating the vuMediaTM platform at CABSAT 2012, 28-February- 1 March, Sheikh Saeed Hall 1, Stand S1.C20. For further information visit www.visualunity.com

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About Visual Unity
Visual Unity is an international Systems Integrator bridging the gap between broadcast and software-based media systems, to help clients reach and engage audiences – wherever they are. The team has been designing and delivering turnkey TV systems, broadcast-IT convergent and multiscreen solutions worldwide since 1991 – from HD Outside Broadcast vehicles and major playout facilities to automated Direct-to-Web platforms.

Visual Unity’s award-nominated 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 a secure robust Content Delivery Network – all of which can be seamlessly deployed into existing workflows.

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

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Oxygen DCT Introduces New Concept In Mobile Tapeless Workflow for TV and Film Acquisition and Editing

Oxygen DCT has launched a new concept in mobile production for field and on set recording for television and film productions. Featuring Cinedeck recorders and Final Cut Pro editing, the custom-built Land Rover Discovery is designed for a one or two-person team who can record and edit material instantly on set or on a mountain road.

This new approach is a result of a close collaboration with Broadcast Networks, who are acclaimed for the design and build of quality broadcast and media systems for UK international broadcasters and media organisations including recent work for a new 3D production OB vehicle for Norway’s OB-Team.

This latest collaboration came about as a direct response to market demand for fast turnaround, high quality and durable live productions that can be rapidly deployed with minimal set up and crew. This new approach allows crews to drive into a studio or location connect their cameras up and record without the rigmarole of unloading numerous flight cases and cabling up a plethora of equipment. This ‘ready-to-go’ approach saves time, reduces cost and dramatically improves reliability as everything is set up in the Discovery.

The backbone of this mobile production facility is Cinedeck RX dual channel recorders that can record and instantly playback up to 4 camera chains. This unique application of tapeless workflow means that the recorded material is immediately ready to edit on the Final Cut Pro edit system in the vehicle. Director of Production and Producers can immediately see either a final edit or a working production edit allowing them have more creative input to the finished production.

This collaborative network-editing environment means that material can be ingested stored and edited on the fly. It allows a number of cameras to be linked to Cinedeck RX recording systems that captures their output without the need for a large production team. The live ingest system also enables a single operator to monitor multiple cameras and even create a simple ‘cut edit’ list whilst the camera feeds are being recorded, effectively reducing overall editing time. Once the production content is recorded, the data is transferred onto the main post production server for final editing. As the Cinedeck recorders record edit ready material in a variety of Apple ProRes formats, the whole production process is quick to set up and easy to operate, thus also reducing training and operational costs.

Oxygen DCTs is renowned for its customer focussed, practical innovations and the Land Rover Discovery 4 is an opportunity to use one of the most versatile and durable four-wheel drive vehicles on the market. Inside the vehicle is a central working area that can be utilised by a one or two-person production team. The rear interior has been stripped and fitted with a sliding custom-built rack (for ease of use and servicing) and features a 5KVA 240V generator.

The vehicle was designed and built by Broadcast Networks and Tom Haye, Managing Director says: “With a smaller equipment footprint and reduced power requirements, our vehicle platform is ideal for any media company involved in the rapid generation, editing and content delivery for TV and Film production companies. It is also well suited to content providers in emerging markets where there is minimal broadcast infrastructure, but where efficient fuel consumption and reliability in extreme terrains is essential.”

Steve Hathaway, Managing Director of Oxygen DCT adds “Before Cinedeck’s tapeless workflow, VTR decks would have been required for recording productions and the space required for this alone would have precluded the possibility of such a system in a relatively small vehicle. What’s more, the efficiency of operation and operating costs are scaled back considerably by using Cinedeck’s ready-to-edit tapeless workflow and this is well proven and extremely attractive proposition for TV and Film Directors, Producers and Production companies.”

Oxygen DCT has in place an agreed worldwide support deal with Land Rover to offer full vehicle warranty for DSNG and Live Production vehicles. With a complete full-cycle offering, from design and build to servicing the modified vehicle itself, this mobile production unit is an even more attractive proposition and can easily be shipped or air freighted to any location around the world and reduces the business risks of deployment and operational stress.

For more information please contact 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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Prism Sound Launches SADiE 6 Dongles and New Software Version

Prism Sound is delighted to announce the release of the latest version of its SADiE 6 software. In addition to various enhancements, SADiE users can now use their SADiE 6 editing software on any computer, anywhere in the world, thanks to the dongle-based security that gives users the ultimate in flexibility. SADiE 6.0.2 supports dongle operations, and the dongles themselves are now shipping.

Full details of the enhancements and the benefits they brig are available on the SADiE website – www.sadie.com – and are also included with each installation.

“The new release software adds a number of advantages, particularly to editors with new functions in the trim editor that speed up workflow by allowing adjacent clips selection and pairing of clips,” says Prism Sound and SADiE’s Broadcast Consultant Pete Nash. “Stability with certain Windows issues have now been resolved and the dongle support is particularly useful to customers who are using SADiE 6 for location recording, or in organisations where the software is more likely to move from computer to computer.”

Dongles are now shipping and customers who would like one should contact SADiE so that they can be helped with their installation.

The launch of SADiE 6 software marks another step in the evolution of the high-quality audio recording and production system in the computer environment, allowing a choice between proprietary audio I/O and DSP processing, or standard soundcard I/O and DSP functions running on the host computer.

The new version of SADiE 6 is available for download from the company’s website.

2011 has been a busy year for SADiE, and many interesting developments including the rolling out of the SADiE 6 to the BBC in Manchester. The company has also launched an accreditation scheme for training establishments to ensure that future broadcast engineers receive the very best training in this ground breaking craft editing technology.

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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 range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

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From Sitcoms To Zombies, Cinedeck Extreme Delivers Great Rental Results For Filmscape

The Award-winning Cinedeck Extreme cinema grade monitoring, recording and playback device is delivering great results for digital facilities company Filmscape, which recently supplied units to a variety of clients including a major feature film production and a pilot for a new television sitcom.

Established in 2005 by two independent filmmakers, West London-based Filmscape is passionate about the latest digital technology. As one of the major UK suppliers of film and television equipment, Filmscape’s customers include most of the UK’s top TV networks, production companies and indie producers, as well as major universities and UK film schools.

Anthony Holt, Filmscape’s Operations Director, says: “We are passionate about the latest digital technology and continually invest in new equipment. We have always been at the forefront of 35mm replacement cameras, pioneering the Red One in this country and growing today to include RED Epics, Arri Alexas and Sony F3s and a huge stock of 35mm lenses. Stocking a unit such as the Cinedeck Extreme makes perfect sense because it complements our camera range and we can see plenty of rental opportunities for it.”

Supplied through Oxygen DCT, Cinedeck EXTREME is an ultra-portable, affordable, camera-mountable, high-grade DDR that is revolutionising digital cinematography and TV production by enabling a digital video tapeless workflow that drastically reduces production time and associated costs. This single, compact unit, which has already won numerous awards and accolades since making its first public appearance at NAB 2010, negates the need for a separate time-code generator, monitor and field recorder, thus reducing location set-up time and simplifying video acquisition. Furthermore, the device has three internal codecs that allow users to make recordings in the edit format of their choice, which improves workflow by removing the need for the often fraught process of file ingest and format translation.

Filmscape now has two Cinedeck Extreme units available for rental and Holt says they are becoming increasingly popular with customers.

“When we were first shown the Cinedeck we were massively impressed with its size and recording quality, combined with its price,” he explains. “Equivalent decks were previously ten times the price and, as a playback unit, it was much better than anything else on the market. It was increasingly frustrating in an age of cameras that only output HD signals that the only playback unit ever requested or known about was the DV Clamshell from Sony. In our opinion this has a terrible low resolution image, records to DV tape that we don’t stock and requires a down converted signal before going into it as it can only take standard definition. This leads to bulky cable setups, an outdated workflow and frustrated calls from clients.”

After being introduced to the Cinedeck by Oxygen DCT, Filmscape realised that the unit had the potential to serve multiple purposes. It could increase the quality of recording on smaller cameras such as the EX3, record an equal quality backup of the footage being recorded on higher end cameras such as the Alexa and replace outdated playback systems.

“As the Cinedeck takes HD signals, has a high resolution display and comes equipped with a variety of staple modern recording formats, it fits perfectly with our current stock. With future upgrades available there’s no end to what it can potentially record.”

Customers who have recognised the potential of Cinedeck include Objective Productions, which used it to film a new sitcom pilot, and The Tea Shop and Film Company, a new production company established by James Harris and Mark Lane, which used Cinedeck on its first feature film Cockneys Vs Zombies.

Holt says that in both cases the production companies didn’t specifically request Cinedeck but were steered towards it because they needed an HD playback unit that was easy to use.

“The unit fitted perfectly with their existing monitor and camera setups and it got fantastic feedback from both crews,” Holt says. “Generally the feedback was excellent. It’s small, solid and incredibly versatile. On one of these productions it was handed to the continuity supervisor to manage and was found to be very reliable and simple to use as a playback unit.”

The success of Cinedeck Extreme has now prompted Cinedeck LLC to release Cinedeck RX, a rack mountable, multi-format version of the Extreme that offers multi-channel HD-SDI recording, monitoring and playback. This unit is designed to meet the challenging requirements of the mobile broadcaster and is ideal for production facilities and OB productions.

For further information about Cinedeck Extreme or Cinedeck RX, please visit Oxygen DCT’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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Bournemouth University Gains SADiE Accreditation Status

Bournemouth University has been named as the first UK Accredited SADiE Training Establishment as part of a new scheme launched by SADiE to improve training for students using its editing equipment.

The university, which was also the first in the UK to take delivery of the new SADiE 6 software, achieved its accreditation through the quality of its teaching.

Pete Nash, Prism Sound and SADiE’s Broadcast Consultant who is in charge of the Accreditation process, says: “We established the accreditation scheme to give recognition to those training facilities that are offering exemplary lecturing standards in terms of technical and creative awareness of SADiE as a high end editing process.

“As the craft editor of choice for many international broadcasters, including the BBC, it is important that students entering the job market have the necessary skills to work with this industry-established tool. By having SADiE Accreditation, Bournemouth University students can prove to future employers that they have been trained to a very high standard and thoroughly understand the SADiE editing equipment they are likely to encounter in the real world.”

Jo Tyler, who lectures in Radio Production at Bournemouth University, says: “Today’s students need every advantage they can get if they are to compete in what is a very difficult employment environment. As an Accredited SADiE Training Establishment, we offer our students the option of undertaking a set of exercises and tests to become accredited SADiE operators. This enables them to walk into any broadcast establishment anywhere in the world and say ‘I am an accredited SADiE operator. I come to you on a plate because I am already trained’. In real terms this will be a major advantage in the job market.”

Earlier this year Bournemouth University launched a BA in Radio Production, which runs alongside its existing MA and Foundation degree top-up BA. Thanks to its investment in SADiE 6 software, the university can now offer students on both its MA and BA courses access to SADiE technology because the software runs on existing computers and laptops.

Pete Nash adds: “As well as working with universities to improve training standards, we are also in discussion with key broadcasters to get our accreditation recognised by those responsible for employing production and editing 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 range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

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Producer Alex Silva Chooses Prism Sound Conversion For Herbert Gronemeyer’s Live DVD Mix

EMI Music Germany is about to release Live In Leipzig, a DVD that captures the performance of legendary German pop star Herbert Gronemeyer during his recent Schiffverkehr tour.

This major project, which was filmed in one evening, encompasses Gronemeyer’s ‘warts and all’ approach to live DVDs by allowing the viewer to see and hear the concert as it really was.

“What is on the DVD is 100% pure,” says producer Alex Silva who was responsible for mixing the audio. “As nothing was going to be repaired or fixed in the mix, everyone had to bring their A-game to the concert, which certainly made for an adrenaline filled evening behind the scenes. Of course there were problems – with a live event a lot can go wrong and technically things often do. For this project we had to contend with heavy rainfall on the crowd microphones (and there was a lot of rain) to interference on the 128 radio mics – not to mention things that were best left in the bar after the gig!”

Originally from Cardiff, Alex Silva has been part of Gronemeyer’s production team for nearly 15 years. He began his career in record production under the direction of former Eurythmics artist and producer Dave Stewart and has subsequently worked with many international artists including Texas, Mick Jagger, Daryll Hall, Manic Street Preachers, Suede and Jon Bon Jovi.

For the Live in Leipzig project, Silva and Gronemeyer chose to mix at Hansa Studios in Germany, in conjunction with Michael Ilbert. Integral to the sound of the mix was Prism Sound conversion. Silva used a Prism Sound ADA-8XR multichannel AD/DA converter with a Pro Tools digital interface option as a replacement for 192 and 96 IOs that come as standard on a Pro Tools system.

“We chose Prism Sound conversion for its sound quality and also for its versatility.” Silva explains. “We used the unit as our converter while transferring the multitrack audio from one Pro Tools system to another to create the 5.1 mix. We also used it for the analogue fold-down for the stereo mix. The converter did everything I had hoped for and I was very happy with the results.”

As with any live recording, preparation is key to its success and this project was no exception.

“My production technique in this situation really happens in the rehearsal process,” Alex Silva says. “Technically there was a lot of preparation for these shows and artistically the songs had to be re-worked to suit a stadium environment. Basically, I push things as far as possible without tiring everyone’s patience.”

After 14 years of collaboration, Silva and Gronemeyer have developed a close relationship that enables them to know how the other will react and think during the recording and mixing process.

“We have our own studio, which is based around an API board and a Pro Tools system, plus we also have a lot of vintage mic pre’s and outboard equipment such as Helios, D. W Fern and ADL, and a great collection of microphones including Altec, RCA, Telefunken and Coles,” Silva says. “Part of my work is to challenge the artist creatively and this is something that Herbert excels at. He has a gift for letting go and allowing his songs to evolve without fear. It is very liberating for a producer to feel trusted and be allowed to explore a song’s potential. Herbert has an amazing gut feeling for things and I know I can reply on his opinion. For me, that is the mark of a truly great artist.”

Herbert Gronemeyer’s Live In Leipzig DVD was filmed by Austrian production company Just 24/7 and will be released through EMI Germany this month.

-ends-

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

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