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RTW Delivers 145 TM3 TouchMonitor Units to WDR

Feature-Rich Pro-Grade Loudness Meters Prove to Be Practical Administration Solution

COLOGNE, GERMANY, 17 OCTOBER 2013—RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, has delivered 145 TM3 TouchMonitor units to German broadcaster WDR, Europe’s second-largest broadcaster after the BBC. The units, which WDR has installed in its regional studios and editing suites, enable the broadcaster to comply with EBU R128 loudness metering.

With the development of EBU R128, the audio metering reference has shifted from PPM to loudness, with a peak level (QPPM) of –9 dBFS to a loudness target of –23 LUFS (Loudness Unit Full Scale). Since August 2012, when all German broadcasters agreed to implement EBU R128-compliant loudness metering, WDR has employed a large number of TM7 and TM9 units. Installing the TM3 for EBU R128-compliant loudness metering in smaller editing suites was a natural next step.

WDR opted for the TM3, the smallest member of the TouchMonitor family, because it offers not only PPM and true-peak meters, but also supports all current loudness metering functions compliant with the major international standards (including EBU R128, ITU-R BS.1770-3/1771, ATSC A/85 and ARIB) for up to six channels. The broadcaster also liked that the TM3 could display measurements by single channels, summing bar graphs, loudness range or numerically, with the capability of separating displays as needed for easy viewing by multiple users. The TM3’s flexibility and easy-to-use setup software, which offers customizable administrative support, was also a factor in its purchase.
“The display provides excellent readability and the software offers great views for a large number of applications,” says Friedrich Neher, head of the master unit service group at WDR. “In addition, the similarity to the TM7 and TM9 units already in use at WDR was an attractive point. Also, we liked the idea of using the TM3 as a standalone device. The separation of the display unit and the breakout box were critical, as this considerably increases the flexibility compared to competing products.”
Martin Leuenberg, head of sales at RTW, also noted that while plug-in solutions might seem like a realistic alternative, they have two major drawbacks. “First, any user can change presets or the setup. Second, this would have added another GUI to an already cluttered screen area,” he says. “While you might think that an integrated plug-in would ensure clarity, it comes at the cost of precious display area.”
As freelancers and full-time employees share the same work areas at WDR, the company requires a powerful administration solution to ensure seamless workflows. The Devicer DC1 setup software component for the TM3 allows for preset customization, allowing users to configure administration rights for the application, making sure that only authorized employees can change the setup.
RTW’s TM3 TouchMonitor comprises a horizontally or vertically mounted display unit for easy readability along with a separate interface box. The meter handles analog (balanced or unbalanced) as well as digital stereo signals (AES, S/PDIF). The TM3-6CH version accepts up to six AES3 input signals. The easy-to-use interface ensures fast and intuitive touch operation. The supplied factory presets provide a good set of samples for the supported applications, connection options and standards, and also allow for out-of-the-box operation. Plus, the existing presets can be customized easily using the Devicer DC1 software for Windows and Mac OS.

About WDR
WDR in Cologne, with a broadcast center in Düsseldorf, eleven regional studios, and five regional offices concerns itself with dependable reporting on the current topics of interest in the state of North Rhine-Westphalia. Events of the day from around the world are chronicled on WDR Television in reports from ARD Network studios in 29 foreign nations. The operation of eight of these correspondent’s offices is the direct responsibility of WDR.

Renowned for its top-quality regional, national and international journalistic excellence, the WDR trademark stands for up-to-the-minute, knowledgeable, and reliable reporting. In addition to news and current affairs, entertainment and cultural programs are also important elements of the programming presented on WDR radio, television, and via the internet at www.wdr.de.

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.
As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

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Masque Sound Heats Up Broadway with Modern Take on William Shakespeare Classic Romeo and Juliet

Orlando Bloom and Condola Rashad in Romeo and Juliet - Photo by Carol Rosegg

When William Shakespeare’s Romeo and Juliet made its triumphant return to the Broadway stage for the first time in 36 years, Sound Designer (composer and percussionist) David Van Tieghem and Associate Sound Designer David Sanderson turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the highly anticipated play.

Romeo and Juliet, one of Shakespeare’s most popular plays, revolves around two young star-crossed lovers whose deaths ultimately reconcile their feuding families. This revival, directed by five-time Tony® nominee David Leveaux, retains Shakespeare’s language while moving the setting to contemporary times by portraying the warring Montagues and Capulets as families of different ethnicities.

For Van Tieghem and Sanderson, the overall design goal was to create an eclectic mix of sound drawn from both traditional and modern stagings of the play. “This contemporary Romeo and Juliet is unique in that it’s a play that features a live cello player and live percussionist (Van Tieghem) playing primal drums for a hip-hop feel, so it is quite different then the classic Romeo and Juliet,” says Van Tieghem. “Because various live elements are involved along with previously recorded electronic and orchestral music elements, sound design was a little more complicated and required us to use a larger system than one would expect for a non-musical. Masque Sound did a fantastic job and provided all of the gear we needed to achieve our vision.”

Romeo and Juliet is playing at Broadway’s storied Richard Rodgers Theatre. As the larger venue is usually home to musicals, Van Tieghem and Sanderson wanted to ensure that the actors’ voices projected throughout the entire seating area with absolute clarity. In order to make that happen, Masque Sound provided an extensive vocal reinforcement system. “A lot of times you can hide microphones on stage, but since Romeo and Juliet does not feature a lot of stage props, Masque Sound provided us with DPA vocal microphones, which we placed along the lip of the stage,” adds Van Tieghem.

Among the stage props for Romeo and Juliet is a large amount of sand. To keep the microphones from getting clogged, Masque Sound provided windscreens for the microphones, as well.

In addition to the DPA microphones, Masque supplied several Shure and AKG microphones, as well as Sennheiser cabled and wireless microphones. The custom equipment package also included a Digico SD8 digital console, along with XTA audio management processing systems. The speaker package featured Meyer Sound UPM-1Ps, UPM-2Ps, UPQ-1Ps and a 600-HP high-powered subwoofer. The production crew also utilizes D&B and EAW speakers, and employed Sennheiser and Clear-Com headsets for the show’s intercom. Masque Sound also provided all cabling and associated equipment.

Van Tieghem also appreciates Masque Sound’s reliability and flexibility. “They were renovating the theatre as we were loading in, which drastically reduced our available space on-site. In a project like this, where we are strapped for time and space, Masque Sound really helped us out by not only housing the equipment until we were ready for it, but also taking the time preparing the gear and making sure what we got was what we asked for. We always like working with Masque Sound. They do a consistently great job.”

Romeo and Juliet opened on Thursday, September 19, 2013, and is playing a limited engagement at the Richard Rodgers Theatre through Sunday, January 12, 2014. The production stars Orlando Bloom (Pirates of the Caribbean, the Lord of the Rings) and two-time Tony Award® nominee Condola Rashad (Stick Fly, The Trip to Bountiful) as the title characters. Tickets are available at Ticketmaster.com/1-800-745-3000, or at the Richard Rodgers Theatre Box Office (226 West 46th Street, New York City).

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 Vice President 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”, “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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RTW’s TM3 TouchMonitor is a Scream for ScareHouse

Sound Designer Glenn Ricci Trusts Audio Meter to Check Loudness Levels For Popular Haunted House’s Sound Effects

PITTSBURGH, PENNSYLVANIA, OCTOBER 15, 2013 – As Glenn Ricci, the sound effects designer for ScareHouse, named by the Travel Channel as one of the top five haunts in the country, will tell you, sound is just as important as the visual element when it comes creating a convincingly eerie, skin-crawling atmosphere. Helping him raise the hackles of ScareHouse attendees is the TM3 TouchMonitor from RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control.

Located in a supposedly haunted former Elk’s Club lodge in Pittsburgh, ScareHouse treats visitors to Hollywood-quality sets, characters and special effects that lend a high degree of realism (and terror). Its primary attractions include an entire haunted town, a demented anti-Santa, an alternate, zombified replica of Pittsburgh and a very nefarious basement. Human actors portray ghosts, zombies, ghouls and other evil night dwellers, sometimes grabbing at visitors for an especially authentic fright. The scares just wouldn’t be the same, however, without foreboding music, evil-sounding cackles and similar soundscapes setting the mood. Because of the importance these sound effects play, Ricci must ensure that the soundscapes he creates are smooth and the audio is on the level.

“I draw from a lot of different elements when I’m creating something for the show, so it’s important to even out the loudness levels for each source to make it sound cohesive,” says Ricci. “I might record or mix something using my own compositions, stuff from different sound libraries or even canned music, so I want to deliver a very smooth end product without uneven loudness in the final mix. I don’t want to worry about someone hitting play and not hearing the sound because it’s not as loud as the last thing they played. RTW’s TM3 really gives me the peace of mind of knowing everything is crisp, clear and even.”

Controlled using a touch-sensitive display, the TM3 features a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. It includes a large number of graphical and numerical instruments showing single-channel along with summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. It handles analog or digital stereo signals and features a user interface allowing the selection of up to 10 presets quickly and simply with the swipe of a finger.

“I was pretty amazed with the pre-set capabilities,” says Ricci. “I like that I can program the device to customize pre-sets for me. It makes it more intuitive—you can just go and don’t have to think about it. You just spend a little bit of time setting it up based on the instruments that you plan to work with, and don’t have to think about it after that. It’s good to get different perspectives to just go between a couple of pre-sets.”

The TM3 also offers Ricci a way to ensure consistent loudness across the various software programs he uses. “What I like about having it here is that I never have to worry about what software program I’m using. I use a lot of software programs, such as Logic Pro and Abelton Live for some composition, and they all have different meters in them, so having one consistent meter that lives outside of it all is really helpful. It means I don’t have to check of the meters from a separate plug-in, which saves me time.”

“We love that RTW’s TM3 meter has not only helped improve Glenn’s workflow but that it being used to smooth the sound for such an interesting project,” says Christopher Spahr, U.S. Director of Sales and Operations, RTW. “His work for ScareHouse is a great example of how the TM3, along with the entire line of TouchMonitors, can be used outside of a traditional broadcast setting, lending a hand to sound engineers working on their mixes in post-production. It’s really a win-win for everyone involved.”

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

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Sound Devices Racks Up Interest for PIX 260i Production Video Recorders at AES 2013

Rack-Mounted PIX 260i Enables Unprecedented Audio Control for Production Professionals

NEW YORK, OCTOBER 18, 2013 — Sound Devices, specialists in portable audio and video products for field production, showcases the latest functionality for the PIX 260i Production Video Recorders at the 135th International AES Convention (Gotham Sound and Communications, Booth 2738). PIX 260i seamlessly replaces tape-based video decks in production and post-production environments, while also offering 32 tracks of audio recording and playback. Its latest firmware, version 1.03, brings even more functionality to the end-user.

The PIX 260i brings the features and tools needed by production companies looking to migrate to file-based recording and playback environments. It records either QuickTime files in either Apple ProRes or Avid DNxHD video formats or WAV format audio files. Files recorded with Apple ProRes or Avid DNxHD 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.

Continuing the company’s heritage in production sound, Sound Devices infused the PIX 260i with 32-track audio recording and playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

Files are recorded either simultaneously or sequentially on up to four separate, 2.5″ SSD storage devices via two front panel PIX-CADDY slots and two rear panel eSATAp connections. This redundancy in local, removable storage devices, coupled with standard, Ethernet-based file transfer features further reduces steps in the production workflow. Recording to multiple drives offers immediate file backup, eliminating time-consuming post-record copying. Gigabit Ethernet network ports enable remote access to recorded files and the ability to transfer these files quickly into a post-production environment.

Another key feature of the PIX 260i is that it can be controlled from browser-capable computers and tablets. When connected to a data network, transport controls and setup menu controls are available on PIXNET, which offers control of one or multiple PIX 260i recorders. Multiple units can be grouped for simultaneous control.

Version 1.03 firmware, which is available as a free download to existing PIX 260i users, provides support for the new Sound Devices PIX-CADDY CF accessory. The PIX-CADDY CF allows the PIX 260i to record polyphonic WAV files directly to removable CompactFlash cards (audio poly mode only). In addition, v1.03 enables users to record and playback Mono Audio Wave Files (audio only mode with SSD and HDD) and supports RS-422 locate to timecode, cue point commands and device type ID (Sony BVW-75 emulation). Version 1.03 also provides an added scene increment shortcut feature from main screen and added options for displaying smaller audio meters in various parts of the main screen.

Existing PIX 260i users can download version 1.03 for free by visiting http://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. Founded in 1998, the 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.

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Clear-Com Showcases the Latest HelixNet Partyline System With Linking Capability at AES 2013

NEW YORK, OCTOBER 15, 2013 – Clear-Com® is demonstrating the latest advancements to the HelixNet™ Partyline Intercom System at AES 2013 (Booth 3030). Among these is a new capability that allows multiple HelixNet systems to link over Ethernet and Fiber networks for distributing many digital partyline channels, program audio feeds and auxiliary interfaced audio to digital beltpacks users.

HelixNet’s station-to-station networking function is made possible with the new HLI-ET2 Ethernet Module. Main Stations can connect directly or through a LAN using standard IT switches. The Ethernet Module comes standard with two RJ-45 jacks. A new HLI-FBS Fiber Module is also available for linking stations over long distances. The Fiber Module has two fiber ports with small form-factor pluggable (SFP) modules, for simple exchange of fiber transceivers. The standard SFP for the Fiber Module is Single-Mode with Multi-Mode offered as an option.

Linking HelixNet Main Stations together creates a network that pools channel resources of each individual station. Linked main stations can dynamically discover each other, thus giving HelixNet users the capability to share multiple digital partyline channels plus program inputs and any two-wire or four-wire interfaces in a network distributed system.

“This new capability for HelixNet means that any of the possible dozens of HelixNet beltpack users can access any two of the available network partyline channels by simply selecting the desired channels on their beltpack,” says Simon Browne, Director of Product Management, Clear-Com. “Since all these channels are running off a single, shielded twisted-pair cable, users no longer need to physically relocate multiple cables for new configurations, utilize expensive source-assign equipment or rely on multiple power supply units.

“The networking functionality of HelixNet Partyline permits a more sophisticated and cost-effective digital partyline intercom network. It is ideal for any audio application – from broadcast, to touring, to live – that requires quick setup and distribution of multiple channels of intercom. This allows crew members to remain connected even in disparate locations and over long distances.”

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.

Joan Baez Down Under with DPA Microphones

American folk musician used d:vote™ 4099 Instrument Mics to highlight the instrumental portions of her music

AMHERST, MA, OCTOBER 10, 2013 – American folk singer/songwriter Joan Baez went on the road in Australia and New Zealand this summer with DPA Microphones’ d:vote™ 4099 Instrument Microphones. The musician and prominent activist’s audio engineer Jason Raboin uses the mics to achieve the ultimate sound of the grand piano, mandolin and violin that are prominently featured in her music. A long-time DPA fan, Raboin doesn’t leave home without the d:votes. He even brought them with him to Baez’s special performance in late July with Jackson Browne and Emmylou Harris to benefit Downtown Streets Team, an organization aiming to end homelessness.

With two d:votes originally purchased for Dirk Powell—a multi-instrumentalist in Baez’s band who wanted free range of movement while playing his guitar, violin (fiddle) or mandolin—Baez’s rig now features a total of four d:votes. With the ability to mount the wireless microphone directly onto the instrument, Powell can perform with the gusto of a typical fiddle or mandolin player.

“Dirk’s request sent me on a hunt for a mic system that not only does what he wanted, but also sounds good and is useable in monitors,” says Raboin. “The d:vote 4099s were a clear choice. Since the mic mounts right onto the flat surface of the string instruments, I was initially worried that gain and monitors would be an issue, but the microphone has been really great. We are able to get plenty of gain. Sometimes Dirk plays fiddle right in front of the monitors and we’re fine. I think that’s something that every engineer worries about, not getting gain in your monitors if you use a condenser mic, but that’s definitely not the case with the d:votes.”

After the success of the d:votes with the string instruments, Raboin chose to add to the collection with a stereo pair for Baez’s grand piano. “Another thing that’s great about the d:votes is that when I’m using them for the piano, I can arrange the mics so the piano can be played with the lid closed,” he explains. “People usually come up with all sorts of whacky solutions to accomplish this, but DPA has a mount that lets me affix the mics without any harm to even the most expensive instrument. And they still sound just as good. That was actually also one of the main selling points for Dirk.”

The small size of the d:votes play an integral part in this arrangement. The compact size also proved a valuable feature during Baez’s Australian tour, for which the crew flew, rather than drove, to each stop. To meet the travel budget, Raboin had to pack only the audio essentials into a few pelican cases. Each could not exceed the 50 pound weight limit set by today’s travel standards, and it is for this reason that the miniature microphones were helpful.

“The d:votes are so tiny, they barely take up any space or weight,” continues Raboin. “Also, while the mics are more expensive than the average condenser mic on the market, when you think about it in terms of return on investment—how many different places they can go, and so easily, because of their modularity and all the mounting options—it ultimately makes them less expensive than other solutions.”

In addition to all of Baez’s performances, Raboin also uses d:votes when he’s engineering for folk singer Judy Collins. A sound engineer for more than 15 years, Raboin has worked with artists such as Modest Mouse, Luna, Cowboy Junkies and Devendra Banhart. He also currently owns Camden Sounds, a sound company based in Amherst, Massachusetts.

Baez has performed publicly for more than 55 years and has released 30 albums, which feature songs recorded in six different languages. In addition to her musical talents, Baez is an avid social and political rights activist and has been involved with issues ranging from civil and human rights to environmental issues and war protests.

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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DPA Microphones Displays the Ultimate Podium Microphone at the 135th International AES Convention

Company builds on the renowned audio quality of its highly regarded microphones to design new solutions that are ideal for the installation market

NEW YORK, OCTOBER 9, 2013 – DPA Microphones will show its two Podium Microphones at the 135th International AES Convention (Booth 2551). Based on the company’s d:dicate™ Recording Microphones and renowned Miniature Microphones, the solutions give AV installers and conference organizers the clear, transparent and precise sound they demand.

As a high-end solution, DPA is offering podium microphones that incorporate the modular capsules from its d:dicate Recording Microphones, which are acclaimed for their exceptional linear frequency responses, high SPL and superior gain before feedback. These new podium microphones combine the state-of-the-art d:dicate capsules with any of the company’s newly introduced modular active booms and modular active cables. With several capsules to choose from, DPA customers can access the exact microphone and boom or cable combination to meet their needs.

“While DPA Microphones is internationally acclaimed for creating high quality live sound and recording microphones, we are excited to now turn our attention to the installation market with the launch of our flexible d:dicate range,” says Christian Poulsen, CEO of DPA Microphones. “Since we already had the high-end capsule and preamplifier technology needed to fulfil the audio component, creating a microphone for the installation and conference markets was an obvious step for us. We just needed to employ an ingenious mechanical solution that allowed us to adapt our boom and cable technology to deliver high-end installation solutions for a wide variety of applications.”

Whether this is for a podium, desktop, stage stand or even a ceiling suspension, DPA Microphones’ Podium Mics have it covered with visually elegant and sonically advanced products that feature all the robustness inherent in DPA’s engineering techniques. In addition to the high-end d:dicate solution, DPA has also developed a cost-effective, directional podium microphone based on its renowned miniature microphones.

These directional gooseneck microphones, which use interference tubes and pre-polarized backplates to ensure speech intelligibility, were originally devised on request
from the Nobel Prize organization. In search of a dedicated podium solution for its 2012 Nobel Peace Prize presentation at Oslo City Hall in Norway, the organization required a microphone that could stand up to the acoustical challenges of its auditorium. To fit the need, DPA Microphones adapted its existing miniature capsule to give an off-axis frequency response that negated room reverberation while preserving the needed on-axis sensitivity for voice level. The company also positioned the capsule on a delicate gooseneck stand. The result was so well received that the microphone was quickly adopted as a standard DPA product and is now available to all installation customers. This miniature podium microphone can also be used in a wireless configuration by employing the company’s innovative adapter that is available for its range of miniature microphones.

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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SSL Introduces the ‘Live’ Console to North American Market at 135th AES Convention

“The fresh approach with Live literally redefines how a live performance console should sound combined with a control surface that helps the engineer to deliver exceptional performance”

NEW YORK – Solid State Logic, the world’s leading manufacturer of creative tools for audio professionals, is proud to introduce ‘Live,’ the first SSL console for live sound production, at the 135th AES Convention (Booth 2821). The Live combines SSL’s signature audio quality and console ergonomic experience into a unique approach for live performance FOH and stage monitoring sound production, and promises to bring something very special to the live sound arena. Drawing on more than 35 years of industry leading analogue and digital console innovation, the Live has inherited the DNA from multi-award winning, ground-breaking and much loved consoles for music, broadcast and post production that SSL has produced over time.

“Top artists, producers and engineers have been asking us to develop a live sound console to match the rich, creative experience they enjoy in the studio using an SSL console,” states Antony David, Managing Director at Solid State Logic. “The time has finally come for us to release ‘Live’ after several years of constant development and innovation. We believe Live is a console that engineers will fall in love with because of the lengths we have gone to with the design. The fresh approach with the Live literally redefines how a live performance console should sound combined with a control surface that helps the engineer to deliver exceptional performance. Much excitement has been generated since the Live was introduced at Musikmesse in Germany and we believe the industry in North America will embrace the console, too.”

Live is all about power and control and is perfectly suited to touring or installation, FOH or monitor systems for venues, arenas, houses of worship and concert halls. Featuring complete flexibility and an intelligent user interface, it is especially ideal for any situation in which audio quality is important.

Based on SSL’s new Tempest processing platform, Live is deployed in a uniquely versatile way. The headline numbers are as impressive as the price, with 976 inputs and outputs and 192 full processing audio paths at 96kHz. How those paths are configured is extremely flexible with power allocated to Channels, Auxes, Stem Groups and Masters, configured to suit the needs of each show. All processing is built into the console surface as well as a collection of I/O connectivity built into the frame. A full range of Stagebox I/O connects to the console via MADI, with the potential for larger systems to make use of SSL’s own Blacklight technology that carries up to 256 channels of bi-directional audio and control via a single fibre connection.

Console power is really nothing if it can’t be controlled and Live offers a truly excellent control surface. It combines a tablet-style multi-gesture touch screen with elegant hardware ergonomics, excellent visual feedback and a collection of innovative new features. It enables engineers to work exactly how they work today, whether they prefer new touch screen or classic hardware technology, or a combination of both, and offers new and better ways of doing things that will make the operator’s life less stressful and more creative.

Being an SSL, Live has legendary audio performance as standard. Impeccable audio quality is a primary design feature right the way through from studio-grade SuperAnalogue™ mic preamps, 24bit/96kHz A/D D/A conversion, to 64bit internal processing and 96kHz operation throughout. An obsession with quality also shines through an array of channel processing tools that bear the classic SSL tone, but bring a completely new level of precision, flexibility and usability. Live features an impressive collection of 30 new effects and audio analysis tools that take SSL’s acclaimed studio-grade processing and re-crafts it for Live, with the additional benefit of giving the effects and analysis tools its own dedicated processing power.

As has been the case so many times in the last few decades, SSL has taken a new approach to the way professional engineers work and created an inspired console that builds upon the way things are done today while offering the potential for a new, exciting and more creative way to work tomorrow.

Live is now shipping.

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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Solid State Logic Appoints HD Pro Audio as its U.K. Dealer for Live Console

“I saw SSL Live and quickly realised that HD Pro Audio had to be involved with this product”

OXFORD – Solid State Logic is pleased to welcome HD Pro Audio as its Live console dealer in the U.K. As a leading supplier of professional audio systems, HD Pro Audio has a long-standing history of delivering its live sound expertise, quality products and complete solutions to installers and rental companies for prestigious venues and major live events.

“We’re very happy to be involved with SSL in bringing this console to our U.K. clients,” says Andy Huffer, HD Pro Audio Sales Director. “When I first heard about SSL doing a live console, I thought ‘here we go, another manufacturer giving an existing product a makeover and calling it the live version.’ Then I saw SSL Live at Musikmesse/Prolight + Sound and quickly realised that I was completely wrong and that HD Pro Audio had to be involved with this product. Building on the company’s established history of manufacturing high-quality analogue and digital mixing consoles, with rock-solid reliability for the demanding broadcast market, the SSL Live console is a force to be reckoned with. Beyond the outstanding control surface ergonomics, high channel count, routing flexibility and superlative audio quality, there are some unique features on this console that instantly make it a prime contender for a wide range of applications.”

“A well-established distributor in the field, HD Pro Audio is the ultimate choice for establishing the Live console in the U.K. live and installation markets,” says Mike Banks, U.K. Sales Manager, Solid State Logic. “HD Pro Audio’s reputation in the U.K. as the leading live sound provider precedes it, and its extensive customer base offers an unparalleled opportunity for SSL. We’re pleased they have signed on as our primary U.K. distributor and we look forward to working with them well into the future.”

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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Cerwin-Vega! P-Series Boosts the Audio at Hollywood Music Venue Amplyfi Powerful, Portable Speaker System Provides Sound Superiority

Popular Hollywood music venue AMPLYFi recently upgraded its PA system with units from Cerwin-Vega!®’s new P-Series Professional PA system and CVA Active Series Speakers. Though the all-ages nightclub has always had a reputation for unfaltering, high-quality sound, when owner Kota Wade first heard the venue’s bands through the P-Series system, she was immediately in awe and knew she had to switch over to Cerwin-Vega!

The Cerwin-Vega! setup at AMPLYFi features two P-Series stacks, which each include a P1500X two-way, bi-amped, full-range bass-reflex speaker and a P1800SX powered subwoofer. Equipped with a large woofer and amplifier, each P1800SX offers Cerwin-Vega!’s signature high-level bass punch with extreme low-end response to all musicians who play at AMPLYFi. The sleek and sufficient hemi-conical horn of the P1500X, meanwhile, gives the venue an enhanced sound clarity over an even and wide coverage area.

“Changing the entire sound system was a huge decision for me,” says Wade, who is also a musician and AMPLYFi’s front-of-house engineer. “It’s like a model cutting off all her hair. It may look great, but it’s a big decision. I was just so stunned with the clarity I heard from the P-Series and CVA at every volume level, even when I ran it through multiple music genres. That was when I knew I had to make the switch to Cerwin-Vega! The sound of this place is critical, so I did not make the decision of switching over to Cerwin-Vega!’s P-Series lightly. But, I don’t regret it for a minute!”

Rounding out the audio setup at AMPLYFi are several Cerwin-Vega! CVA-28s, two of which are strategically facing the audience at center fill, and four being used as sound monitors.

Primarily a live music venue, AMPLYFi is home to several renowned artists, such as Echosmith, The Maine, the Brobecks, the Bolts and, of course, Wade’s two bands – Girl Radical, a 12-member pop music super group managed by ‘N Sync’s JC Chasez, and Bad Wolf, an alternative rock band. The 800-square-foot space features music of varying styles, including ambient, electronic and rock, and groups of all sizes, from acoustic outfits to big bands, which is why Wade especially loves Cerwin-Vega!’s sound control.

“When I decided to make the switch to the P-Series and CVA, I didn’t just change my gear, I changed my setup,” adds Wade. “I included subwoofers, which I had never used in this space before, because I felt safe knowing that the P-Series allows me to have total control over the sound, which is very important in a room this size. People of all ages can stand less than a foot away from the speakers when a band is playing, and I know that I won’t blow out their ears because I can control the sound levels.”

Wade isn’t the only person to notice the new-and-improved sound that AMPLYFi has to offer. “It’s just a different feel to it, and I am constantly amazed at how loud the P-Series can get while maintaining such clarity,” says Wade. “Our bands have all noticed the difference and love the new improvements that Cerwin-Vega! has made to AMPLYFi.”

The audience also loves the sound quality that the P-Series provides, which Wade jokes is an especially important element at her club, since it is an alcohol-free venue. “AMPLYFi is completely dry because I wanted to create a space where teenagers could party and listen to good music in a safe environment,” concludes Wade. “But, when you can’t hide behind your customers’ ‘alcohol ears,’ the sound has to be really good. It definitely is with the P-Series.”

The Cerwin-Vega! P-Series delivers a new standard in power and bass punch and is suited for any sound reinforcement application, from live performances to public speeches. The P1500X speaker is the most powerful PA product in its price class, employing a 15-inch woofer and high-frequency compression driver, powered by a custom 1500W Class-D amp. The P1800SX powered subwoofer features an 18-inch woofer with a custom 2000W Class-D amp. Both pieces include a built-in mixer with I/O connections, allowing for simple and fast setup, while enhanced EQ, VEGA BASS boost and high-pass filters enable exact tuning and exceptional performance for any event.

Situated in the heart of Hollywood, AMPLYFi is an all ages live music venue. Over 1,500 bands have graced the club’s stage since its opening, with many more scheduled to perform in the upcoming months. Due to AMPLYFi’s location, celebrities are known to frequent the club, particularly Dallon Weekes from Panic! At the Disco, as well as JC Chasez. To learn more about the space and upcoming artist performances, visit: http://www.amplyfi.com.

About Cerwin-Vega!
Cerwin-Vega!, part of the new Gibson Pro Audio division, is a leader in the design, manufacture, and distribution of loudspeakers for the home and professional audio markets. Designed in the pursuit of dynamic, accurate sound reproduction since 1954, Cerwin-Vega! products are distributed throughout the world via a network of distributors and dealers in more than 75 countries. For additional information on all Cerwin-Vega! products, please visit us online at www.cerwin-vega.com.

About Gibson Guitar Corp.
Gibson Guitar Corp. is known worldwide for producing classic models in every major style of fretted instrument, including acoustic and electric guitars, mandolins, and banjos. The Gibson Les Paul Guitar is the bestselling guitar of all time and is a tribute to the late, famed musician of the same name. Collectively, the Gibson Robot Guitar, Gibson Dark Fire, Gibson Dusk Tiger and the Gibson Firebird X represent the biggest advances in electric guitar design in more than 75 years. Through the Gibson Foundation, Gibson Guitar Corp. has become equally known for its philanthropic efforts on behalf of music, education, health, and human services. Founded in 1894 in Kalamazoo, MI, and headquartered in Nashville, TN, since 1984, Gibson Guitar Corp.’s family
of brands includes Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron, Slingerland, Valley Arts, Maestro, Oberheim, Baldwin, Sunshine Piano, Take Anywhere Technology, J&C Fischer, Chickering, Hamilton, Wurlitzer and Gibson Pro Audio. Visit Gibson’s website at www.gibson.com. Follow Gibson Guitar at www.twitter.com/gibsonguitar and www.facebook.com/gibsonguitar.

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