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Archive by Vanessa Sanchez

Professional Wireless Systems Helps Wireless Make a Slam Dunk at 2015 NBA All-Star Weekend

NEW YORK — When basketball enthusiasts united in New York City for the 2015 NBA All-Star Weekend, Professional Wireless Systems (PWS) was courtside at both the Barclays Center in Brooklyn and Manhattan’s Madison Square Garden to fully supply wireless receivers and specialty RF gear, as well as manage all player microphones in partnership with Quantum5X Systems during the sporting extravaganza.

The 2015 NBA All-Star Weekend officially kicked off at the Barclays Center with the Rising Stars Challenge, pitting the young stars of the NBA against one another in a fantastic display of what the future of the league has to offer. Continuing the festivities, players competed in two of the most popular events of the weekend: the Three-Point Contest and the Slam Dunk Contest, which all culminated with the 2015 All-Star Game at Madison Square Garden. This year’s lineup included some of the top players in the league, including John Wall, Kyle Lowry, Steph Curry, Anthony Davis and Marc Gasol.download

Throughout the All Star event, the PWS team consisting of John Garrido and Cameron Stuckey remained in constant transit to ensure a flawless production. The team managed the equipment for the multitude of games at the Barclays Center and MSG and worked in tandem with Mark Donkers, Quantum5x’s lead on-site engineer responsible for proprietary hardware/software modifications. PWS supplied the ENG crews with portable diversity ENG receivers to work with Quantum5x’s new QT-5100 PlayerMics, as well as supplying both venues with courtside RF wireless gear.

With a smaller footprint than the previous version, Quantum5X’s new remote PlayerMics were custom-designed to enable full remote operation. The remote operation capabilities of the PlayerMics, i.e. power, gain control, and frequency changes, were crucial once the mics and transmitters were on the players because they were off-limits. The transmitters were small enough to be sewn into special pockets of the players’ jerseys and left in place without interfering with the players’ movement.download 1

PWS also supplied their Helical and Domed Helical Antennas. The combination of the two ensured a wider pattern of coverage across the entire court, with inherent circular polarization for improved signal strength.

“We were very happy to be working with the Quantum5X crew once again,” says Jim Van Winkle, general manager, PWS. “They are a terrific group to work with and managing their new, durable PlayerMics was very easy and contributed to the whole event being a huge success for all parties involved.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

Masque Sound Helps Audiences Explore The Mystery of Love & Sex

NEW YORK - When the curtain rose on The Mystery of Love & Sex at Lincoln Center Theater’s Mitzi E. Newhouse Theater, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on-hand to provide Daniel Kluger, sound designer and composer, with a custom audio equipment package that would allow audiences to explore this new drama.Masque1

The Mystery of Love & Sex is the story of four individuals whose lives remain inextricably intertwined over time. Charlotte and Jonny are two college students and long-time friends since the age of nine. As their relationship turns romantic, despite Charlotte’s parents’ objections, an onslaught of truths about their past is unleashed, threatening not only their relationship with each other, but their relationships with their families as well.Masque2

Kluger’s goal in the sound design was to create an elegant and dynamically versatile soundscape to support scene changes. “I needed a system that could deliver even coverage with high fidelity, and the dynamic equipment package that Masque Sound provided allowed me to do that.”

In addition to the show’s storytelling, the layout of the theater also presented its own opportunity to Kluger. “The Mitzi E. Newhouse Theater is a unique thrust space that I chose to treat as a large circle,” he says. “We covered every seat with the center cluster, while at the same time extending the surround system a full 360 degrees around the room by treating the upstage speakers as an extension of that system. It’s about creating a feeling of inclusion. The relationship between what you are hearing in front of you and behind you is constantly shifting depending on where in the circle you lie and where the point of focus is on stage.”Masque3

For this production, the fundamental principle is to have a channel on the center of the room and then an outer orbit. In order to help bring this to life, Masque Sound provided Kluger with a Yamaha CL1 Digital Mixing Console. Because of the number of speaker boxes necessary for the system of concentric circles, along with the fact that the show is primarily playback, Kluger needed a lot of timing and control, which the CL1 expertly provided.

Additionally, the speaker package that Masque Sound provided is primarily composed of d&b audiotechnik speakers with a center cluster of Q7s, a B4 subwoofer and a delay field of E3s and E0s for surrounds. “The d&b speakers provide warmth and clarity and make such a big difference, and I am thrilled that Masque Sound was able to supply them,” he adds.

In addition to designing the sound for the show, Kluger also created the production’s original score. Kluger wrote half a dozen pieces of music and ended up using one as the primary source material for the design. In creating the playback score, Kluger collaborated with a talented group of musicians, the Momenta Quartet, celebrated for its innovative programming, juxtaposing contemporary works from widely divergent aesthetics with great music from the past.

“Masque Sound has an excellent inventory, and they are continuously growing so there are always new tools to work with,” concludes Kluger. “Masque Sound understands what it takes for a sound designer to be successful, and on this production, we essentially got everything we wanted. It’s been a pleasure to work with them once again. In addition, Ben Truppin-Brown, my assistant sound designer, and Stephen Bettridge, my production audio engineer, both did absolutely fantastic work.”

The Mystery of Love & Sex officially opens on March 2 at the Lincoln Center Theater’s Mitzi E. Newhouse Theater, located on 150 West 65th Street in Manhattan. Previews began February 5. For more information, visit www.lct.org.

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Sergio Mendes and will.i.am have a (Governors) Ball with DPA Microphones

Sergio Mendes and will.i.am have a (Governors) Ball with DPA Microphones
The duo performed at the legendary after-awards party using company’s d:facto™ Vocal Microphones

DPA dfacto_Sergio Mendes SingersLOS ANGELES, FEBRUARY 25, 2015 – After awards were collected and the lights dimmed on stage at the Dolby Theatre, the stars hit the streets of Los Angeles to find their favorite after parties. Among these, the legendary Governors Ball, held at the Ray Dolby Ballroom at the Hollywood & Highland Center. Kicking off the event’s entertainment this year was Grammy® Winner Sergio Mendes, who performed songs with special guest will.i.am from their co-produced, Latin Grammy-winning album Timeless, using several of DPA Microphones’ d:facto™ Vocal Microphones.

Selected by Mendes’ Production Manager John Baker, wired and wireless versions of the d:factos were used for vocals by Mendes, will.i.am and the three female singers who performed centerstage for their roughly 45 minute set. Baker also selected DPA’s d:vote™ 4099 Instrument Microphones for a variety of the band’s instruments.

DPA dfacto_Sergio Mendes and Singers“My goal was to spread the DPA mics all around because, to me, they are the best mics out there,” says Baker. “These mics really work best when I just let them do what they do – no EQ, very minimal compression – it’s almost counter-intuitive as an engineer. I was very excited for this performance, to see how the DPAs would work, and I’m so happy to have used them.”

Though Baker is himself also an engineer, his wife Keiko Takeda is Mendes’ longtime FOH engineer, a role she once again took on for the Governors Ball. “Leading up to the event, I told Keiko about my experiences using DPA and how she wouldn’t have to process the mics very much to get a perfect sound,” says Baker, who notes that while he’s a very good mixer, his wife is even better. “She’s such a good sound engineer, so I was very interested to hear what she would think of the mics. She took my advice and the set sounded fantastic. It was very interesting to see how she worked with this new process and to hear how the mics performed. Keiko was definitely impressed as well. We’re now going to have a microphone custody battle should we have competing tour schedules.”

DPA dvote_Sergio Mendes Band_DrumsWhile available in both wired or wireless versions, Baker felt the traditional wired d:factos were best-suited to Mendes’ portion of the performance. “Sergio and his singers have excellent mic technique,” he explains. “The Mendes singers have spectacular voices, so they traditionally sing dynamically lower and further away from the mic. With the d:facto, they got a more comprehensive sound—because of the cancellation pattern and the way the mic is made—than they have achieved with other microphones. I selected wired options for them because, to me, a wired mic always sounds better than a wireless, it’s just the fact of physics.”

Since will.i.am tends to move more about the stage, Baker recognized that a wireless version would be the best solution for him. “There was the potential for other surprise guest artists showing up to perform with Sergio and Will, so I wanted to have the d:factos with the Shure wireless system on hand,” he continues. “I’m a total fan of the entire DPA line. Any opportunity I can get to open someone’s eyes to their sound, I’m ecstatic. The d:facto is really a perfect mic no matter what setup you use. The first time I ever used it, I thought ‘wow, those engineers at DPA sure have a sense of humor; they call it the d:facto—in other words, the fact or the truth. You literally just plug it in and let it do what it’s supposed to do.’ It’s really THE premier microphone for vocals.”

When he’s not doing production work for Mendes, Baker can be found on the road as FOH engineer for The Al McKay All Stars—featuring legendary Earth, Wind & Fire guitarist, songwriter and producer Al McKay—and The Jacksons, for which he also uses a large collection of DPA Microphones.

ABOUT DPA MICROPHONES:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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 on DPA Microphones, please visit www.dpamicrophones.com

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Professional Wireless Systems Teams Up With ATK Audiotek And The NFL To Tackle Frequency Interference At The Pro Bowl And Super Bowl XLIX

L to R - The PWS team, including Jim Van Winkle, PWS general manager, James Stoffo, PWS RF lead, Evan Hall and Richard StocktonPHOENIX, AZ, FEBRUARY 18, 2015Professional Wireless Systems (PWS) teamed up with ATK Audiotek and Versacom for the 19th consecutive year to deliver fumble free RF management of the assigned frequencies for several of the entertainment portions surrounding Super Bowl XLIX. Working directly with the NFL Game Day Frequency Coordinators (GDC) and Karl Voss, the NFL’s lead frequency coordinator, PWS offered its on-site frequency management support not only for the Super Bowl pre-game and half time entertainment segments, but also for the referee mics and the big game’s Pro Bowl predecessor.

Preparations began back in mid-October when James Stoffo, PWS RF lead, and Jim Van Winkle, PWS general manager, worked closely with ATK Audiotek’s Paul Liszewski and Versacom’s Matt Campisi to conduct site surveys. Once initial plans were in place, PWS submitted a list of frequency requirements to the GDC, who handled the frequency coordination for the entire event, including coaches’ intercoms, referee mics, network broadcasters, media and entertainment. Karl Voss then allocated the frequencies that PWS needed to integrate the entertainment needs with the other users at the Pro Bowl and Super Bowl.

PWS at the Pro BowlThe two games had very different set ups for their entertainment shows, each which presented its own unique set of challenges. For the Pro Bowl, PWS, led by Stoffo, handled frequency management for both the live national anthem, sung on the field by Jordin Sparks, and the half time show, featuring Nico & Vinz. Distance posed a potential problem, as the PWS team, including Evan Hall and Richard Stockton, needed to configure an equipment setup that would allow both the national anthem, sung on the field, and the half time show, on a bridge behind the end zone, to operate seamlessly.

“We had to remote all of ATK’s mic racks and in-ear monitor racks up to the bridge so that we had a local presence next to the stage,” says Stoffo. “It was additionally challenging for the wireless intercom setup, because we now had to cover a much greater distance, requiring more antennas and zones, so that the intercom could work seamlessly across several locations. It ended up working out perfectly, and it was a terrific show all around.”

PWS at the Super Bowl XLIX - 1

The Super Bowl half time show, during which Katy Perry belted out an array of her hits on stage at the 50-yard line, had its own set of challenges. “Katy Perry used five live Sennheiser microphones throughout her performance, switching microphones every time she went from one location to another,” says Stoffo. “The microphones were all sharing frequencies, which meant that each time she switched to a different microphone, we had to turn off all previously utilized microphones to prevent interference. Thanks to the hard work from Evan and Richard, this whole process was carried out successfully.”

Included in the equipment lineup supplied by PWS and ATK for both the Pro Bowl and Super Bowl were the Shure Axient® wireless system, Shure UHF-Rs and PSM-1000 Series in-ear microphones, as well as PWS Domed and Helical Antennas utilized for the ATK wireless systems on the field. The team also employed Sennheiser 3732 receivers with 5200 transmitters. Versacom provided a mixture of wireless intercoms, including HME PRO850 and BTR800s from Telex for the event. “In addition, the team utilized 24 Radio Active Designs UV-1G VHF Narrow Band™ Beltpacks for the first time, which made frequency management easier than any other time in the past five years. In utilizing VHF, we were able to free up a lot of the spectrum in the UHF band for other uses,” adds Van Winkle.

PWS at the Super Bowl XLIX - 2In total, the PWS team handled more than 70 frequencies in a backdrop of more than 1,000 to ensure that spectrum users were not interfering with one another during the Pro Bowl and the Super Bowl’s entertainment segments. “The PWS team did a great job at anticipating any potential problems and working together to quickly ensure a smooth show,” concludes Van Winkle. “A special thanks to Karl Voss, as well as the ATK and Versacom crew, who were all fantastic to work with and made for another successful year.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

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 led by President Stephanie Hansen and the firm’s third generation owner, Geoff Shearing. 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,” “Once” and “Kinky Boots” 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.

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SOUND DEVICES 970 EARNS CAS TECHNICAL ACHIEVEMENT AWARD

REEDSBURG, WI — Sound Devices, specialists in audio and video products for broadcast and film production, is pleased to announce that its 970 rack-mount, multi-track audio recorder won the Cinema Audio Society (CAS) Technical Achievement Award in the Production category.

The Cinema Audio Society was formed in 1964 to recognize innovations in recording technologies, including hardware and software products that are used by sound mixing professionals. Sound Devices has now been a recipient of the prestigious CAS Technical Achievement Award five times. The 744T and 788T Production Recorders, and the 664 and 633 Field Production Mixers are all past winners.Sound Devices - 970 CAS Award

“To be consistently recognized year after year for our new products with CAS Technical Achievement Awards is a remarkable accomplishment,” says Matt Anderson, President of Sound Devices. “At Sound Devices, we continue to push the boundaries by presenting high-quality, innovative tools that make a difference in the demanding workflows of our customers in the motion picture and television industries. We couldn’t be happier that the 970, our first-ever dedicated rack-mount audio solution, is being recognized for doing so.”

Sound Devices’ 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs, including 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. The half-rack, 2-U device simplifies any application requiring high-quality high-track-count audio recording, such as drama and reality productions, and live concert recording. The 970 records to any of four attached drives, two front-panel drive bays (behind the screen) and two rear-panel e-SATA-connected drives. Material can be recorded to multiple drives simultaneously or sequentially. With its built-in, rock-steady Ambient™ Recording Lockit time-code technology, the 970 is well-suited to operate as a master clock.Sound Devices 970 - front panel

The 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks as well as file transfer over the data network with SMB. Users can perform file metadata editing of scene name, take name, notes, track names and reel folders before, during and after recording across all drives. In addition to RS-422 and GPIO control, the unit also allows for format conversion between analog, AES digital, MADI and Dante. Sound Devices’ 970 is designed with a large five-inch screen for metering of up to 64 tracks and for fast and intuitive menu control.

Additionally, Sound Devices 970 features the company’s proprietary PowerSafe™ technology, which has a built-in 10-second power reserve. In the event of a power loss, the unit continues to operate for up to 10 seconds to safely stop any file operation and then shuts down. This ensures that a complete power loss has no effect on the recording. The 970 also features FileSafe™, which automatically detects and repairs corrupted file headers when drives are mounted. Should this occur when a drive is inadvertently removed during recording, the user can simply reinsert the drive and FileSafe will automatically repair the files.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices is a brand of Sound Devices for their digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events, and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, Wisconsin. For more information, visit the Sound Devices and Video Devices websites: www.sounddevices.com and www.videodevices.com.

Masque Sound Helps Put Contemporary Spin on Revolutionary Tale of Lin-Manuel Miranda’s Much-Anticipated New Musical, Hamilton

HamiltonNEW YORK, FEBRUARY 18, 2015 — When the wildly inventive new musical HAMILTON opened at New York City’s famed Public Theater, Sound Designer Nevin Steinberg collaborated with Masque Sound,a leading theatrical sound reinforcement, installation and design company, on a custom audio equipment package for the eagerly anticipated off-Broadway production.

From the creative team behind the Tony® Award-winning In The Heights comes a wildly inventive new musical about the scrappy young immigrant who forever changed America: Alexander Hamilton. Tony and Grammy Award winner Lin-Manuel Miranda wields his pen and takes the stage as the unlikely founding father determined to make his mark on a new nation as hungry and ambitious as he is. From bastard orphan to Washington’s right hand man, rebel to war hero, loving husband caught in the country’s first sex scandal to Treasury head who made an untrusting world believe in the American economy, HAMILTON is an exploration of a political mastermind. George Washington, Thomas Jefferson, Eliza Hamilton, and lifelong Hamilton friend and foe, Aaron Burr, all attend this revolutionary tale of America’s fiery past told through the sounds of the ever-changing nation we’ve become. Tony Award nominee Thomas Kail directs this new musical about taking your shot, speaking your mind, and turning the world upside down. HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, is inspired by the book “Alexander Hamilton” by Ron Chernow, choreography by Andy Blankenbuehler, and is directed by Thomas Kail.

“Lin is a great theatre artist and fascinating individual full of fantastic ideas, and I am fortunate to once again be a part of the creative team he assembled,” says Steinberg. “I was lucky enough to work on In the Heights and when its director, Thomas Kail, asked me to be a part of this show, I was thrilled.”

In designing the sound for HAMILTON, Steinberg had his work cut out for him. “When you are generating the kind of energy that this style of music demands, the first job is to determine how the audience will hear the lyrics and understand how the words and the story connect to these characters,” he says. “It is important to pay attention to the versatility and premium of clarity, fidelity and linearity in the sound system, while making sure it is sensitive and delicate enough to translate to the ballads and the string quartet, and the more traditional music that rise up out of this environment. To succeed, you have to be very agile and have a very large tool kit at your disposal, and Masque Sound was wonderful in providing us with everything we needed.”

Miranda’s music and the idiom in which he writes is very challenging for audio but is also full of great opportunities to change the game as to how people hear shows in the theatre. The music has its own vocabulary, which emanates from a very contemporary urban feel, so, in designing the sound, there were a lot of challenges in addressing the way the hip-hop-style music would contrast with the show’s more classical undertones, courtesy of the production’s string quartet.

“My biggest challenge was to honor the dynamic range of both the energy and the emotion contained in the score that Lin writes,” says Steinberg. “The show encompasses an extraordinary range. We go from generating the kind of environment that you might experience at a hip-hop concert to the most delicate ballads supported by only a piano and violin, and that’s always a challenge, but it’s also the most exciting part.”

In order to take on the aforementioned challenges, meet the requirements of the show, and adhere to a specific budget, Steinberg worked closely with Masque Sound to come up with an initial equipment list. “Because the theatre is off-Broadway and very small, seating less than 300 people, we are not covering a ton of seats even though there are a lot of speakers in the room, so the back-end of the system isn’t particularly extensive compared to a big Broadway house,” he adds. “We were able to concentrate a lot of our resources financially into the front end of the system, including the console and wireless sides as well as on the input side for the band and monitoring. Working with a shop like Masque Sound that understands those kinds of decisions based on financial considerations and is sensitive to them is essential.”

For his console, Steinberg chose to go with the DiGiCo SD7T Live Digital Console. “We quickly realized that this production, taking into account the flexibility required in terms of the input, monitoring and control, needed a flagship console,” he adds.

The custom speaker package Masque Sound provided Steinberg features Meyer Sound UPQ-2Ps and L-ACOUSTICS® ARCS, which he chose because he felt that the classic speakers would work well in the Newman Theater’s long and narrow design. For the delay system, Masque Sound provided an assortment of speakers from Meyer Sound, EAW and d&b audiotechnik. The microphone package includes both DPA d:screet 4061s, along with a few DPA d:fine headsets, as well as DPA d:dicate 4011s for the musicians. A selection of Shure and Audix mics were used for the drums and percussion, as well as Radial Engineering direct boxes for keyboards, bass and guitars.

For his wireless needs, Masque Sound provided Steinberg with a 30-channel custom package from Sennheiser. “Sennheiser tends to be my first choice,” he says. “We received a great wireless package, which always plays to Masque Sound’s strengths. It has always been one of their best departments and the system that they delivered to us is working flawlessly.”

“I was thrilled to be able to work with Masque Sound on HAMILTON,” concludes Steinberg. “In addition to Masque Sound, my team did an amazing job, from my engineer, Justin Rathburn, to my associate, Jason Crystal, to my backstage staff of Matthew Walsh and Anna Lee Craig, as well as the entire Public Theater team. HAMILTON is a big project in a small theater and we are looking forward to what will hopefully be a very bright future.”

HAMILTON began preview performances on January 20 and officially opens on February 17 at the Public Theater’s Newman Theater, located at 425 Lafayette Street in Manhattan. This limited engagement runs thru April 5, 2015. For more information, visit www.publictheater.org.

About The Public Theater
Under the leadership of Artistic Director Oskar Eustis and Executive Director Patrick Willingham, The Public Theater is the only theater in New York that produces Shakespeare, the classics, musicals, contemporary and experimental pieces in equal measure. The Public continues the work of its visionary founder, Joe Papp, by acting as an advocate for the theater as an essential cultural force, and leading and framing dialogue on some of the most important issues of our day. Creating theater for one of the largest and most diverse audience bases in New York City for nearly 60 years, today the Company engages audiences in a variety of venues—including its landmark downtown home at Astor Place, which houses five theaters and Joe’s Pub; the Delacorte Theater in Central Park, home to its beloved, free Shakespeare in the Park; and the Mobile Unit, which tours Shakespearean productions for underserved audiences throughout New York City’s five boroughs. The Public’s wide range of programming includes free Shakespeare in the Park, the bedrock of the Company’s dedication to making theater accessible to all; Public Works, a new initiative that is designed to cultivate new connections and new models of engagement with artists, audiences and the community each year; new and experimental stagings at The Public at Astor Place, including Public Lab; and a range of artist and audience development initiatives including its Public Forum series, which brings together theater artists and professionals from a variety of disciplines for discussions that shed light on social issues explored in Public productions. The Public Theater is located on property owned by the City of New York and receives annual support from the New York City Department of Cultural Affairs; and in October 2012 the landmark building downtown at Astor Place was revitalized to physically manifest the Company’s core mission of sparking new dialogues and increasing accessibility for artists and audiences, by dramatically opening up the building to the street and community, and transforming the lobby into a public piazza for artists, students, and audiences. Key elements of the revitalization an expanded and refurbished lobby; the addition of a mezzanine level with a new restaurant lounge, The Library, designed by the Rockwell Group. www.publictheater.org

The LuEsther T. Mertz Charitable Trust provides leadership support for The Public Theater’s year-round activities; Bank of America, Proud Season Sponsor of Shakespeare in the Park; The Harold & Mimi Steinberg New Play Development Fund at The Public Theater Supports the Creation and Development of New Plays; The Philip and Janice Levin Foundation -Lead Supporter of The Public’s Access and Engagement Programming; The Time Warner Foundation, Founding Sponsor of The Emerging Writers Group; Delta Air Lines, Official Airline of The Public Theater; New York Magazine is the official print sponsor of The Public Theater’s 2014-2015 downtown season; Public support is provided by the New York City Department of Cultural Affairs; the New York State Council on the Arts, a state agency; and the National Endowment for the Arts, an independent federal agency.

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 led by President Stephanie Hansen and the firm’s third generation owner, Geoff Shearing. 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,” “Once” and “Kinky Boots” 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.

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Sound Devices Names Brandi Loyd Marketing Project Manager

REEDSBURG, WI, FEBRUARY 10, 2015 – Sound Devices, specialists in audio and video products for broadcast and film production, is pleased to announce the appointment of Brandi Loyd as Marketing Project Manager. Loyd brings nearly 20 years of marketing and technical-writing experience to Sound Devices, where she will oversee and manage a variety of marketing initiatives.Sound Devices Brandi Loyd

In her new position, Loyd will supervise the marketing team and spearhead a range of projects, including the creation of content for Sound Devices’ web and social media sites, marketing materials and end-user technical publications. In addition, she will work directly with the VP of Marketing to handle the company’s media relations, including print and online advertising campaigns and public relations efforts.

“Brandi is an effective team leader, instructor and skilled collaborator with a proven track record for high-quality productivity in a fast-paced, flexible work environment, and we are happy to welcome her to our team,” says Paul Isaacs, VP of Marketing and Product Design. “We look forward to her hard work and many contributions during this exciting time for Sound Devices.”

Prior to joining Sound Devices, Loyd gained extensive experience in developing end-user and administrative publications for computer hardware and software in the broadcasting, audio and video industries. She spent 16 years with Avid Technology as a Senior Technical Writer and nearly nine years as a Managing Editor, Acquisitions Director and Publications Administrator for Cobblestone Press, LLC. The Northeast Louisiana University graduate is also the owner of Loyd Freelance, LLC, where she helps clients develop publications, multi-platform help systems, and websites for online marketing and customer-support initiatives.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices is a brand of Sound Devices for their digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events, and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, Wisconsin. For more information, visit the Sound Devices and Video Devices websites: www.sounddevices.com and www.videodevices.com.

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MASQUE SOUND SOARS ACROSS THE COUNTRY TO CELEBRATE BROADWAY’S GOLDEN ERA WITH TOURING PRODUCTION OF GUYS AND DOLLS

NEW YORK — As the hit musical Guys and Dolls toe-taps its way across the United States on its 49-city tour, Sound Designer Ed Chapman collaborated with Masque Sound, a leading theatrical sound reinforcement, installation and design company, on a custom audio equipment package to help audiences across the country celebrate Broadway’s golden era for this timeless classic.download (1)

Bustling with gamblers, gangsters and sassy showgirls, Guys and Dolls features one of the greatest scores ever written for a musical by the legendary Frank Loesser, masterfully witty book and lyrics by Joe Swerling and comedy legend Abe Burrows, and the glorious Damon Runyon’s comic book world of 1940s Times Square New York City. Considered by many to be the perfect musical comedy, Guys and Dolls introduces audiences to a cast of characters who have become legends in the musical theatre world.

“The tour consists of one-night performances in each city, so one of my main goals was to design a system that would be able to be unpacked, set up, taken down and loaded into the truck quickly, easily and efficiently,” says Chapman. “Putting together a flexible system allows the road crew to concentrate on each venue and provide the audience with the best listening experience possible. Masque Sound was instrumental in providing a package that accommodated our needs.”

In consultation with Masque Sound, Chapman chose to use a Yamaha CL5 digital mixing console for the production. The CL5 was the ideal choice for this tour, as it is a small, networked console that significantly reduces the amount of cable required, yet still provides a 72-channel format.download (3)

In addition to the tour’s grueling schedule, another one of Chapman’s obstacles was dealing with a range of different sized venues. “The big challenge in designing a great sound system is that in addition to doing one-nighters, the size of the venues change quite drastically,” says Chapman. “The venues on the tour are averaging about 1,200 seats, but some are much smaller and others are as large as 3,000 seats. Accommodating this range can be very tricky, especially when taking into consideration that our space on the truck remains the same throughout the tour.”

For the tour, Masque Sound provided a Meyer Sound speaker package, including Meyer Sound Mica array loudspeakers placed in custom towers, a M’elodie center cluster and M1Ds for front fills. “I chose the Mica towers, because they are a very high-quality speaker,” adds Chapman. “We use them in a left/right configuration, but they can be broken down and used in three or four configurations depending on the venue, and that is key. This provides incredible sound to the various sized venues and was worth losing some space on the truck to give the audience what they deserve to hear.”

Masque Sound also provided a selection of microphones, including DPA d:screet™ 4061 Miniature Microphones for the actors, as well as Sennheiser MKE 1s and 2s. Chapman used a selection of Shure and AKG microphones for the nine-piece orchestra. Masque Sound also supplied its expert RF frequency coordination for the tour, including 32 channels of Sennheiser wireless.

“What makes this tour unique are the logistics,” concludes Chapman. “Masque Sound made my job incredibly easy, and they were fantastic to work with once again; Gary Stocker and the rest of the crew at Masque Sound were great. My team and I did not have to sacrifice anything. My production engineer, Jeremy Aleksa, mix engineer, Harry Platt, and A2, Renee Levine, also did a great job in bringing it all together.”download (2)

Guys and Dolls originally conquered Broadway in 1951, running for 1200 performances and winning five Tony® Awards including Best New Musical. It was subsequently made into the beloved film starring Marlon Brando and Frank Sinatra.

Guys and Dolls is a presentation of Big League Productions, Inc (www.bigleague.org). The tour, which kicked off on December 26, 2014 in Naples, Florida is currently scheduled to wrap up on May 22, 2015 in New London, Connecticut. The tour will make stops in 49 cities including El Paso, Santa Barbara, Phoenix, Reno, Portland and Spokane. For more information, please visit www.guysanddollsontour.com.

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Lala Mansion Grows with SSL Duality

TAMPA – Built on the premises of what was once a personal restaurant for one of the founders of Outback Steakhouse, Lala Mansion began as a private recording room in Tampa, built and designed by Tom Morris from Morrisound Recording. At that time, current studio owner Don Miggs was just looking for a writing room, but it has quickly grown into a world-class studio outfitted with an SSL Duality mixing console. Boys II Men was the first group to get a turn on the board, with Cowboy Mouth, Charlie Midnight, members of the Plain White T’s, Candlebox, LoCash Cowboys and Kamelot quickly following suit.

“When I first purchased the home, the previous owner had built a small version of his restaurant, complete with a bar and commercial kitchen,” says Miggs. “As soon as I saw the building, I knew it was the perfect space for a ‘home’ studio where my band miggs could rehearse, write and record our album, Wide Awake. For that project, we had the opportunity to work with the wonderful multi-platinum producer/engineer Ken Lewis (Kanye West, Alicia Keys, Ariana Grande) who had some suggestions on how to become a place where the vibe is special and the sound is great. I wasn’t ready to put in a real console at that time, but then my chief engineer BJ Ramone, son of famed producer Phil Ramone, said his dad would love to produce the next miggs album, which eventually became 15th & Hope. So, I decided to kick things up a notch, expanded the control room and bought gear worthy of a multi-Grammy® Award-winner.”

Fast-forward to late 2014 and Miggs was in discussions with SSL regarding how Duality would be a perfect fit for his studio. “When making a major purchase, I like to look for multiple signs that the decision is the right one,” he says. “I asked several peers for their opinion of the console, and everyone agreed that this was the board, and this was the company for Lala Mansion. I have friends who work on the Late Show with David Letterman, studio owners like the Morris Brothers and Phil Ramone, before he passed, and others who all told me the reliability and the ease of operation of the Duality, combined with SSL’s support, made it the only real choice for me. I decided that an SSL mixing console was no longer something ‘nice to have,’ but a necessity. And we are loving the decision more each day.”
The Duality provides the engineers at Lala Mansion with the unique combination of a full-on SSL analogue console with comprehensive DAW control surface and monitor management. “Since Lala Mansion is a Pro Tools® room, we wanted a mixing board that would allow my staff to work in a familiar environment while increasing our flexibility and the audio quality of our output,” Miggs continues. “We needed a modest footprint in the room and we didn’t want a console that was strictly digital or analogue. The Duality is perfect, conquering both worlds, and it’s crazy how much better it sounds than our old desk. We’ve run previously-recorded material and projects through the Duality that were not completed before we migrated to SSL three months ago, and they sound fuller, richer, better.”

Another important consideration for Miggs was the fact that the Duality does not need the extra power and cooling systems required by some traditional totally analogue mixing boards. “Lala Mansion is a relatively small room by traditional studio standards,” he explains. “There’s a control room, a live drum room with a vocal booth, a unique booth that has six guitar amps situated in the room, mic’ed up and ready to choose from at the click of a button; three other small rooms for recording bass or acoustic guitar, and we even have ties to my living room so we can record the grand piano that’s there. It’s not the layout that’s impressive. It’s the feeling of the room and the quality of the gear, with the SSL Duality front and center.

“Initially, Lala Mansion was a studio created for just me, with a mission of ‘doing good work’,” continues Miggs. “When we realized the room sounded great and the equipment was growing into a formidable collection, friends in the industry and other popular artists quickly started coming. My studio is like a playground for them. We have become a premier recording facility in the South, and the results we are getting with the Duality speak for themselves.”

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

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DPA Microphones’ d:screet™ Necklace Microphone Earns Prestigious TEC Award

DPA Microphones’ d:screet™ Necklace Microphone Earns Prestigious TEC Award

DPA Microphones_TEC AwardALLEROED, DENMARK, FEBRUARY 2, 2015DPA Microphones is pleased to announce that its d:screet™ Omnidirectional Miniature Necklace Microphone has earned a prestigious TEC Award in the Sound Reinforcement category at this year’s 30th Annual award ceremony in Anaheim.

“We are very honored to have our d:screet Necklace Microphone presented with a TEC Award for Outstanding Technical Achievement in the Sound Reinforcement category,” says Christian Poulsen, CEO of DPA Microphones. “The TEC Awards are the most respected in our industry and we are quite pleased that our engineering team has been recognized for consistently designing industry-leading equipment that meets the continuously growing needs of professionals in our industry. We would like to thank not only the TEC Awards committee for the nomination, but also our customers and the industry at large for voting for this microphone.”

Released at Prolight + Sound 2014, the d:screet Necklace Microphone can be mounted and removed quickly several times by untrained talent without a sound expert nearby. Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace mic is ideal for situations requiring quick costume changes. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

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 always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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 on DPA Microphones, please visit www.dpamicrophones.com

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