Expert Team Hits the Sand to Provide RF Coordination for the Nation’s Largest Beach Party

GULF SHORES, AL, MAY 22, 2013—As some of music’s biggest names came together for the fourth annual Hangout Music Festival in Gulf Shores, Alabama, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was busy providing frequency coordination for all the artists and media outlets in attendance at the event, the nation’s largest beach bash.

Billed as the first and only event of its kind, the Hangout Festival is a three-day music party staged on the white sand beaches of Gulf Shores. For this year’s event, the PWS team of experts was responsible for monitoring the RF spectrum to ensure there were no issues with the more than 600 frequencies in use. This marks the second consecutive year PWS provided frequency coordination for the festival.

“From an RF coordination standpoint, one of the great things about this event is its location,� says Jim Van Winkle, general manager, PWS. “The stages are literally on the beach, right on the Gulf of Mexico. Although there is a fair amount of DTV present, it is still a pretty clean area, with no other major RF congestion from outside sources.�

At the start of each day of the musical celebration Van Winkle and his team made sure that the media and first few bands scheduled to perform were coordinated and ready. “We start the day off acting on what we already know and then spend the rest of the day reacting to any last-minute media or crew requests or unregistered users,� adds Van Winkle. “Toward the end of the day, our team begins preparing for the following day. Preparation is essential for the success of these multi-day events, and each member of our team knows what it takes to get the job done right.�

The 2013 Hangout Festival’s diverse lineup of artists included Tom Petty & The Heartbreakers, Stevie Wonder, Kings of Leon, the Trey Anastasio Band, The Shins, The Black Crowes, Bassnectar, the Yeah Yeah Yeah’s, Macklemore & Ryan Lewis and The Roots.

“We are excited to have once again participated in this special celebration of music,� adds Van Winkle. “Our experience in handling large-format frequency coordination for music festivals has proven to be a valuable resource in ensuring shows of this size go off without any hitches. This year, the PWS team did another fantastic job with this.�

For more information, visit www.professionalwireless.com.

Pat McConnell New VP of Sales, Ed Capp Named Global Sales Director

REEDSBURG, WI, MAY 21, 2013 — Sound Devices, experts in audio and video products for field production, is pleased to announce two internal promotions. As the company continues to evolve in the professional audio and video markets, it has named Pat McConnell Vice President of Sales and Ed Capp Global Sales Director.

At a time when the level of technical expertise required for successful sales is paramount, the pair has demonstrated leadership in the specialized audio and video production markets. In their new roles, Pat and Ed will oversee the Sound Devices sales team to further promote the company’s entire range of products globally, while continuing to strengthen the Sound Devices reseller and distributor network.

Pat, who joined the company last year, brings his deep experience in audio, systems sales, and sales management to the company. He also continues on with the tradition of single-syllable first names for Sound Devices officers. Ed, a 10-year veteran of the Sound Devices sales team, has been instrumental in significantly expanding the reach of Sound Devices throughout the world. Ed has developed Sound Devices strength in Asia as well as the important Southern California markets.

“Ed and Pat are a great sales team and together they manage Sound Devices presence throughout the world,� says Matt Anderson, President of Sound Devices. “As the Sound Devices product lines become more and more technical, it is critical that our sales team is led by knowledgeable individuals who are immersed in the changing audio and video technology landscape. We are very excited to continue to grow our sales force and look forward to both Ed and Pat’s future contributions to the company.�

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Latest Firmware Update, Version 1.02, Now Available for Free Download

LOS ANGELES, MAY 15, 2013 — In an effort to continue to streamline workflows for production and post-production environments with its rack-mounted PIX 260i Production Video Recorder, Sound Devices, experts in portable audio and video products for field production, now offers expanded audio and video recording and file transfer capabilities with its newest firmware update, Version 1.02. Available as a free download to all PIX 260i users, this latest version will be highlighted at Cine Gear 2013 (Booth 94).

With Version 1.02, all drives are now formatted as exFAT instead of UDF. While this new drive formatting is available, it is still possible for PIX 260i users to record and play back from UDF drives for compatibility with the PIX 220i and PIX 240i. Users have the ability to set each PIX 260i drive independently to Ethernet File Transfer (Network) mode. This offers the convenience of transferring files over a network while the PIX 260i records new data. Drives will also automatically switch to the Ethernet File Transfer mode when full. In addition, the end user can now read and write data to PIX 260i drives over Ethernet. The update also enables the PIX 260i to provide users with both simultaneous recording to multiple drives or sequential mode, recording to the next successive drive as drives become full. A 10-second (maximum) pre-record buffer for the audio-only mode has also been added.

“The PIX 260i offers an innovative new approach to file-based audio and video recording,� says Paul Isaacs, Technical Development Manager for Sound Devices. “Every new version of PIX 260i firmware, including version 1.02, is the result of feedback from customers who have incorporated it into their everyday workflows.�

Based on Sound Devices’ PIX 240i portable audio/video recorder, PIX 260i is a rack-mounted, file-based audio/video recorder that seamlessly replaces tape-based video decks in production and post-production environments. PIX 260i offers 32 tracks of audio record and playback as well as control functionality from browser-capable computers and tablets. PIX 260i offers the features and tools that production companies and broadcasters require to migrate to file-based recording and playback capabilities. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in common editing environments, such as Avid, Final Cut Pro, and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

PIX 260i users can download Version 1.02 by visiting www.sounddevices.com/download/pix260i-firmware/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Industry Veteran Joins Company to Develop the Brand’s Entry in the Live Market

OXFORD, UK – Solid State Logic is pleased to announce that Jason Kelly has been appointed Product Manager for its new Live console. With a 25-year career that spans live sound production, live event systems design and implementation and technical support management, Kelly has developed a solid understanding of the key aspects of the pro audio industry. In his new role, he will spearhead the recent introduction of SSL’s ‘Live’ console, which brings to the stage the industry standard, sonic legacy of the SSL brand.

Kelly’s understanding of the live sound market makes him the ideal candidate for the position. He will build on his knowledge, as well as his sales and technical support experience, to help dealers and key customers understand all of the benefits of this innovative live-sound product. Working closely with SSL’s product design and development team, Kelly will also help to define product requirements and marketing strategies into the future.

“Everyone at SSL is very excited to enter this arena of audio production, and we are glad to have Jason with us to help support our success in the live sound industry,� says Antony David, Managing Director of Solid State Logic. “The SSL Live console has been years in the making and we’re happy to now be able to share it with the world. We know Jason’s keen understanding of the market and product sectors is the perfect combination for this position. We’re confident that he will help build our presence in the live market.�
Prior to joining SSL, Kelly was Technical Support Manager at Midas Klark Teknik (MKT), where he provided front line technical support and marketing strategies for all MKT products worldwide. In this position, he developed and implemented courses and training materials for MKT products, in addition to providing system design and integration support for customer installations.

His other recent roles include UK Sales and Support Manager for MKT, Technical Director for CTI Live Technical Engineering, a company involved with designing and implementing all aspects of live event production; and Technical Manager for Staras Technical Productions, which produces high-level live presentations.
“I am truly delighted to be working for a world-renowned company such as SSL,� says Kelly. “My years of experience in the live sound industry offer me the great opportunity to recognise the needs of the customers in that market. I foresee a strong future for SSL in this arena and look forward to helping the company grow its customer base.�

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

MUNICH, GERMANY, 15 MAY, 2013 – Optocore, a leading choice for powering professional audio, video and data transmission networks in a variety of markets, including broadcast, post production and AV, is proud to announce that it has named Oltbert, Ltd. its exclusive distributor in Russia. The two companies have been working together since 2012. Moving forward, Oltbert will oversee all sales, service and support of Optocore’s technology in Russia, further strengthening Optocore’s worldwide reputation.

“Optocore’s audio transport systems are smart, cost-effective solutions offering a very good extension of intercom systems, one of our main focuses,� says Alexander Trukhanov, Head of the Broadcast Department, Oltbert. “We came to know the team at Optocore through its relationship with Clear-Com, a major U.S.-based intercom manufacturer that we also represent here in Russia.�

Oltbert will stock all Optocore system components, including BroaMan’s full range of network solutions. Oltbert has been representing Clear-Com in Russia since 2003 and has a long history of developing the business of foreign companies for the Russian market. Some of Oltbert’s high-profile customers include TTC Ostankino, The Bolshoy Theatre, Channel 1 and NTV, all based in Moscow, as well as the Mariinskiy Theatre in Saint-Petersburg, among others.
“We are very excited to be working with Oltbert and are looking forward to a successful and prosperous relationship,â€� says Tine Helmle, director, Optocore. “The Russian market has always been a high priority for Optocore and Broaman, as we already have quite a few applications in Russian theaters and stadiums to date. Having such a well-known and reliable partner such as Oltbert will certainly help us to further increase the awareness of both brands in Russia.”

About Optocore

Based in Munich, Germany, Optocore is the world market leading provider of scalable, high-bandwidth, low–latency fiber-optic networks for the transmission of audio, video and data. For 20 years, Optocore has been continuously innovating and setting new standards with regards to digital network technology. Optocore builds and develops synchronous optical fiber and CAT5 based network solutions for broadcast professionals, fixed installations and live event applications. Utilizing leading-edge technology and high-quality components Optocore guarantees durability and therefore long-term market and customer satisfaction. Due to the open system architecture, Optocore’s platform offers other manufacturers the option to transfer conventional standard audio, video and data formats used in the pro audio industry, via a fiber and CAT5 network. Technical expertise, QoS and an extensive support structure are guaranteed to all customers, together with the highest level of quality controls. For more information, visit www.optocore.com.

Digital Matrix Systems Provide Multibranch Theater with a Boost in Intercom Capabilities

STUTTGART, GERMANY, MAY 14, 2013 – Clear-Com® is proud to announce that Staatstheater Stuttgart, Germany’s largest theater, recently improved communications at its drama theater with two Eclipse HX-Omega Digital Matrix Systems. Part of Clear-Com’s newest digital matrix intercom line, the Eclipse HX-Omega uses revolutionary IP technology and can be easily upgraded, making it a future-proof investment for the theater. Other benefits of the system include exceptional system performance, intelligent integration abilities and simplified user operations.

The planning and installation of the Eclipse HX-Omega digital matrix system at Staatstheater Stuttgart was a joint venture between MCI, a Clear-Com Partner for Germany, and Zeiler, a systems integrator. The facility’s 50 Clear-Com FreeSpeak Beltpacks were seamlessly integrated with the Eclipse HX-Omega system via an E-QUE-HX card to enable wired and wireless coverage across the entire theater. All personnel, including the technical engineers, security staff and show producers, are able to remain in constant contact with each other with the Clear-Com intercoms. The Eclipse HX-Omega also gives the crew the option to conveniently run their V-Series intercom panels over IP using an IVC-32-HX card. In addition, all analogue audio inputs, such as the PA systems, audio monitors and microphones, are connected into the Eclipse HX system. This way, crew members can hear the program and be prepared for their cues.

“Because the theater is constantly evolving, the engineering team was determined to acquire a future-proof, IP-based intercom system,� explains Martin Geritz, Sales Manager for MCI. “Clear-Com’s Eclipse HX intercoms were an obvious choice for the crew because of their comprehensive features, IP technology, and easy upgrade capabilities.�

Previously, the crew communicated using walkie-talkies, third-party control panels and FreeSpeak wireless intercoms. Each of these systems operated independently from the rest. The Eclipse HX-Omega has simplified operations by integrating all the systems into a unified communications platform. Now, they have interconnection within and across each of their three stages. The Eclipse HX-Omega also allows the personnel to make fast and easy changes to the communications setup to meet the unique needs of any production. Clear-Com intercoms also offer higher audio quality than that of their previous system.

“We are extremely proud that Staatstheater Stuttgart has chosen Clear-Com’s intercoms for its theater,� says Vincent Beek, Clear-Com’s Regional Sales Manager for Northern Europe, Eastern Europe and Russia. “Staatstheater Stuttgart is continuing to develop a great deal, and its new Eclipse HX-Omega system is not only able to handle its current productions, but is suitable to meet the its future needs.�

The Staatstheater Stuttgart is anticipating a systems upgrade for its opera house in the coming months, with plans to employ Clear-Com there as well. When that installation has taken effect, the intercoms at the opera house system will be integrated with those at the drama theater to allow production crew members to communicate between both buildings.

About Clear-Com
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

On-Site Technical Expertise and Support Ensures
Interference-Free Coverage for Jam-Packed Five-Day Celebration

NAPA, CA, MAY 13, 2013—When the inaugural BottleRock Napa Valley festival, a celebration of music, comedy, food and drink in California’s legendary Napa Valley, kicked off on May 9, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand providing frequency coordination for the more than 80 bands and performers at the event, as well as media in attendance.

In its debut year, BottleRock Napa Valley featured a lineup of more than 80 artists, bands and performers from a variety of genres, including rock, soul/R&B, country, hip�hop, comedy and more. In addition, more than 30 iconic restaurateurs shared the culinary stage with 40 superstar vintners. Close to 200,000 people attended the extravaganza.

“With five stages and more than 800 frequencies for the week, pre-planning is key in helping to avoid any interference issues, allowing us to react to any potential frequency problems ahead of time,� says Jim Van Winkle, general manager, PWS. “As this was the first year for the event, we tried to get as much information as possible ahead of time from the vendor, artists, engineers and media so that when our team arrived on-site, we were ahead of the game. This way, we kept any potential challenges or issues to a minimum. In addition, as with any event this size, we worked closely with the audio vendor, Delicate Productions.�

PWS was brought on to support the festival by Delicate Productions and Production Manager Chris Sorlie. One of the initial concerns in planning for the event was the close proximity to one of Pacific Gas and Electric Company’s (PG&E) power stations from the festival’s stages. “We worked closely with George Edwards and Sergey Bailleul at Delicate Productions and we all did our due diligence to ensure that there would be no frequency interference or signal issues associated with the plant.�

Four PWS staff members were on-site throughout the five-day celebration. “We stationed a dedicated frequency coordination expert at each of the three stages to mitigate any issues that may have presented themselves. In addition we regularly checked in on the other two stages,� adds Van Winkle. “We also used spectrum analyzers during the festival to determine occupied bandwidth and track interference sources, putting them on a safe frequency once we located them. An event of this size is always challenging, but once again, the PWS team did a fantastic job and the show went off as expected.�

An added benefit of PWS’ frequency coordination services is its hand-on approach. Although the company was only charged with providing frequency coordination services at the festival, PWS always brings backup equipment and gear to handle any issues that may arise.

For more information, visit www.professionalwireless.com.

Custom Audio Equipment Package Bolsters Musical’s Triumphant Return to Great White Way

NEW YORK, MAY 6, 2013—As Pippin hits the stage for the first time since its original five-year run on Broadway nearly 40 years ago, show Sound Designers Jonathan Deans and Garth Helm called upon Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the highly anticipated musical revival.

Roger O. Hirson and Stephen Schwartz’s beloved coming-of-age musical comedy Pippin returns to Broadway in an all-new production directed by Diane Paulus, featuring choreography by Chet Walker in the style of Bob Fosse and circus creation by Gypsy Snider of the Montreal-based circus company Les 7 doigts de la main (also known as 7 Fingers). The production is now playing at the Music Box Theatre (239 West 45th Street). Pippin is noted for many Broadway standards including “Corner of the Sky,� “Magic To Do,� “Glory,� “No Time at All,� “Morning Glow,� and “Love Song.� The production is nominated for 10 2013 Tony Awards including Best Musical Revival.

“Pippin is one of the great musical classics, and after 40 years we are thrilled and excited to be part of its first revival on Broadway,� says Deans. “Abe Jacob was the original sound designer, and he is considered the godfather of theater sound design. Therefore, when Pippin arrived on Broadway, we wanted to make sure its sound design received the full reverence it was due.�

Masque Sound provided a custom-designed audio system for the show, including a DiGiCo SD7 live digital console with Stealth Digital Processingâ„¢, Sennheiser wireless transmitters and receivers and an array of d&b speakers.

“It has been a pleasure to work with Masque Sound in selecting the correct audio system for this captivating production,� adds Deans. “In addition, the support from Masque Sound’s rental shop, along with the guidance from Gary Stocker at Masque, has aided Garth and I in creating a soundscape worthy of this amazing show.�

Royal heir Pippin is spurred on by a mysterious group of performers to embark on a death-defying journey to find his “corner of the sky.� The original production of Pippin, directed by Bob Fosse, premiered on Broadway in 1972. It won five Tony Awards and five Drama Desk Awards, and ran for close to 2,000 performances before closing in 1977. This production of Pippin made its debut at American Repertory Theater (A.R.T.) in Cambridge, MA, where Diane Paulus serves as Artistic Director.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,� “Mamma Mia!,� “Lion King,� “Jersey Boys,� “Memphis,� “The Book of Mormon,� “Newsies� and “Once� to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

Helps GB4D Rental House Simplify Network Audio Distribution High in the French Alps

TIGNES, FRANCE, MAY 2, 2013 – For the fourth year in a row, a portion of ESPN’s X Games has taken place overseas, this time in Tignes, France, a hot spot for skiing and snowboarding in the French Alps. In addition to X Games Tignes being broadcast from France this year for the first time ever, the annual extreme sporting event is going global, with additional events taking place through early August in Aspen (U.S.), Barcelona (Spain), Foz do Iguaçu (Brazil), Los Angeles (U.S.) and Munich (Germany). Situated at up to 12, 293 feet above sea level, the location of the games added a new level of complexity for Gilles Bouvard Events and Entertainment (GB4D), the France-based rental house that assisted ESPN with the sophisticated audio signal distribution necessary for the event. To help manage the coordination and weather challenges, the company turned to Optocore’s optical fiber network solutions.

The event in France was co-produced by Canal+ Events on behalf of ESPN, with GB4D providing virtually all of the audio equipment for the competition zones to assist A+ Events, another co-producer. With more than 125 athletes participating in the games, the team at GB4D knew it needed gear capable of managing not only proper audio distribution, but also able to withstand the snowy weather concerns. A longtime fan of Optocore, Gilles Bouvard, owner of GB4D, suggested Optocore’s interfaces as a way to ensure a successful signal flow within a redundant system.

“The audio vendor for the X Games was my former associate, Julien Terrier, with his new company A+ Events,� says Bouchard. “I suggested he use Optocore to provide all the fiber network signal distribution.�

The audio transmission was based around two Optocore loops—one ring for the Super Pipe competition area, with five Optocore X6R-FX network converters for the main PA and one for the VIP area—and a second for the Slope Style competition area, with two X6R-FX interfaces. The master control room was equipped with two DD2FR-FX (offering MADI ports), two DD32R-FX (AES-EBU) and one X6R-FX systems. GB4D was able to control the entire Optocore system from a single desktop PC.

As the distances between nodes were long, GB4D used approximately 984 feet (300m) of Neutrik X-TREME fibers for signal transport between all links. The primary ring measured a distance of approximately 1.3 miles (2.1km) and the secondary approximate 1,968 feet (600m), which was constructed around 12 nodes, plus spares.
L’Acoustics LA8 and Lab Gruppen PLM10000Q amplifiers fed the main PA hangs, while the Optocore LAN controlled the Super Pipe’s deck fills. Inputs included background music, live DJ feeds, wireless announcer microphones, various media and advertisement sources and TV truck feeds.

“Thanks to the Optocore network, the wireless links for the announcers was greatly simplified. Also, feeding signals into the system was easy,� explains Bouvard. “As for the outputs, the Optocore fiber network allowed a simple routing of the various signals feeding the amplifiers all around the site. The possibilities offered by macros allowed a simplified routing and ease of modification for all the various live and recording feeds.� GB4D designed a redundant FOH position, deploying two fully backed-up Midas digital desks.

Bouvard compared the challenge of working high in the Alps with the opposite climatic extreme GB4D faced when it recently deployed a vast Optocore and BroaMan network over a huge distance for Kuwait’s 50th Constitution Day celebration. “There was really little difference,� he says. “On the one hand we had the high temperatures and sand storms, on the other the very low temperatures and snow. We found ourselves in two similar extreme situations and we had to find reliable solutions.

“I think that working in those difficult environments helps us improve our technical expertise. We have learned to adapt technically to those constraints, for example with the PA and cabling, but more essentially for the monitoring of the systems, which is crucial in this type of event and in these conditions. The use of an Optocore network simplifies this enormously.�

With the increasing popularity of the X Games across the world, there are more technical challenges, especially in the months leading up to the event. “Reliability is fundamental,� continues Bouvard. “All the vendors present were snow and mountain specialists, so we were ready for any technical challenges. Plus, the ease of the Optocore implementation was a major step forward for this project. The most notable aspects were the simplification of the routing system, the increased reliability of the wiring on site, the total redundancy and the real-time monitoring of all system components.�

He added that GB4D technicians François Lund, Patrice Giono and Piotr Skotnicki have worked at X Games Tignes since it was first staged there in 2010. All three are certified Optocore technicians, and were responsible for realizing the design, implementation and operation of this year’s event.

About Optocore

Based in Munich, Germany, Optocore is the world market leading provider of scalable, high-bandwidth, low–latency fiber-optic networks for the transmission of audio, video and data. For 20 years, Optocore has been continuously innovating and setting new standards with regards to digital network technology. Optocore builds and develops synchronous optical fiber and CAT5 based network solutions for broadcast professionals, fixed installations and live event applications. Utilizing leading-edge technology and high-quality components, Optocore guarantees durability and therefore long-term market and customer satisfaction. Due to its open system architecture, Optocore’s platform offers other manufacturers the option to transfer conventional standard audio, video and data formats used in the pro audio industry over a fiber and CAT5 network. Technical expertise, QoS and an extensive support structure are guaranteed to all customers, together with the highest level of quality controls. For more information, visit www.optocore.com.

“SSL is a company that takes care of you through the sale and continues the relationship into the future�

VIENNA – A Solid State Logic C100 HDS Digital Broadcast Console has been chosen to make classical music sing for the new Musik und Theater (MuTh) Concert Hall, the permanent home for the Vienna Boys’ Choir (VBC). The 400-seat facility is also home to many other institutions and hosts performances ranging from the Vienna Philharmonic to dance and jazz presentations. The C100 is used for front of house live sound mixing, DAW capture, post production and live-to-air broadcast/streaming. The choice of the C100 was based in part on purity of sound and SSL’s responsiveness to client needs.

“While we looked at consoles from all the major manufacturers, SSL was our choice for many reasons,� says Roland Tscherne, technical manager and sound engineer for MuTh. “First and foremost, SSL offers the most clarity and precise sound, worthy of the internationally acclaimed artists who perform here. Second, unlike other companies, SSL was very willing to sit and discuss our specific needs and work with us to fulfill those needs. SSL didn’t stop paying attention once the console was installed, as we have received software updates that include many of the refinements we were looking for. SSL is a company that takes care of you through the sale and continues the relationship into the future. That attention is very valuable.�

The MuTh Concert Hall is also an educational facility for children and young adults who attend its co-ed kindergarten, elementary and high schools that are attached. The theatre places particular emphasis on children’s opera. The entire operation is conceived as a gathering place for educating young people in the performing arts and to foster collaborations with other established institutions centered on youth performing arts.

According to Tscherne, the C100 resides in the theatre itself, acting as the front of house console and the audio hub for the facility. The C100 has been configured to send stereo and 5.1 mixes to the house system for concerts and film presentations. At the same time, each mix combination and the individual microphone channels are sent to the DAW for capture, re-mixing and post production. If a performance uses 30 wireless and 60 orchestra microphones, one push of a button sends all the single tracks to the DAW, saving time, while giving the engineering staff more opportunity to concentrate on creating the perfect mix.

“When we first put in the C100, each engineer definitely had a wow factor going when they sat down at the console,� concludes Tscherne. “Because it was an SSL console, they were a little bit intimidated because they haven’t ever used a console like this. However, one hour later, they were impressed with the ease of use, comfortable with mixing a project and, most importantly, with the pristine sound. We look forward to a long and successful relationship with SSL.�

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.