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Archive by Vanessa Sanchez

SSL Live Console is Now Shipping

SSL’s first live console ships on schedule to first wave of customers and commercial partners

OXFORD, ENGLAND — The premiere of the SSL Live console at Prolight + Sound in April 2013 surprised and enthralled the industry. Solid State Logic has been a dominant player in the design and manufacture of consoles for Music, Broadcast and Post for more than 35 years, but it had never produced a product designed specifically for live audio production. SSL’s reputation and business was built upon visionary operational design and benchmark quality standards in audio reproduction and manufacturing so expectations were instantly high.

Early response from FOH and Monitor Engineers has been extremely positive. The more operators see it, the more the excitement surrounding the console grows. Praise surrounds the operational flexibility of the console, its sonic performance and the sensation of ‘finger painting with audio’ via the gestural touch screen. The on-board effects and superb channel processing toolkit and the unique SSL Blacklight system, which simplifies running audio and control between console and stageboxes delivers a surprising amount of power at a compelling price.

The first three consoles all shipped to U.K.-based global tour production company Britannia Row for use on Peter Gabriel’s forthcoming European ‘Back to Front’ tour and another two shipped to SGroup in France for the imminent Amel Bent tour. Console manufacturing production for 2013 has been sold out since July, and details of the new commercial partner network for SSL Live are available in the ‘Where to Buy’ section of the SSL website.

SSL’s CEO, Antony David, says: “The on-schedule completion of the new Live console is an important milestone for SSL. This has been one of the biggest developments we have undertaken for some time and marks the first application of our new Tempest digital platform. We have been very encouraged by the response from mix engineers, rental companies and our channel partners since we presented the console in April this year. Demand has substantially outstripped our initial production plans, but we will return to reasonable lead times by early 2014.”

Since April, SSL has expanded its dedicated Live product team with key hires including Jason Kelly as Live Consoles Product Manager based in the U.K. office and Jay Easley as Vice President – Live Consoles to lead SSL’s live sector sales operation in North America. Certified training courses have also commenced, with focus on Commercial Partners and initial purchasers. A training program for the wider operator community is scheduled to commence from January 2014.

The SSL Live will be exhibited at next month’s 135th International AES Convention in New York and at ISE in Amsterdam in February 2014. With its latest offerings, SSL will relocate to Hall 8 at Prolight + Sound in Frankfurt in March 2014 and the company will exhibit at InfoComm for the first time, in Las Vegas in June 2014.

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.

San Diego Opera Covers More Ground with Clear-Com’s Tempest2400

Seamless Roaming Allows Crew Members to Travel Throughout Large Venue and Nearby Spaces Without Loss of Signal

SAN DIEGO, CA, SEPTEMBER 24, 2013 – The San Diego Opera is expanding its production communication coverage area with the help of Clear-Com’s wireless intercom system. As part of a system upgrade, the opera has installed six Tempest®2400 Digital Wireless Intercoms with the new Seamless Roaming capability. The four-channel wireless systems not only support more wireless BeltStation users and deliver the most intercom options, but they also provide the crew and management department with interference-free communications across multiple productions spaces.

Clear-Com’s Tempest®2400 Digital Wireless Intercom with the new Seamless Roaming capability provides San Diego Opera with interference-free communications across multiple productions spaces for all its productions, including its recent performances of Samson et Delilah (pictured here).

One of the leading opera companies in the United States, the San Diego Opera puts out four operatic productions a season, in addition to concerts and other special events. Wireless intercoms are essential for the crew members since the systems permit untethered movement and communication during productions. Because of the limited coverage area offered by the production team’s former wireless intercom, they sought new wireless intercoms that would cover the far-reaching areas of the building and a nearby plaza often used for VIP receptions. In addition, the production team wanted to avoid the issue of interference with their new wireless intercom because wireless systems from local TV stations were already competing for the same frequency spectrum as the opera’s existing equipment. Already familiar with Clear-Com’s intercom solutions and their capabilities, the San Diego Opera decided to employ Clear-Com products for its latest upgrade.

Six Tempest BaseStations were connected via ZSync (Zero Synchronization) technology to give the staff Seamless Roaming in every production area. Tempest’s Seamless Roaming feature lets the crew members conveniently travel throughout the performance facility and stay connected without having to change the settings on their BeltStation.

Operating in the 2.4 GHz band, the Tempest2400 systems also resolved the opera’s challenge of wireless interference in the UHF spectrum. Tempest’s Frequency Hopping Spread Spectrum (FHSS) technology ensured that the system does not compete with signals from other 2.4 GHz wireless devices as well. This minimized frequency coordination and enabled the system to have flawless wireless performance.

“I had television stations intruding directly upon my wireless equipment and so much of it was not working the way it should due to the interference,” says Bill Scott, Audio/Visual Technician for the San Diego Opera. “Clear-Com seems to be first out of the gate to address this, having come up with a very good product to solve all of those problems. We know that the 2.4 GHz operating spectrum of the Tempest2400 system along with its advanced RF technology is going to secure our communications now and for the foreseeable future, so it was worth the investment.”

FHSS, along with proprietary algorithms and timing synchronization mechanisms, allows the Tempest BaseStation to support more full-duplex BeltStations in a single RF space than other systems. As a result, the opera is able to have more full-duplex BeltStation users than previously possible. Approximately 40 people at the San Diego Opera use the Tempest systems and the Clear-Com analog partyline that is integrated with the Tempest for a basic opera production. Crew members handling set changes and other items on the stage utilize the Tempest system, along with personnel in the dressing room, the trap room and a rehearsal hall, which is separated by some distance from the stage area. On the wired system is the center stage manager, along with those manning spotlights in the upper balcony and staff in the venue’s offices.

Having four-channels of communication on Tempest is another asset since this gives the staff the option of communicating within a single channel or talking/listening to more than one channel at a time. Other advantages of the Tempest are that crew members can change the volume of each channel and their program feed from their BeltStation. The entire configuration of the Tempest system can easily be adjusted via the system’s associated T-Desk software to fit the opera’s varying productions.

“My goal with the new intercom system was to expand the loop of communication so that everyone who was critically attached to the production is connected,” says John David Peters, Production Carpenter and Technical Director for the San Diego Opera. “We are learning to take advantage of the multichannel capability of the Tempest system, which we are finding particularly useful when teching a show. In the past, we had one channel on our wireless system, with 19 or 20 people on that one channel, so there was a lot of cross talk. Being able to assign separate work groups to different channel has really streamlined communications. The other thing that I think is really remarkable about the system is how there is absolutely no noise.”

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.

MASQUE SOUND PROVIDES CUSTOM AUDIO EQUIPMENT PACKAGE FOR BROADWAY’S SPELLBINDING NEW PRODUCTION OF TENNESSEE WILLIAMS’ MASTERPIECE, THE GLASS MENAGERIE

Masque Sound, a leading theatrical sound reinforcement, installation and design company specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events, continues its Broadway run by providing a custom audio equipment package for the groundbreaking new production of Tennessee Williams’ masterpiece, The Glass Menagerie.

The Glass Menagerie, starring Cherry Jones, Zachary Quinto, and Celia Keenan-Bolger, is directed by John Tiffany and the Tony Award®-winning creative team behind ONCE, and tells the story of Amanda Wingfield, a Southern belle past her prime who lives with her two grown children in a small apartment in St. Louis. Amanda, dreaming of a better life for her shy and crippled daughter, Laura, pressures her son, Tom, to find a ‘gentleman caller’ for the girl. The arrival of the suitor, however, sends shockwaves through the family and causes cracks to form in the delicate fantasies that keep it going.

For sound designer Clive Goodwin, there were two main goals: To make the play sound as natural as possible and to ensure that the whole audience, even members seated in the very back of the mezzanine, could clearly hear Nico Muhly’s beautiful composition. “Nico’s music sets the theme for the show,” says Goodwin. “The Glass Menagerie is a memory play about the character Tom’s recollections, and Nico’s music beautifully creates that atmosphere. It makes it slightly surreal, so as the sound designer, I wanted to do justice to Nico’s composition and try to make it sound even more exquisite than it already is, and Masque Sound helped make that possible.”

Goodwin’s biggest challenge was dispersing the sound on stage to the back of the theater without it sounding mic’d. In order to do this, Masque Sound provided him with an array of Funktion-One speakers, an unorthodox speaker for the Broadway stage.

“The Funktion-One speakers that Masque Sound provided really allow me to control the dispersion, especially upstairs,” adds Goodwin. “By using the Funktion-Ones, we have the most control possible and are able to minimize room reflections that would otherwise muddy the sound. Masque Sound does a wonderful job of providing me with these non-traditional speakers, even though they are different than the normal Broadway stock. They go out on a limb and are fantastic in supplying me with the rare equipment I like to use.”

Masque Sound’s custom equipment package also included a Midas Pro1 compact digital console, Rode RF-Bias Shotgun mics, Sennheiser wireless microphones, XTA DP428/448 audio management system, D&B E3 speakers, Meyer UMS-1P subwoofers and a Clear-Com Intercom system.

“Masque Sound has always been great to work with,” adds Goodwin. “They work very hard and go the extra mile to make me, as a sound designer, happy.”

The Glass Menagerie is currently playing on Broadway at the Booth Theatre. The production officially opens on Thursday, September 26, 2013, and its 17-week run is slated to conclude on January 5, 2014.

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” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Sound Devices 788T-SSD Provides Out of this World Audio Recording Capabilities for BBC’s Doctor Who

Reliable Production Audio Recorder Delivers Outstanding Performance Throughout Busy Production Schedule

CARDIFF, WALES, SEPTEMBER 16, 2013 — When BAFTA Cymru Award-nominated sound recordist Deian Humphreys set out to capture all of the dynamic dialog for the BBC hit science fiction television program Doctor Who, he turned to Sound Devices 788T-SSD digital audio recorder, 442 field mixer, CL-9 linear fader controller and CL-8 mixing control surface to record and mix all the audio action. With 20 years of experience in professional audio, he has worked in many aspects of sound production, ranging from location sound recording for drama and documentaries to sound supervising for studio and outside broadcast programs.

Doctor Who is a British science fiction television program produced by the BBC depicting the adventures of a Time Lord—a time traveling, humanoid alien known as the Doctor. He explores the universe in his TARDIS (Time and Relative Dimension in Space), a sentient time-traveling spaceship. Its exterior appears as a blue British police box, a common sight in Britain in 1963, when Doctor Who first aired. Along with a succession of companions, the Doctor faces a variety of foes while working to save civilizations and help ordinary people.

As the production sound mixer, Humphreys is charged with recording clean, clear dialog and reducing the amount of ADR needed. This can be quite challenging on a science fiction show that has a large amount of special effects audio in the background, including smoke, steam and snow machines, as well as a multitude of explosions. Humphreys records the majority of the show using a trolley-based rig, which consists of a Sound Devices 788T-SSD with a CL-9 controller. When on the go, he takes his 788T-SSD using the more portable CL-8 mixing control surface.

“One of the features that I really like about the 788T is that it allows me to easily switch between a Schoeps SuperCMIT digital mic and a Schoeps analog mic without the need for any peripheral equipment,” says Humphreys. “I will often have eight iso-tracks being recorded and two mixed tracks, so the 788T is being driven hard. It always performs incredibly well.”

Humphrey’s also praises the 788T for its flexibility and versatility, which is paramount for recording on a show that utilizes special effect voice modulations on a daily basis. The Daleks, the Doctors’ arch-nemeses, are voiced by Nicholas Briggs, who uses his own proprietary secret modulation equipment. “Nicholas will sit by me on set watching my monitors and I will take an output of his magic box and feed that into my 788T,” he says. “I am able to iso that and give him a clean feed of what is happening on the floor. I use the Sound Devices 442 as his monitor, so I’ll feed a clean output into the 442 and give him his Daleks voice on another channel, so he has independent adjustment of his tracks, which he will often mix himself. I can then take another output of his voice and feed it to a loudspeaker on the floor for the actors, and another for the animatronics controllers, who make the lights on the Daleks flash, which serves as a speech recognition tool when they talk. It’s actually quite amazing and all made possible by the 788T-SSD with the 442.”

Humphreys also appreciates the 788T-SSD’s metadata features, which allow him to remain in close communication with the editors at the BBC. According to Humphreys, “When I initially started a year and half ago, I had a long conversation with the dialog editors and one of the requests they had was to match the name of each character with each track. Not just lav 1, lav 2, lav 3, but the character name, so I’m constantly in the 778T-SSD’s track naming menu and I’m re-labeling tracks when different characters come in on those particular mics. That’s such an important feature for me and for the editors, who need to know exactly who is on each track, so they don’t need to waste time pre-listening to tracks to find out who’s on what.”

“I have never looked back after purchasing my Sound Devices equipment because it just performs miraculously,” continues Humphreys. “I’ve used my Sound Devices gear 11 hours a day, 11 days and nights in a row, for 10 months straight and it’s exceptional. The service and customer relations are second to none and the company’s regular software updates are just incredible.”

With the influx of multi-tracking both in the field and on-set, Sound Devices 788T-SSD has become the next generation digital audio recorder for advanced sound mixers that require additional isolated tracks. The 788T-SSD comes with a factory-supplied, high performance solid-state drive. The SSD provides several important benefits, including vast internal storage capacity, continuous recordings of over 60 hours of 24-bit, 8-track audio at 48 kHz, increased transfer speed versus a spinning hard drive, increased immunity to shock and temperature extremes and zero acoustical output. In addition to its superior shock immunity, the SSD drive used in the 788T-SSD enhances data transfer due to its increased transfer speed. The high-performance SSD medium in the 788T-SSD has faster read- and write-speeds than the mechanical hard drive in the standard 788T. Like the standard 788T, the 788T-SSD is equipped with eight full-featured microphone inputs and twelve tracks of recording. In a stainless steel and aluminum chassis weighing less than four pounds and roughly the size of a hard-covered novel, the 788T accommodates individual controls and connectors for each of its eight inputs, plus numerous additional I/O and data connections.

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.

RTW Debuts New Software for TM3 TouchMonitors at IBC 2013

Moving Coil Instrument and Test Time Control Options Enhance Loudness Measurement Capabilities

AMSTERDAM, 15 SEPTEMBER, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, will display its latest innovative software options for its TM3 and TM3-3G TouchMonitors IBC 2013 (Stand 8.D92). The new TM3-SWMC software license, now shipping, incorporates a Moving Coil Emulation display, while the recent TM3 firmware update 2.50 includes the new Time Test Control option. RTW will demo a TM3 and TM3-3G equipped with both of these options at the show.

“We are thrilled to share our latest advancements in loudness measurement with the international broadcast community once again at IBC,” Andreas Tweitmann, CEO, RTW. “Since their introduction, the TM3 and TM3-3G TouchMonitors have generated much interest with broadcasters. This is very gratifying to us, as we are always striving to bring forth new technologies and options for users.”

Moving Coil Emulation
The new TM3-SWMC software license expands the functionality of the TM3 TouchMonitor series with PPM, VU, loudness and a new combination of PPM and loudness moving coil instruments. The display features vertical or horizontal orientation and numeric and peak indicators with single, double and stereo channel instruments. For stereo groups in the PPM moving coil mode, additional M/S moving coil emulation is selectable.

Based on a concept developed by the BBC, the TM3-SWMC software license option implements a combined PPM and loudness sum display. On this instrument, a third cyan-colored needle depicts one of the three summed loudness values—M, S, or I—on a separate scale. It is helpful for the intuitive display of loudness to be on target with a fixed relative-loudness scale (-9 to +9 LU). The Moving Coil license option requires users to install the current firmware version 2.50 and the current Devicer DC1 version 2.50. Users can download both for free by logging into RTW’s website: http://www.rtw.de/en/sales-support/manuals-software.html.

Time Test Control
Offered as part of firmware 2.50, users can employ this sub menu to set the parameters for starting and stopping loudness measurement functions. In addition to a manual control enabled by on-screen keys and/or the GPI interface, full or semi-automatic measurements can also be defined. Therefore, the user can choose between an autostart after loading a preset or autostart when reaching the value of an adjusted gate, with or without an automatic reset of previous values. Users can terminate loudness measurements manually with on-screen keys and/or GPI commands, as well as automatically by defining a threshold value and time span. The combination of those parameters allows users to set an automatic, semi-automatic or manual loudness measurement process as required for different applications. The Test Time Control option will also be available for the TouchMonitor TM7, TMR7 and TM9 with the next firmware update.

TM3 and TM3-3G TouchMonitor
Controlled using a touch-sensitive display, the TM3 and TM3-3G both have a budget-friendly base price, a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. They include a large number of graphical and numerical instruments showing single-channel or, in the case of the TM3-3G, any of the eight audio channels contained in a 3G-SDI stream used for metering, de-embedding and monitoring 3G-SDI audio. Both also include summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. The TM3 and TM3-3G are highly appealing compact solutions ideal for editorial offices, edit suites and small control rooms.

Both the TM3 and TM3-3G also feature PPM and true-peak instruments and offer comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB. Finally, they also feature the Magic LRA instrument, specifically designed by RTW for intuitive visualization of the loudness range and integrated-loudness parameters.

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.

RTW Debuts SurroundControl Series Firmware Update at IBC 2013

Latest Version Simplifies Monitoring While Working in Various Audio Formats

AMSTERDAM, 14 SEPTEMBER, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to debut at IBC 2013 (Stand 8.D92) a firmware update for its flagship SurroundControl 31900 and 31960 series. In addition to supporting all current EBU/ITU loudness regulations, including ITU 1770-3, the new firmware simplifies the control of the studio monitoring environment when switching over between various audio formats like stereo, 3.1, 5.1 or 7.1, a common occurrence in today’s broadcast environment.

By enabling the user to select independent Trim and Delay values for both analog and digital monitoring outputs, this information can then be stored in up to five Level/Delay Trim Sets in the Audio System menu. When defining the individual input routing for the sub presets, these new Level/Delay Trim Sets can be allocated and tapped into as needed.

“It’s not uncommon for an audio engineer, especially in the broadcast sector, to be working with multiple audio formats at one time,” says Andreas Tweitmann, CEO, RTW. “By adding this new feature to our popular SurroundControl series, we are enabling users to easily organize their workflow, while simultaneously keeping up with the demands of working in various formats.”

RTW’s SurroundControl 31900 and 31960 series combines control, analysis and monitoring of eight-channel 5.1 to 7.1 surround sound into one single system. The proprietary Surround Sound Analyzer (House display) is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements corresponds to the subjective listening impression, enabling you to see the balance of a surround program intuitively and at a glance. RTW’s unparalleled Surround Sound Analyzer is capable of displaying any surround program up to 7.1 DD+ and Cinema for fast, in-depth evaluation.

Further, the SurroundControl series’ popular Multicorrelator display offers detailed phase information between all channel-pair combinations. Meanwhile, the LFE correlator is an advanced feature for testing for phase problems between any given channel in respect to LFE.

Users can download the firmware for free by logging onto RTW’s website: http://www.rtw.de/en/sales-support/manuals-software.html.

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.

RTW Introduces Loudness Quality Logger Software for TM7, TMR7 and TM9 TouchMonitor Lines at IBC 2013

AMSTERDAM, 13 SEPTEMBER, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to debut at IBC 2013 (Stand 8.D92) its LQL (Loudness Quality Logger) a new tool for logging, true-peak data analysis and reporting that is compatible with the TM7, TMR7 and TM9 TouchMonitor line of products. The LQL license (SW20014) is a natural extension of RTW’s range of innovative software options for the 7- and 9-inch line of TouchMonitor audio meters. RTW executives will be on-hand to demo and discuss this new software at the company’s IBC stand.

LQL enables data to be derived directly via an IP-connection from a capable TouchMonitor audio meter, as well as from external storage media such as a USB stick. Also included in the software are dual limit weighting, status information, marker and various other reporting features. The new PC software is free of charge to users, however the SW20014 LQL license is required to enable a TM7, TMR7 or TM9 series meter to be compatible with data export and additional display functions.

“The new Loudness Quality Logger is quite a milestone for RTW,” says Andreas Tweitmann, CEO, RTW. “When we first developed the concept for the TouchMonitor, we knew it would be necessary to continue researching and developing tools that would keep up with and be one step ahead of technology for managing loudness. With the ability for the user to obtain a log, analysis and reporting, their experience is enhanced even further, providing them with an essential solution unlike ever before.”

The TM7 and TM9 series TouchMonitors, which include the innovative Magic LRA instrument, feature a 7- and 9-inch touch-sensitive display, respectively, and provide unparalleled flexibility and modularity, combined with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48 and the TMR7, specifically designed for radio broadcasting, visualizes up to four.

Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3G-SDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB.

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 TouchMonitor 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.

Sound Devices Releases Firmware Update for 664, Offering Improved Features for Outdoor Production

AMSTERDAM, SEPTEMBER 13, 2013Sound Devices, experts in portable audio and video products for field production, has released its latest firmware update for the company’s flagship 664 Production Mixer. Version 1.05, now available for existing customers as a free download, brings additional features to the already-powerful mixer, offering expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use outdoors. Sound Devices 664 is on display at IBC 2013 (Hall 8, Stand 8.D74).

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs per channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking. The 664’s analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin and TA-3M connectors and on unbalanced TA-3M or 3.5mm connectors. Secondary output buses X1 and X2 are available on balanced TA-3M connectors. Users can route inputs and buses to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

Firmware version 1.05 brings additional features to the already-powerful mixer, including greater flexibility and ease-of-use outdoors. The “LCD Daylight Display” mode incorporates a daylight-specific color scheme and solid bar metering option for improved readability in direct sunlight. Sound Devices has also incorporated additional front panel button shortcuts, including “LCD Daylight Display” mode (HP + SELECT encoders) and Phrase list (HP + RTN B/C) for fast entry of metadata notes. Version 1.05 also incorporates the shortcut for activating different setup tone modes. Users also have new “Track Names in Meters” options (without color gradient/ramp) that are selectable for either right- or left-side display.

With version 1.05, 664 now offers users Monophonic Broadcast WAV file support, with the ability to record up to 10 tracks to two cards, with up to three seconds of record pre-roll. If a card not optimized for multi-channel monophonic file recording is used, or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD when starting a recording. Polyphonic mode or reducing track count is recommended. In addition, when formatted in the 664, SD cards 64 GB and larger are now automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32. Version 1.05 also enables a Headphone Volume or Headphone Preset default option, which sets the HP encoder to operate as headphone level or to select HP presets when rotated. Pressing the Headphone encoder momentarily activates the alternative function.

For more information and to download version 1.05, visit http://www.sounddevices.com/download/664-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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Sound Devices Showcases Increased Functionality of PIX 260i Production Video Recorders at IBC 2013

Rack-Mounted PIX 260i Enables Unprecedented Simultaneous Recording and Network and Audio Control for Production Professionals

AMSTERDAM, SEPTEMBER 11, 2013 — At IBC 2013, Sound Devices, specialists in portable audio and video products for field production, introduces the newest functionality for the PIX 260i Production Video Recorder (Hall 8, Stand 8.D74). PIX 260i seamlessly replaces tape-based video decks in production and post-production environments and its latest firmware, version 1.03, brings increased functionality to the end-user.

The PIX 260i brings the features and tools needed by production companies and broadcasters looking to migrate to file-based recording and playback environments. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in common editing environments, such as Avid, Final Cut Pro, and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

Files are recorded simultaneously 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.

Continuing the company’s heritage in production sound, Sound Devices infused the PIX 260i with 32-track record/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.

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 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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Optocore Serves Up Audio Fiber Transport for the U.S. Open at Arthur Ashe Stadium

FLUSHING, QUEENS, NEW YORK, SEPTEMBER, 11, 2013Optocore, the leading provider of scalable, high-bandwidth, low-latency fiber-optic networks for the transmission of audio, video, intercom and data in a variety of markets, was chosen by Audio Incorporated, who is the supplier of sound reinforcement and communication equipment for U.S. Open Tennis, to provide X6R-FX-INTERCOM devices for the communication system used during this year’s U.S. Open opening ceremonies held at Arthur Ashe Stadium, part of the USTA Billie Jean King Tennis Center in Flushing Meadows-Corona Park, Flushing, Queens, New York. The high-profile tennis event began on August 26 and ended on September 9.

As Mike Sinclair of Audio Incorporated, the audio designer for the U.S. Open live events for the past six years, explains, “We needed to find a way to connect the roof of the Broadcast Center building with our central patch area at the other end of the stadium in the photographers’ pit. We had to be ready to transport the program audio feed, Clear-Com Encore Analog Party Lines converted to 4-wire for a production channel and a lighting channel. We also used Optocore’s 100Mb LAN tunnel between devices to network show control computers and DMX lighting control together.”

Audio Incorporated employed Optocore X6R-FX-INTERCOM devices using the fiber infrastructure of Arthur Ashe stadium to connect and multiplex the various different audio and data streams over one pair of fiber lines. “We had to be ready for any eventuality and the Optocore X6R-FX-INTERCOM performed flawlessly with connectivity to spare.” Sinclair said.

“We needed to get communications and audio up to the highest reaches of the stadium, in a hyper-crowded situation,” says Rom Rosenblum, events communication system technician, U.S. Open, and applications engineer, Clear-Com. “CBS, ESPN and every broadcaster covering the event was already hooked into existing copper lines. Without the Optocore devices, we’d have been communicating with cell phones to run the Arthur Ashe Kid’s Day event and Opening Ceremonies. Instead, as soon as we got the facility to install a piece of glass up to the roof, we were in business. A plug-and-play solution was never more welcome!”

Rosenblum also cites Optocore system’s comprehensive front panel level meters and status indicators as invaluable as well. Known to be a favorite feature among audio engineers, this combination allows instant visual verification and provides an immense troubleshooting aid for cabling problems. Additionally, he says the LAN feature made it easy for the team to access their network anywhere in the system.

The X6R-FX-INTERCOM has 8 intercom duplex channels including data. The device can also be used as eight line inputs plus eight line outputs, plus 4 serial I/O or 2 GPIO.

“Optocore’s fiber systems are known for their top-notch features, immense reliability and dual redundant fiber runs and power supplies/sources,” says Mike Sinclair, owner, Audio Incorporated. “By utilizing Optocore, rather than copper cables, we were able to save time and effort for all of our communication needs during the U.S. Open.”

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

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