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Professional Wireless Systems (PWS) Frequency Coordination Scores Touchdown with Arena Football League Spectators

When Action Audio Apps helped put spectators on the field by enabling them to listen to the comments of the Arena Football League’s Orlando Predators players and coaches, Professional Wireless Systems (PWS) was on the sidelines providing frequency coordination for this game-changing experience.

The technology behind this new media application is a partnership between Q5X’s innovative player mics and transmitters, the only PlayerMic® solution approved by the NBA, and PWS’ expert RF coordination. The system was deployed at all Orlando Predators home games this season and was also used at this year’s Arena Bowl.

The app from Action Audio not only allows users to dial into a particular player or coach but also offers several combined channels, such as the offense or defense channel. Typically four or five players from the offense and four or five players from the defense, along with the coaches and select referees, are mic’d for the games. The free app can be pre-installed or downloaded once the user arrives at the venue. Within a few simple clicks, fans can access the interactive app’s multi-channel keypad and select specific channels for continuous action. In addition, if a user is unable to attend the game, he or she can tune into the “locker,” which offers replay clips from the previous week’s game.

“Signal interference has the potential to be a huge disruption for our apps, so having the frequency coordination experience and expert knowledge of Jim Van Winkle and the PWS team is a huge asset to us,” says Sebastian Failla, Action Audio Apps president. “As we see and envision our company growing into different sports and leagues and arenas around the country, it’s nice to have partners like PWS and Q5X working with us.”

At the heart of the system is Q5X’s QT-5000 RemoteMic. The QT-5000 is a rubberized, flexible, water and sweat resistant body pack that will not injure the wearer even if the player falls on it or takes a direct hit. The QT-5000 RemoteMic is part of the Remote Control Audio System (RCAS), a revolutionary way to control transmitter settings. All aspects of transmitter operation (audio level, change the frequency, etc.) can be remotely monitored and controlled from a computer interface, which allows the transmitter to be adjusted remotely without the need to contact the player. This is a stand-out feature for Action Audio Apps since once the game starts, the company typically does not have access to the players to make adjustments.

With a lot more radio devices in use these days, congestion and competition for the RF spectrum is at an all-time high, and PWS has frequency coordination down to an art form, so we always enjoy working with them,” says Q5X CEO, Paul Johnson. “PWS is really unparalleled in its ability to manage wireless frequencies and keep everything running without interference.”

For more information, visit www.professionalwireless.com.

About Action Audio Apps
Action Audio Apps’ founder, Sebastian Failla, first invented this system in 1999. Through further years of development, their new proprietary technology can now deliver this long awaited enhancement to every single seat in the venue. No matter where you are seated or what the event, from live sports to behind the scenes interviews, you the fan get to be a part of it all! For more information, visit Action Audio Apps at www.actionaudioapps.net.

About Quantum5X Systems Inc.
Quantum5X Systems Inc. (Q5X®) is an award-winning London, Ontario, Canada corporation that specializes in the creation of leading edge, wireless audio solutions for the broadcast, sports and entertainment sectors. Breakthrough products include the QT-256® the world’s smallest wireless microphone, the QT-1000 PlayerMic® the world’s only rubber wireless microphone, and the QT-5000™ the world’s first RF remote-controlled wireless microphone transmitter. Q5X clients include ESPN, FOX, Comcast, Turner, Disney, TSN, CTV, ABC and CBS, as well as MLB, the NHL and the NBA. For more information visit www.q5x.com

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is 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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Related Topics: Line Array, Microphones |

Masque Sound Welcomes Blockbuster Musical MAMMA MIA! to New Broadway Home with Custom Audio Equipment Package

When the blockbuster musical MAMMA MIA! recently moved six blocks south to its new Broadway home at the Broadhurst Theatre, Masque Sound, a leading theatrical sound reinforcement, installation and design company, welcomed the smash hit show to its new digs with a custom audio equipment package.

MAMMA MIA! tells the story of the dynamic relationship between a carefree mother and her daughter. The daughter, hoping to build a bond with the father she’s never known, decides to invite him to her upcoming wedding, only to discover that her father could be one of her mother’s three past suitors. A story full of laughs, love and lust, MAMMA MIA! features the hit songs of the Swedish pop group ABBA. MAMMA MIA! spent the past 12 years on Broadway at the Winter Garden Theatre, and for the show’s veteran Sound Designers Bobby Aitken and Andrew Bruce and Associate Sound Designer David Patridge, the move was not without its challenges.

The Broadhurst Theatre’s design itself was one of the biggest challenges that the team faced. Although many Broadway theaters share this situation, the box seating on the left and right near the proscenium extends out quite far into the sight line and therefore, slightly overshadows the speakers for some of the seats.

“In order to provide the best listening experience we could for every seat, we used a fairly substantial speaker package,” says Patridge. “We placed d&b audiotechnik E8 loudspeakers both near the proscenium and further back along the sides of the room to give the audience complete coverage. The d&b speakers compliment a main left and right line array of Meyer Sound MINA’s, and extends the coverage to the shadowed areas. It’s very smooth as you go from one side of the house to the other and something we really worked hard to achieve. It’s a smaller house, and in many ways it’s more pleasing. You don’t have as big of a room to fill with a speaker system. That was our biggest challenge, and Masque Sound was once again able to provide us with the gear we needed.”

The move to Broadhurst Theatre also provided an opportunity for the team to upgrade to a digital console and strengthen the front of house mix. “At the Winter Garden Theatre, we were using a Cadac console, one of the last analog consoles left doing Broadway musicals,” adds Patridge. “Although the Cadac has been a reliable workhorse for us, we felt it was time to retire the console and modernize the show, in that sense. Masque Sound provided us with a DiGiCo SD7 digital console for the Broadhurst production. The digital console allows us to eliminate the monitor desk, and with the SD7, we actually mix the monitors to an Aviom system directly through the console. We now have one console mixing both front of house and monitors. In addition, the SD7 takes up only about six seats as opposed to the Cadac, which took up 15 seats in the orchestra.”

As the full time vendor for MAMMA MIA!, Masque Sound also provided a wireless package of Sennheiser SK5212 transmitters and EM3532 receivers, coordinated by Eric Rivera and the Masque Sound wireless department. Since Broadhurst Theatre is sandwiched in between the show Matilda to the east, Phantom of the Opera to the west and a block of theaters just to the north, Masque Sound’s expert frequency coordination team worked hard to ensure there were no signal interference issues between the shows, as theatre walls are not enough to cut off the transmission.

“The spatial considerations in the venue dictate, to a large extent, what equipment you are able to use, and asking Masque Sound to discard the existing rental system and provide us with all new equipment was quite a tall order,” adds Patridge. “They were extremely generous and offered us new gear for the show without having to incur a ton of extra cost. It’s this type of service and support that gives Masque Sound the longevity it has experienced with MAMMA MIA!. The show continues to sound wonderful, and we are now excited to be in our new home.”

In addition to Masque Sound’s equipment, Patridge also credits his talented team with making the move such a success. Production Sound Engineer Kevin Kennedy and longtime original Broadway show Mixer Craig Cassidy were instrumental in ensuring that the move went smoothly. The show brought the same crew over from the Winter Garden, which, according to Patridge, was a godsend in terms of making sure that the move was glitch free.

Seen by over 54 million people around the world, MAMMA MIA! is celebrating 5,000 performances on Broadway and is the 10th longest running show in Broadway history. The original West End production of MAMMA MIA! is now in its fifteenth year and has celebrated more than 6,000 performances in London and the international tour has visited more than 74 foreign cities in 35 countries and been seen by more than 4.3 million people. The blockbuster feature film adaptation of MAMMA MIA! is the most successful movie musical of all time grossing $600 million worldwide. Seen in 38 productions in 14 different languages globally and with a worldwide gross of over $2 Billion, MAMMA MIA! is acclaimed by the Associated Press as “quite simply, a phenomenon.”

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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Related Topics: Large Venue, Line Array, Microphones |

SSL Welcomes Mankin Media To U.S. Live Console Distribution Network

“The SSL Live product has all the features that demanding churches want at their fingertips”

FRANKLIN, TENNESSEESolid State Logic is adding to its U.S. reseller network for SSL Live consoles with the appointment of its first specialist House of Worship dealer, Mankin Media.

“We are thrilled to become a partner in the SSL Live Dealer Network,” says Ben Mankin of Mankin Media. “The SSL Live product has all the features that demanding churches want at their fingertips. It is a wonderful new console with a brilliant user interface and pristine production capabilities built to work in lots of different scenarios. We have been continually impressed by the efficiency, power, and potential of the SSL Live since the console launched earlier this year.”

“Our partnership with Mankin Media helps establish the SSL Live product offering directly into the House of Worship market,” says Jay Easley, SSL’s Vice President of Live Consoles in the Americas. “Mankin Media’s commitment to training as well as the customer experience makes us excited to have them onboard with SSL.”

www.solidstatelogic.com/live
www.mankinmedia.com

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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SSL Adds Msonic In Finland To Live Console Partner Network

“We knew that SSL Live would be the next big thing in the live market and the perfect addition to our premium product line”

VANTAA, FINLANDSolid State Logic has appointed pro audio sales and support company msonic Light + Sound as its Live console distributor in Finland. msonic specialises in high-end audio and video sales and engineering, and is the latest addition to SSL’s Live console partner network.

“We are very proud that we have the opportunity to represent the SSL Live console for the Finnish market, and are convinced that the future is bright for SSL Live products,” says Tero Hölttä, Pro Audio Sales Manager, msonic. “After we first saw the SSL Live Console at Pro Light + Sound, we knew that it would be the next big thing in the live market and that it would be the perfect addition to our premium product line, which already includes d&b audiotechnik, DirectOut, Radial, Sony Digital Wireless systems and, of course, SSL broadcast consoles and studio products. We recently presented the console at AudioVisual Helsinki 2013 and are now even more certain that this is a game changing product in the live console market.”

“Prospective SSL Live customers have high expectations for a sales support structure at a local level that meets the high standards of our company,” says Tim Harrison, Area Sales Manager for Solid State Logic. “With a live product portfolio that perfectly complements the SSL Live, and a wealth of experience in the live market, msonic is ideally suited to partner with us in our new venture. We look forward to working with them to increase recognition for the console in Finland.”

www.solidstatelogic.com/live
www.msonic.fi

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

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DPA Microphones and Steinway Pianos in Perfect Harmony for ‘Keyboards at Christmas’ Event

Southwestern Baptist Theological Seminary teams up with DPA and Steinway for large-scale holiday performance featuring 17 grand pianos

FORT WORTH, DECEMBER 12, 2013 – The School of Church Music at Southwestern Baptist Theological Seminary recently enlisted the help of DPA Microphones and Steinway Hall of Dallas, Plano and Fort Worth to put on Keyboards at Christmas — a performance of “grand” proportions. With 17 Steinway Grand Pianos on stage, student and professional musicians performed holiday songs for the packed house at the 3,500-seat venue.

Already DPA Microphones enthusiasts for the ability of its mics to reproduce the natural beauty of a Steinway, the music staff at Southwestern Baptist knew it wanted to equip all 17 pianos with three d:vote™ 4099 Instrument Mics each, for a total of 51 mics. A clear, pristine sound was the school’s primary requirement when searching for a mic, and it was obvious that the DPA d:vote was the only choice.

“The Steinway instruments have a very beautiful, very unique sound that other instruments can’t touch, so we didn’t want to recreate the sound, but rather amplify it for the audience to hear in this very large hall,” says Luke Byford, Assistant Director of Musical Productions for the school. “We had experimented for a while with how to mic the piano in this hall and we knew it had to be the DPA d:votes. We previously tried a pickup system, but it just didn’t provide the live sound of the piano. It actually sounded pretty dead. Then we tried a variety of other mics and positions. Nothing seemed right, until our sound techs presented the idea to try the d:votes we had for string instruments in the piano. We were very pleased with the natural reproduction of the DPA mics as they gave us a much more accurate picture of how the pianos sound and the beauty that they put out.”

While this is the second year of the event, the school’s 2012 performance was held in a smaller, more acoustically tuned venue, so the staff did not require microphones. For this year’s Keyboards at Christmas, the school increased the number of pianos. To ensure that audience members had a clear view of every musician, the stage had three elevated platforms, which allowed them to place five pianos at the top, six in the center and six in the front.

“For a great deal of the program, all of the pianos were played at the same time,” says Jerry Aultman, Professor of Music Theory, who worked with Byford on the event. “Sometimes there were two pianists per piano, so a total of 34 pianists playing simultaneously. Bottom line, it was imperative in this hall, as you can imagine with this many instruments and musicians, for the artists to hear each other separately and without delay. From an audience perspective, I noticed that the DPA d:votes just made the Steinways sound the way they are supposed to sound. It was a true representation of the pianos. They don’t need improvement, they’re wonderful the way they are, we just wanted to amplify them and reproduce an accurate sound. With a program of this magnitude, using this many pianos in a hall this large, it is impossible to overemphasize the importance of this requirement.”

It wasn’t just the microphones that drew Byford and Aultman to the DPA d:vote. As the microphone is designed to be heard and not seen, the tiny capsule size enabled the mics to be positioned where the staff wanted them, without any visible signs of a mic being in place.

“We like that you can’t see them,” adds Byford. “They were in the pianos and we ran the lines out of the back, so the audience did not even know they were there. The magnetic piano mounts were great because once they were attached to the brass, they didn’t bounce or rattle. They stayed exactly where we put them, and the fact that they are on goosenecks allowed us to get the mounts in the proper spot on the piano, but then move the microphone to get them in the best position to pick up the exact area of sound we wanted to highlight. They were so hidden and so natural that many of our audience members later told us they didn’t even realize the pianos were being amplified until we mentioned it to them.”

The school had only one day of prep time to mic up the pianos and do an audio run through with students to ensure the EQ was perfect, so the size and maneuverability of the d:votes also afforded the quick setup that was needed. With only a limited in-house supply of d:votes, the school sought to rent an additional 35 microphones to fulfill their need for 51 d:votes. A tall order for any rental house, Byford found himself in direct contact with Eric Mayer, President of DPA Microphones, Inc.

“I think it’s great that a company that makes this kind of product would want to get behind a production like ours and help out the way they did,” adds Byford. “Everyone we worked with at DPA, seemed really excited to help us and support this project.”

In addition to the large supply of d:votes, the company loaned the school two d:facto™ Vocal Microphones for the soloists who accompanied the pianists. DPA’s Sales and Marketing rep, James Capparelle, also attended the event to help with setup and make certain everything ran smoothly.

The Keyboards at Christmas event hosted Southwestern Baptist students and faculty, as well as school-aged children who played three songs, including excerpts from the classic “A Charlie Brown Christmas.” Guest artists Becky Lombard, professor of music at Truett-McConnell College, and T. Bob Davis, a former Southwestern Seminary trustee also performed. In addition to Byford, Aultman and Capparelle, the event was also run by Matthew Bennett, Will Schaefer, Caleb Wallace and Cody Meuer, who are student employees of the school’s A/V Communications department and were key players in making sure the program operated effortlessly.

Video from the event can be found at: http://youtu.be/-D0JsLg2IDw.

ABOUT DPA MICROPHONES:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

SSL Teams With Audio Acústica for Live Console Distribution in Mexico

“SSL Live is definitely setting new trends and standards for live audio”

TLALPAN, MEXICO – Solid State Logic is proud to announce that as part of the ongoing development of a global partner network for SSL Live consoles, pro audio specialist Audio Acústica y Electrónica S.A. de C.V. will distribute SSL Live in Mexico.

“Audio Acústica is proud to be the face of the SSL Live in Mexico,” says F. Javier Posada Morales, Director General of Audio Acústica y Electrónica S.A. de C.V. “As the next big thing in live mixing, SSL Live is definitely setting new trends and standards for live audio, which is something the company has been doing for more than 35 years in the music, broadcast and post production markets. By joining forces with this prestigious brand, we are able to distribute and support the live console of the highest quality to our customers in the region.”

“Audio Acústica is a great company with depth and personal relationships with the highest level audio companies in Mexico,” says George Horton, Vice President, Western Region, Solid State Logic, Inc. “Live audio has some deep roots in Mexico, so we wanted to have the best possible partner to help bring the SSL Live to the region and also to support our clients for years to come. We are honored to work with Audio Acústica to raise awareness of the console.”

www.solidstatelogic.com/live
www.audioacustica.com.mx

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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Autoscript’s +Winplus+ Software is the Clear-Cut Choice for Precise Prompting

User-Friendly System Provides Flexibility and Resilience in an Intuitive Package

SHELTON, CT, DECEMBER 12, 2013 — For Stacey Torello, owner and operator of Precise Prompting, a full-service teleprompting company, conveying her clients’ messages flawlessly is the key to her company’s success. Whether it’s a live television broadcast, corporate event, film shoot or a taped field piece, Torello relies on Autoscript, part of Vitec Videocom, a Vitec Group company, and a world-leading teleprompting company, and its +WinPlus+ Prompting Software.

Autoscript’s top-notch customer service and ability to trouble-shoot on the fly is another reason that Torello continues to turn to Autoscript for her prompting software needs. Torello, who has extensive experience with game shows, talk shows, political speeches, movies and sporting events, including Showtime’s live boxing coverage, started using Autoscript’s +WinPlus+ in 2009.

“+WinPlus+ is great when it comes to live sporting events like boxing,” says Torello. “With +WinPlus+, I can edit and prompt at the same time, which is a great feature; one that I have not seen in other programs. If I’m in a live situation and a producer needs me to change copy, that producer can be typing while I’m prompting. That’s a huge advantage.”

+WinPlus+ is a Windows-based software package that adds the ease of “point and click” to an intuitive on-screen edit display. It can provide standalone prompting for both presentation and general production, in the studio or on location. With more than 10,000 systems in daily operation around the world, +WinPlus+ is the most widely used prompting application on the market. +WinPlus+ can be interfaced with all the leading electronic newsroom systems. Designed and used by prompting experts, the software offers the ability to control the run order and edit anywhere within the script, even when scrolling the on-air story, leaving the prompt output unaffected. This adds resilience to the overall system.

“Not only is Autoscript’s +WinPlus+ software great; the company’s customer service is excellent as well,” adds Torello. “Whenever I call to speak with my customer service rep, she’s very helpful. She immediately knows what I’m talking about, and if I have an Internet connection she’ll just sign into my computer, go over my system, see what the problem is and immediately fix it. She is yet another reason why Autoscript is my obvious choice for prompting.”

About Autoscript
Autoscript is the world leader in the prompting industry, providing professional teleprompting equipment to broadcasters across the globe. Established in the UK in 1984, with headquarters in the UK and the US, Autoscript designs and builds innovative hardware, PC cards and software to meet real world needs and continually enhance the production process. A prime example of this is Autoscript’s latest product, the E.P.I.C. (Enhanced Prompting Information Centre), an all-in-one prompter display and on-air talent monitor that vastly simplifies studio equipment, reduces power consumption and enables easier location prompting. Autoscript is a member of the Vitec Group.

For more information visit www.autoscript.tv

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Camera Corps, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – advancing the quality and science of media production.

Masque Sound Makes Triumphant Return to Lincoln Center Theater for New Production of William Shakespeare’s Macbeth

When the curtain rose on William Shakespeare’s Macbeth at Lincoln Center Theater, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on-hand to provide Sound Designer Mark Bennett and Associate Sound Designer Charles Coes with a custom audio equipment package that would ensure complete and pristine audio surround sound and coverage throughout the venue for the famed scribe’s powerful and dark tragedy.

Macbeth tells the story of the title character and brave Scottish general who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the throne for himself. He is then wracked with guilt and paranoia, and he soon becomes a tyrannical ruler as he is forced to commit more and more murders to protect himself from enmity and suspicion. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of arrogance, madness and death. In this new production, Ethan Hawke plays Macbeth opposite Anne-Marie Duff as Lady Macbeth.

Bennett and Coes’ goal in designing the sound was to create a flexible system that was capable of delivering a surround sound experience, while also providing complete coverage for every seat in the large, extreme three-quarter Vivian Beaumont Theater. Since Macbeth is a play, and not a musical, Bennett and Coes wanted to create an environment that was as natural sounding as possible.

“The audio solutions that we were able to come up with in collaborating with Masque Sound were great,” says Bennett. “Masque Sound was always able to find alternative ways to achieve our vision, if they didn’t immediately have the ability to do that with their existing inventory. The quality of the equipment that Masque has provided is consistently excellent.”

The Vivian Beaumont Theater has one of the deepest stages in New York City, rivaled only by The Metropolitan Opera and Radio City Music Hall. As a result, Bennett and Coes were able to create tiers of sound in off-stage areas, giving them the ability and flexibility to pinpoint where they wanted the sound to source from in a very large environment.

Another important component of the sound was O’Brien’s desire to have the supernatural world play a large part in the play. O’Brien wanted the show’s “Three Witches” to be able to use the weather as a force to be reckoned with throughout the piece. In order to move the weather and other sound effects around the theater, Bennett and Coes used a combination of heavy Yamaha DME processing and a variety of Meyer Sound loudspeakers, as well as tapping into the Beaumont’s SIAP system, to create rings of surround throughout the theater.

At the heart of the custom equipment package, provided by Masque Sound, was a Yamaha PM5D digital mixing console with a DSP5D editing side car. According to Coes, “The PM5D gave us the most flexibility. It integrated very well with the Yamaha DME’s, which allowed us to accomplish the very transparent vocal reinforcement that we were shooting for. It also provided for a lot of deep control using the delay matrix.”

Bennett and Coes also utilized a 32-channel playback system to further move the sound fluidly around the surround channels as well as a Meyer Sound Matrix3 Audio Show Control unit. A Meyer Sound-based loudspeaker system was used for vocals including UPA-1P’s coupled with a USW-1P subwoofer, and an array of M1D orchestra and balcony delays. The music system consisted of an array of Meyer Sound UPA-1P’s, USW-1P’s and an additional Meyer 650-P effect subwoofer. For the fills, which were very close to the audience, a passive d&b E-Series array was used.

In deciding on microphone selection, Bennett and Coes began with the idea that they were going to use foot mics throughout with the occasional body mic. As the design progressed, they discovered that by using nearly equal amounts of both, they were able to provide that intimate feel needed for many of the scenes while also aiding in the final transparency of the piece. Masque Sound provided Sennheiser MKH 8040 cardioid microphones and AKG E460 pre amps for the foot mics. Sennheiser SK5012 transmitters and DPA 4061 lavalier elements were used for the body mics.

“We chose the gear we did because conceptually it allows us to work with the music by installing each cue with a variety of splits,” adds Coes. “This really allows us to separate out what the bass is doing, what the percussion is doing, what the mid-range fills are doing, and then where we are placing the solo instruments per cue. With 15 delayed individual foot mics to every speaker in the vocal reinforcement system and each of the RF mics existing in one of 12 zones on the stage, Mixer Marc Salzberg does a great deal of switching of zones, for individual mics, at any given moment to keep everybody in as accurate a zone as possible.”

Masque Sound also worked with the show’s RF Engineer Adam Smolenski to provide frequency coordination for the 20 channels of wireless plus 12 wireless intercoms that are utilized during each performance.

According to Coes, “With more than 1700 lines of code in QLab, around 300 cues taken for content-only and an additional 30-40 taken for reinforcement, there is an incredible intricacy of the musical and playback content of the show. Masque Sound understood the needs of the project and provided us with gear that can deliver night after night with reliability and stability; that is one of the great aspects of working with them.”

Macbeth opened to rave reviews on Thursday, November 21 at the Vivian Beaumont Theater. The limited engagement of Macbeth is scheduled to run through January 12, 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,” “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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Related Topics: Microphones |

SSL Begins Roll Out of U.S. Live Console Partner Network with Nashville-Based Spectrum Sound

“SSL prioritizes the same truly important things that we do … sonic excellence, high build quality, flexibility and dependability”

NASHVILLE – Solid State Logic is proud to begin the roll out of the U.S. reseller network for SSL Live consoles with the appointment of professional audio equipment and services company Spectrum Sound. The announcement is the first of many with a steady stream of industry leading rental and resale providers preparing to join the SSL Live reseller network. Spectrum Sound has been serving the Live Sound industry for nearly 40 years and is well known for providing quality products, systems integration and support.

“We are very excited to be a part of the SSL family and offer the new SSL Live console to the marketplace,” says Ken Porter, founder and CEO of Spectrum Sound. “Because SSL is a musician-owned company, it prioritizes the same truly important things that we do here at Spectrum—sonic excellence, high build quality, flexibility and dependability. SSL’s heritage of good British engineering and manufacturing delivers consoles that work and sound the way that our customers require.”

“We are thrilled to partner with Spectrum Sound on the SSL Live,” says Jay Easley, Vice President, Live Consoles, Solid State Logic, Inc. “Ken and his team represent superior sonic solutions, and we are proud to be a part of that signal chain.”

www.solidstatelogic.com/live
www.spectrumsound.net

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.

La Jolla Playhouse Upgrades Its Intercom System with Clear-Com’s HelixNet Partyline

New System Receives Standing Ovation from Production Team for Delivering Broadway Experience

SAN DIEGO, CA, DECEMBER 9, 2013 — Clear-Com® today announces that La Jolla Playhouse, the nationally-acclaimed theater located on the campus of the University of California, San Diego (UCSD), has deployed four HelixNet® Partyline Systems for production communication throughout its five theaters. HelixNet simplifies the production setup process, offers greater flexibility and delivers more intercom capabilities to the La Jolla production team.

“Using the HelixNet system is a game changer for our productions,” says Joe Huppert, Sound and Video Master, La Jolla Playhouse, UCSD Department of Theater and Dance. “The stability of the system and the confidence that it inspires is mind-blowing. La Jolla Playhouse often hosts guest stars and creative teams from Broadway that have high expectations of their production experience. Our objective is to consistently exceed their encounter on Broadway, including communications. HelixNet has helped us achieve this goal.”

Responsible for staging student plays to launching world-premiere Broadway-bound productions, La Jolla Playhouse is regarded as one of the country’s top producing theaters. Side Show, the musical currently in production, is utilizing three networked HelixNet Main Stations to provide 10 audio channels shared across 20 users.

“The linking capability is really important to us,” adds Huppert. “We get requests from designers who would like to have all the key production areas on the intercom. We used to be short on delivering this. Now we are using 10 channels and it’s just phenomenal. The best part is that it only took seconds to set up the intercom for this production.”

The simple configurability of HelixNet also allows the theater staff to move the system as needed between each of the five theater buildings, which seat anywhere from 50 to 600 guests. Since HelixNet is compatible with other four-channel systems, the La Jolla Playhouse team can link up with intercom solutions from traveling productions, or increase its number of users by connecting to its existing legacy systems.

Switching to HelixNet has not only gotten the attention of the world-class production teams that the Playhouse works with regularly, but has also saved the theater a significant amount of time and effort in setting up the intercom for all of its productions. The audio team no longer needs to run new cables, reconfigure and test systems, or check the labels of every beltpack, which previously would take hours after every changeover or new production setup. Additionally, if the production team heard even a slight hum or buzz in the analog system, more time would be spent tracking down the source of the noise, which could be something as simple as the cable running over a little light. HelixNet has eliminated all of these issues for the venue.

Founded in 1947 by Gregory Peck, Dorothy McGuire and Mel Ferrer, the Tony Award-winning La Jolla Playhouse is known for its tradition of creating some of the most exciting and adventurous new work in regional theatre. Numerous Playhouse productions have moved to Broadway, including the currently running hit Jersey Boys, as well as Big River, The Who’s Tommy, How to Succeed in Business Without Really Trying, the Pulitzer Prize-winning I Am My Own Wife, Thoroughly Modern Millie, Memphis, Peter and the Starcatcher and Hands on a Hardbody. Together with the Old Globe Theater in San Diego, La Jolla Playhouse has a reputation for sending more shows to Broadway than all other theaters in the country combined. This high level of exposure means that the playhouse must make sure its venues and technologies are kept to the highest standards of performance. The University of California, San Diego is one of the world’s leading public research universities.

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.

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