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Archive by Sue Sillitoe

The West Ocean String Quartet Choose DPA Microphones

The West Ocean String Quartet, winner of The Irish Times/The Ticket’s Trad CD of the Year 2013 for their album An Indigo Sky, are now using DPA d:vote™ 4099 Instrument Microphones to capture their unique sound.

The microphones, which were supplied by DPA’s Irish Distributor Big Bear Sound, were chosen for their ability to deliver a true string sound with exceptional clarity.

“For us, the assurance of knowing that wherever we play in the world, the DPA 4099 Instrument Microphones’ warmth and accuracy will be consistent is everything,” says violinist Niamh Crowley. “We need only be concerned with making music. To now perform without them would be unthinkable.”

The West Ocean String Quarter recently appeared at Ceiliúradh (Celebration), a special evening of music, spoken word and dance which was held at London’s Royal Albert Hall to mark the historic occasion of the first State Visit to the UK by the President of Ireland Michael D. Higgins. For this concert, which was watched and heard by millions globally, the Quartet played several traditional Irish pieces, arranged by Neil Martin who not only plays in the quartet but also writes and arranges most of their music. During the London show they were joined by singer Eimear Quinn and actor Fiona Shaw, ending with a powerhouse performance alongside the all-star house band, and Army bands and pipers from both Ireland and the UK.

Formed in 1999, the West Ocean String Quartet’s vision, eclectic repertoire and style have won them global praise. Their music lies somewhere between the worlds of classical and traditional music. Disregarding rules and boundaries, they have found for themselves a unique voice, and have collaborated with many leading artists, both on stage and in the studio, including Christy Moore, Mary Black, Liam O’Flynn, Matt Molloy, Maighread Ní Dhomhnaill and Brian Kennedy.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Red TX Boosts Its Team With A Key Promotion

London, UK: With booking already filling its diary for summer 2014, broadcast audio specialist Red TX has strengthened its team by promoting Ollie Nesham to the position of Chief Engineer.

An award-winning broadcast music mix engineer, Ollie Nesham has a wealth of experience in coordinating music recording and broadcast requirements for major live festivals, shows and stadium concerts. Prior to joining Red TX in 2008, Nesham had recorded some of the biggest music events of the 21st century, including the Concert for Diana and Live Earth at Wembley Stadium and led Zeppelin at the O2. Life at Red TX has been equally busy, recording numerous projects including The Rolling Stones in Hyde Park, Monsters of Rock at Donnington; Nelson Mandela 46664 Concert; Unity – A Tribute to Stephen Lawrence at London’s O2 Arena and Chime For Change at Twickenham.

Tim Summerhayes, CEO of Red TX, says: “Ollie is an extremely talented music mix engineer who is liked and respected by all our broadcast and production company clients. His in-depth technical knowledge and his calm approach to even the most stressful of situations mean that he can always be relied on the capture the sound perfectly. When you are dealing with the live broadcast of a major music event there are no second chances – the sound has to be right first time, and our clients know that this is what Ollie will deliver.”
Nesham began his career in sound by engineering at local venues for small bands. After completing a course in Sound Engineering at Gateway/Kingston University, Nesham worked in television as a sound recordist on various documentary programmes. In 2004 he joined Sanctuary Mobiles, which became Fleetwood Mobiles in 2006. In 2008 he left to join the newly formed Red TX. Nesham’s award-winning projects have included Girls Aloud’s Tangled Up DVD, which won him an MPG Award for Best Live Sound Recording and The Cream Reunion, which won a TEC Award for Excellence in Remote Recording.
Red TX is now gearing up for the summer festival and concert season, traditionally its busiest time of year, in which it typically records up to 400 bands.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. www.red-tx.com

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Visual Unity and XroadMedia Deliver OTT Personalization Through vuDiscovery™

Leading OTT platform and multiscreen solution provider, Visual Unity Global has announced a strategic partnership with XroadMedia, a leading provider of content discovery, recommendation and targeting services. In this partnership XroadMedia will be delivering its advanced personalization services to power vuDiscovery™, the new content discovery service of Visual Unity’s award winning vuMedia™ platform.

vuDiscoveryTM will be powered by Ncanto, XroadMedia’s distinctive content discovery software that finds relevant content according to the consumers’ behavior, interest and social profiles. Service providers and content owners will be able to maximize their revenue streams by blending business goals with user profiles. This provides operational cost savings, thanks to the unique architecture and standards based API connectivity of vuDiscoveryTM.

vuDiscoveryTM will offer the following benefits to companies in the broadcast, media and Internet industries:
• Reducing churn through engaged and satisfied consumers
• Enabling new revenue streams in the monetization of OTT content or targeted advertising services
• Flexibly adapting to available metadata and subscriber behavior
• Dynamic scaling from small trial installations to millions of users
• Enhancing the user experience of TV-everywhere deployments
• Shortest time to market and lowest total cost of ownership – quick deployment, straightforward integration and easy customization thanks to the flexible architecture and pre-integration into vuMediaTM

Tomas Petru, CEO of Visual Unity Global says, “XroadMedia has some of the most experienced experts in recommendation engines and targeting technologies. This partnership will take our vuMediaTM platform to the next level. The new vuDiscoveryTM service will provide our clients with best-in-class search and discovery capabilities in digital media today.”

Adolf Proidl, CEO and Co-Founder of XroadMedia says, “Ncanto has been developed with the ultimate goal to solve the biggest problem for consumers – how to find and enjoy the content they are really interested in – anywhere and anytime. Being part of a world class platform such as vuMediaTM allows us to offer content discovery services on a much larger scale and to a wider audience.”

First products and services with vuDiscoveryTM are currently in the rollout phase. More partnerships and projects will be announced throughout 2014.

Gabriel Dusil, Chief Marketing and Corporate Strategy Officer, adds: “A recommendation engine is not just about content suggestions, it’s about meaningful and personal engagement with subscribers. vuDiscoveryTM is not just a feature that enhances the user interface in our OTT platform, it is ultimately an enabler of incremental revenue streams for content owners and distributors.”

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About Visual Unity Global

Visual Unity Global is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content over the internet. Our clients can measure, analyse 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 vuMedia™ platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMedia™ 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, Munich, Nairobi and Los Angeles.

For further information, please visit www.visualunity.com, info@visualunity.com

About XroadMedia

At XroadMedia (pronounced “Crossroad Media“) we have developed the next generation of content discovery, recommendation and targeting solution – Ncanto. Based on more than a decade of product and market research, as well as customer deployments in the Internet, media and broadcast industries, Ncanto is an innovative back-end solution, which is optimized for cloud- and server-based deployments. Ncanto boosts our customers’ profits and revenues by uniquely combining user taste with our customers’ requirements and business models. Thanks to our flexible architecture and standards based API connectivity we even help our customers to reduce integration costs and time-to-market to an absolute minimum compared to competitive solutions in the market.

XroadMedia was founded by leading industry experts in the areas of content discovery & navigation and former management team members of APRICO Solutions, a venture of Royal Philips Electronics. Our core business is to help our customers strengthen their existing revenue streams and to generate new opportunities by assisting their customers – the consumer – in mastering the flood of digital assets and diversity of content consumption devices. XroadMedia is headquartered in Vienna, Austria, with a second office in London, United Kingdom.

For further information, please visit www.xroadmedia.com, info@xroadmedia.com

DPA Microphones Helps Steve Browell Capture Unique Car Sounds

Recording audio for film and TV within the confines of a car is hard enough, but actually capturing the sheer range of sounds that comprise car noise is an entirely different level of challenge. This, however, is something of a specialty for freelance sound effects editor Steve Browell who uses a range of DPA microphones and a variety of techniques to achieve spectacular results.

Browell, whose recent projects have included recording sound effects for Scarlett Johansson’s latest film Under the Skin, directed by Jonathan Glazer, says: “What I love about the job is that it’s so varied. From enhancing the physical sounds on screen to bringing inanimate objects to life; from designing effects to add to the emotion of the story to recording original sounds for each film, there is always a new challenge.”

Browell’s work involves many different locations, from race-tracks to mansion houses, from anechoic chambers to scrap yards. With him go a matched pair of DPA’s d:dicate™ 4011C Compact Cardioid Recording Microphones and a selected pair of d:screet™ 4061 Omnidirectional Miniature Microphones, which were supplied by DPA’s UK distributor Sound Network. Browell also owns a pair of d:dicate 4021 Compact Cardioid Recording Microphones in an DPA X/Y setup that have been customised to fit into a Rycote windshield.

“I have always liked the sound DPA microphones capture,” he says. “When I started my career I was involved in a lot of music recording and I can remember the first time I used a pair of DPA d:dicate 4011s when they were still Brüel and Kjaer. I loved the amazingly detailed and natural sound they were able to capture; it was like hearing the sound from the live source again. From then on I have always wanted to own my own pair.”

Browell first started experimenting with car recordings when he was asked to capture car sounds for a film he was working on. “Cars are fascinating machines that create a symphony of sound,” he says. “Also I liked the physical challenge of where and how to place microphones on a moving vehicle and still get a decent sounding recording with as little vibration and wind buffeting as possible.”


He explains that much of the action in Under the Skin takes place in the interior of a Mercedes Sprinter van. “To get a really authentic sound and the right coverage I spent a day recording the van with a multi-mic setup covering different aspects of the interior, the engine and the exhaust.”

Browell has been able to hone his techniques, not to mention widen the library of different cars he has captured, with work on the Need for Speed computer game franchise. As he says, though, it’s a delicate balance between the shielding stopping wind noise and it starting to colour the source sound.

“I also had to find materials that would withstand the high temperatures and a few Rycote windshields got burnt in the process,” he explains. “The McLaren MP4 12c was particularly bad for this; on overrun you can get a flame of three foot out of the exhaust. It can also be a problem fixing the microphones onto the cars and not damaging the paint and bodywork, which is important when some of them are valued at over $1m. Each car’s shape is so different and I need to be extremely flexible with my methods to get the microphones into a sweet spot: out of the direct airflow around the car but also avoiding some of the high temperatures and trying to dampen some of the vibration.”

For the future he says he would definitely like to own more DPA microphones, but adds that remembering petrol helps, too…

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Amptec and DPA Host Microphone Workshop With Balthazar

Belgium rock band Balthazar recently threw open the doors to one of their sound checks so that 45 audio engineers and musicians in Brussels could see how DPA microphones are used during the band’s live shows.

This unique workshop, organised by DPA’s Belgium distributor Amptec, was supported by Balthazar’s Front of House engineer Filip Tanghe who took part in a question and answer session with the invited audience, during which he discussed microphone and mixing techniques.

Dany Meeuwissen, Pro Audio Sales Manager at Amptec, says: “The workshop took place at the Ancienne Belgique concert hall where the band were playing a gig later that evening. After a general introduction to DPA’s microphone technology, the audience was able to listen to the band soundchecking and hear solo examples of the various DPA microphones that they use on stage. These include four d:facto™ Vocal Microphones, two d:dicate™ 4011C Compact Recording Microphones, which are used for overheads, and three d:vote™ 4099 Instrument Microphones, which are used on the snare and floor tom drums.”

Originally from Ghent and Kortrijk, Balthazar is a five-piece rock band that has been receiving fantastic reviews across Europe as the support act for Editors. The band is now touring in its own right and has made DPA microphones an integral part of its tour equipment.

“When it comes to vocal microphones, DPA’s d:facto is my first choice because it has such great resistance to feedback without sacrificing any detail,” says Filip Tanghe. “The sound it produces is very full and rounded, with no harshness at all. I find it incredibly musical.”

Tanghe engineers approximately 130 live gigs a year for Balthazar and now uses DPA microphones all the time. When Balthazar are not touring he works with Belgian singer songwriter Hannelore Bedert, who tours with an 11-piece band consisting of horns, strings, drums, guitars, keyboards and backing vocalists.

“I use DPA microphones for Hannelore’s live gigs as well and they certainly make those set-ups a lot easier,” Tanghe says.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Prism Sound Shows New Audio Interfaces at NAB 2014

After an exceptionally successful 12 month trading period, which culminated in a move to larger offices in the USA, internationally acclaimed manufacturer Prism Sound will be using the NAB 2014 platform to introduce post production and broadcaster engineers to its growing family of audio interfaces.

Alongside Orpheus, Lyra and Titan, the company will also be showing Atlas – the third new interface product that Prism Sound has launched in the last year.

“Launching three new products in such a short timeframe meant that our existing premises could no longer cope – to put it simply we needed more space,” says Janice Norton, Prism Sound’s VP US Operations. “We have moved to a larger, ground floor suite close to our former premises in Rockaway, New Jersey, and now have plenty of room to stock the extensive range of products that Prism Sound offers to both the recording and broadcast markets.”

Designed with Prism Sound’s latest and award-winning CleverClox clocking technology and incorporating eight of the company’s popular mic pre’s as standard, the new Atlas interface is aimed squarely at multitrack recording applications. It offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz via a simple USB interface. In addition to the USB host interface, Atlas also features Prism Sound’s new MDIO interface expansion slot, which was first incorporated into Titan and announced at AES New York in October 2013. Using this miniature expansion slot users can, for example, directly connect to Pro Tools|HDX systems. A range of other MDIO interfaces is planned for later introduction. Atlas will also run with Apple and Windows native applications over USB.

Atlas, Titan and Lyra are all capable of aggregated operation in both MAC and Windows PC environments. This makes it possible to link up a number of different units for multichannel applications – for example 24 track, 32 track – or even bigger set-ups – while retaining a USB connection for each unit. In the Windows environment, Prism Sound provides a new driver that aggregates the units and presents a single multitrack interface to DAW applications for I/O routing.

At NAB 2014, Prism Sound is also showing its full range of Test & Measurement solutions, including the versatile dScope Series III Audio Analyzer. This award-winning unit features a freely-available test suite that 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/85 standards, Prism Sound’s 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.

To find out more about the Prism Sound range and to demo the new Atlas interface, please visit NAB booth C1944. The company’s new address is Suite 1, 45 Pine Street, Rockaway, NJ 07866. The telephone and fax numbers remain the same.

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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

In the US
Sales department
Prism Media Products Inc.
45 Pine Street, Suite 1
Rockaway
NJ 07866
USA
Tel : +1 (973) 983 9577
Fax : +1 (973) 983 9588
e-mail : sales@prismsound.com

Prism Sound Discusses Audio Production at Brighton Music Conference

Internationally acclaimed manufacturer Prism Sound is hosting a production panel at this year’s Brighton Music Conference where it will also be taking an exhibition stand for two days.

Prism Sound’s panel will discuss all things audio – from creative audio production through to studio techniques and tips. Confirmed panelists include producer Steve Mac, DJ Dave Clarke, Producer and re-mixer James Wiltshire (Freemasons) and Anthony Middleton of Audiofly.

Brighton Music Conference (BMC) runs from April 11th – 12th and Prism Sound’s panel will be held on Friday April 11th at 16.35 in the Exhibition Room.

“Our panel is designed to be educational as well as entertaining,” says Prism Sound Product Specialist Chris Allen, who is hosting the event. “There will be plenty of opportunity for the audience to fire questions at our panelists and we are anticipating lively debate.”

Prism Sound will also be using the BMC platform to show its internationally acclaimed family of audio interfaces, which include Orpheus, Titan, Atlas, and Lyra. Also on show will be the company’s range of Maselec audio production tools such as the MEA-2 EQ and the MLA-2 compressor.

“We have launched three new products in less than a year, which is a record for Prism Sound,” Chris Allen adds. “This indicates our determination to offer recording professionals the widest possible choice when it comes to the high quality, richly featured and competitive tools they want and need.”

As part of its commitment to the audio production community, Prism Sound will also be promoting the Music Producers Guild on its BMC stand. Representatives from MPG will be on hand to talk about the issues the organization is involved in and highlight the benefits of joining.

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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

DK-Technologies Launches Entry Level DK T7 Audio Meter at NAB 2014

Just months after launching its versatile DK T7 audio meter, DK-Technologies is using the NAB 2014 platform to launch a brand new, entry level version of this ground-breaking product (Booth N1202 in conjunction with Ward-Beck).

The DK T7 Stereo is aimed squarely at engineers who are only working with stereo audio, whether that be in radio, post production or recording music for subsequent CD release. Designed to be intuitive, the DK T7 Stereo has an easy to use, fast responding touch interface that makes it a breeze to set up and operate. Like its DK T7 big brother, the DK T7 Stereo offers high precision features and functionality at a highly cost effective price – just €2895 or USD 4890 MSRP. Its extensive feature-set includes industry compliant Loudness readings, Vectorscope, FFT spectrum analysis and Loudness Logging and Reporting.

“We recognized that our DK T7 audio meter was perfect for engineers working in stereo, but that we could reduce the cost to them by removing multichannel capabilities and SDI interface,” says Uffe Kjems Hansen, Product Marketing Director of DK-Technologies. “Therefore we have targeted the same tools for stereo metering, and made it a much more cost-effective bargain.”

The DK T7 Stereo includes balanced and unbalanced AES I/O, Analogue stereo inputs, headphone outputs as well as HDMI for external screen view. It is available as a stand-alone desktop or a 19” rack mounted unit. DK-Technologies can also offer in-console mounting options for console manufacturers and customers who prefer their meter to be integral to their desk.

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

Jünger Audio Bridges A Gap With D*AP8 MAP

Following Dolby’s decision in 2013 to discontinue its DP570 Multichannel Audio Tool, dynamics specialist Jünger Audio is now the sole company in the world that can supply a product to fill the gap.

The company’s D*AP8 MAP Monitoring Audio Processor, which will be on show at Jünger Audio’s NAB 2014 Booth (C2134), is the only Loudness processor on the market capable of offering real-time metadata emulation as standard. This vital feature allows broadcast engineers in post-production, DVD and DTV facilities to check the quality of Dolby Digital AC3-encoded audio prior to transmission so that they can monitor exactly what the consumer will ultimately hear.

“Metadata emulation is very important to the broadcast community, especially those working in the USA where the ATSC has specified that all audio must be Dolby AC3 encoded prior to transmission,” says Jünger Audio’s CEO Peter Pörs. “Every set-top box in the USA – and in many other countries, too – has a Dolby Digital decoder installed as standard. These decoders receive audio metadata, which is the unique ‘data about data’ delivered by Dolby Digital bitstreams.

“Metadata is important because it ensures that television audiences at home hear their programs the way producers and content creators intended them to be. All kinds of audio parameters, including Loudness levels, are controlled this way. In countries where you can be fined if you get audio loudness wrong, it’s vital that broadcasters can check exactly what consumers will hear before material leaves their facilities.”

Jünger Audio’s D*AP8 MAP Monitoring Audio Processor combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, D*AP8 MAP features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3). It can also be used for live monitoring and to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons on a remote panel.

Alongside loudness measurements, D*AP8 MAP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

By incorporating 3G, HD and SD auto detection, D*AP8 MAP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means the engineer can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to D*AP8 MAP’s AES outputs to feed a third party instrument for analyzing and/or display.

For no extra cost, the D*AP8 MAP SDI board also acts as an embedder and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms.

“Broadcast engineers still a need for a hardware based monitoring controller that combines loudness management and logging features with the ability to monitor Dolby®-E, Dolby®-D (AC-3) and Dolby® Digital plus (E-AC-3), as well as HE-AAC formats,” Pörs explains. “Our D*AP8 MAP is the only unit on the market that can do all of this and we will be using the NAB 2014 platform to ensure that everyone knows about it.”

For more information about Jünger Audio, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.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. www.jungeraudio.com

DK-Technologies Ships First DK T7 Meters To Calrec

Audio and video metering specialist DK-Technologies has fulfilled the first orders for its new DK T7 Audio and Loudness meter, which was launched to much critical acclaim at IBC last year.

The DK T7 began shipping in February with the first two units delivered to UK console manufacturer Calrec. These have now been fitted into 48-fader Artemis Light consoles destined for Al Jazeera in London. Other broadcast and post production customers have chosen either stand-alone DK T7 meters or the new 3U rack mounted variant – the PT0T7. This fits neatly into a Tektronix rack system and can be used separately or in conjunction with a waveform monitor.

“We’re delighted with the number of pre-orders the DK T7 has generated and we’re ramping up production to fulfil them,” says DK-Technologies’ Product Marketing Director, Uffe Kjems Hansen. “The DK T7 is exactly what the market needs – a cost-effective audio meter with an easy to use multi-touch interface that delivers a whole host of useful features at a very cost effective price. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality. The nearest competitor product that even comes close to the DK T7′s feature-set is nearly double the price.”

Dubbed as the ‘everything included’ audio meter, the high precision DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-Technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging. The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range.

“Engineers working in the broadcast and post production industries now have to cope with a complex set of formats, standards and documentation requirements,” Uffe Kjems Hansen adds. “For this reason we felt it was vital to give them an easy to use Audio and Loudness meter that did the job it was bought for as soon as it came out of its box. The DK T7 is the most complete, high precision Audio and Loudness meter on the market today – and the most honest because it does not involve any hidden costs.”

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

Since first showing the DK T7 at IBC 2013, DK-Technologies has incorporated a number of improvements that are now available as standard. These include a pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen says. “We’ve also improved our software so that it includes a new 7.1 Surround display feature for Theatrical Mix. This is something no other meter can do and it will have particular relevance to engineers working on big motion picture productions.”

For more information about the DK T7, please visit www.dk-technologies.com. Alternatively, please visit DK’s US distributor Ward-Beck, which will be showing the DK T7 and other DK product at NAB 2014, Booth N1202.

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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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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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