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Masque Sound Takes Flight With Peter and the Starcatcher

When PETER AND THE STARCATCHER, the five-time Tony
Award®-winning musical play written by Tony® Award-nominee Rick Elice and directed by Tony® Award-winner Roger Rees and Tony® Award-nominee Alex Timbers, set out on its first U.S. national tour Masque Sound, a leading theatrical sound reinforcement, installation and design company, was along for the ride with a custom audio equipment package to help bring Designer Darron L West’s Tony® Award-winning sound design alive.

PETER AND THE STARCATCHER, a grown up’s prequel to Peter Pan, is the innovative and imaginative musical play based on the best-selling novel by Dave Barry and Ridley Pearson. A company of a dozen actors play more than a hundred unforgettable characters, all on a journey to answer the century-old question: How did Peter Pan become The Boy Who Never Grew Up? This epic origin story of popular culture’s most enduring and beloved character proves that your imagination is the most captivating place in the world.

Both West and Masque Sound have been involved in the play from its original production at NY Theatre Workshop to its successful run on Broadway, as well as its post-Broadway run at New World Stages, so collaborating on the tour together was a natural fit.

“I depend on Masque Sound to provide me with the gear I need for my shows, so when the PETER AND THE STARCATCHER tour became official, there was no doubt that it was going to be the shop I called on to take the show on the road,” says West. “When a problem arises that needs to be solved, there is never a moment that I feel like I can’t call on Masque Sound to provide a solution, equipment recommendations, etc. Scott Kalata at Masque Sound has been great to us since the very beginning.”

West’s goal for PETER AND THE STARCATCHER was to try to create and preserve a simple and minimally invasive design. “We wanted the play to feel like it was an old Victorian show, so we thought a lot about our microphone choices and speaker positions,” he says. “The show features two musicians and ‘musicians towers’ in direct view of the audience, and we designed the system to sound as though the audio was coming from these points, since the musicians are crucial to how the show is received by the audience. We utilized our surround sound capabilities through a story-driven approach, and we really tried to keep the audio as centralized around the sound effects and music that those musicians were creating.”

In order to create the atmosphere that West was looking for on the tour, Masque Sound provided a DiGiCo SD10 digital console. The SD10 is a super-flexible, complete integrated system powered by Stealth Digital Processing and floating point Super FPGA technology. According to West, “There is a lot of really intricate reverb work that happens in the show that is really being driven by the SD10. The SD10 works incredibly well with the theatre software we are using and is crucial to the show’s success.”

Additional equipment provided by Masque Sound includes both Meyer Sound and D&B speaker rigs, as well as wireless gear from Sennheiser.

Putting together a traveling production is not without its challenges and West credits Masque Sound as well as his associate Charles Coes for helping to pull it all together. “We really needed to figure out the amount of gear we needed and how to set it up for 22 different sized venues for a show of this magnitude,” concludes West. “Masque Sound has a great crew at the shop and we really depend on them to bounce ideas off of and to figure out exactly how to put on a production of this size. Between Masque Sound and the Proof crew who built the towers, we couldn’t believe how incredible it worked. Charles did an amazing job in designing the tower and putting it all together.”

Tour dates and additional show information can be found at www.peterandthestarcatcher.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,” “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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Professional Wireless Systems (PWS) Teams Up with ATK Audiotek and the NFL to Deliver Fumble Free RF Coordination for Super Bowl XLVIII

For the 18th consecutive year, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, teamed up with ATK Audiotek and Versacom to deliver interference-free RF management for its portion of the Super Bowl XLVIII at MetLife Stadium in New Jersey, which included expert on-site frequency management for pre-game and halftime entertainment, as well as several referee microphones.

Preparation for the big game started back in mid-October when PWS General Manager Jim Van Winkle, Brooks Schroeder, lead RF coordinator working with PWS, and Matt Campisi from Versacom met at the stadium with ATK Audiotek’s Paul Liszewski to determine the staffing requirements and locations for the equipment— RF and intercom racks, antennas, cables etc. In addition, Van Winkle worked closely with ATK Audiotek General Manager Brett Valasek in regards to the detailed equipment list for the event.

PWS submitted a list of frequency requirements to the NFL Game Day Frequency Coordinators (GDC) who handled the frequency coordination for the entire event, including coaches’ intercoms, referee mics, network broadcasters, media and entertainment. Karl Voss, the NFL’s lead frequency coordinator, in turn allocated the frequencies PWS needed to seamlessly integrate the entertainment needs with all the other users at the Super Bowl. PWS’ expert on-site team of Schroeder, John Garrido and Mike Ward handled over 80 frequencies to ensure that spectrum users were not interfering with each other during the game’s entertainment segments.

“Karl Voss is the protector of all frequencies for the Super Bowl and does an amazing job in keeping things moving smoothly in what is an unbelievably complex event,” says Van Winkle. “We greatly appreciate Karl’s hard-work, and the entire NFL game day RF coordination program, in accommodating our needs for the big game.”

This year, PWS handled frequencies for Renee Fleming who sang the National Anthem, Queen Latifah who sang America the Beautiful, and all eight microphones and eight in-ear microphones for the half-time show, which featured Bruno Mars and Red Hot Chili Peppers. In addition, PWS managed frequencies for two referee mics, each equipped with two frequencies.

PWS utilized the Shure AXIENT wireless system due to its ability to provide automatic, fail-over protection via a built-in backup frequency as well as Shure UHF-Rs and PSM-1000 Series in-ear microphones. The team also employed 3732 receivers with 5200 transmitters, along with a range of wireless gear from Sennheiser. Versacom provided a mixture of wireless intercoms, including HME PRO850 and BTR800s from Telex, for the event. PWS’ Domed Helical Antenna was also on-site. In addition, a combination of Domed Helicals and original PWS Helicals were used for the ATK wireless systems on the field.
For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is 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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Masque Sound Turns Up the Volume for Touring Production of Musical Sensation, Rock of Ages

When the touring production of the hilarious, five-time Tony® Award-nominated 80’s musical Rock of Ages hit the road to rock its way across America for a third season, Masque Sound, a leading theatrical sound reinforcement, installation and design company, went along for the ride, supplying a custom audio equipment package to support Sound Designer Craig Cassidy and his team.

Set in 1987 on Hollywood’s famed Sunset Strip, Rock of Ages tells the story of a small town girl who meets a big city rocker at Los Angeles’ most famous rock club, The Bourbon Room. This arena-rock love story is told through the mind blowing, face-melting hits of the greatest bands of the 80’s including, Journey, Night Ranger, Styx, REO Speedwagon, Pat Benatar, Twisted Sister, Poison, Asia, Whitesnake, Bon Jovi and more.

Recreating the heavy, arena-rocking sound that defined the big hair 80’s with a PA system that would be able to move in and out of the theatres quickly enough for the tour’s rigorous schedule was Cassidy’s biggest challenge in designing the sound. To make this happen, Cassidy collaborated with the team at Masque Sound.

“Gary Stocker at Masque Sound was instrumental in creating a tower design that would provide us with the flexibility and sound we needed for the production,” says Cassidy. “Getting the SPL of a rock concert without having the cast run around with handhelds all night long is not an easy task — Masque Sound’s support and technical services played a big part in pulling it off.”

In order to create the hard-rock sound Cassidy envisioned, Masque Sound provided a DiGiCo SD 10 Digital Console for the front of house and a DiGiCo SD 8 at the monitor console. A line array featuring Meyer Sound MICA compact high-powered curvilinear loudspeakers and Meyer Sound 600 HP subwoofers were incorporated into the towers. Masque Sound also provided the production with Sennheiser 5212 transmitters, matching 1046 receivers and coupled them with DPA 4066 omnidirectional headset mics. In addition, Masque Sound supplied its expert frequency coordination services for the over 30 channels of wireless that are being used for the show.

“I have enjoyed a long relationship with Masque Sound, and it is my shop of choice,” adds Cassidy. “I can really lean on the staff’s expertise in a lot of areas. If I run into any problems, they always have someone there who can solve it for me. They are really top notch.”

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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Hi-Tech Audio Joins Solid State Logic’s U.S. Live Console Partner Network

HAYWARD, CALIFORNIA – Solid State Logic is continuing to add to its U.S. reseller network for SSL Live consoles with the appointment of Hi-Tech Audio. Headquartered in Hayward, California, the company has been providing professional audio rental, sales and services for everything from houses of worship across the U.S. to concert tours and music festivals around the world.

Pictured Left to Right: Louis Adamo, President of Hi-Tech, and Sidney Wilson, Hi-Tech Sales

“SSL is a name synonymous with the highest quality of audio recording control,” says Louis Adamo, President of Hi-Tech Audio. “Now that the company has turned its attention to live sound, Hi-Tech Audio is honored to help introduce SSL’s first live sound console, SSL Live. Hi-Tech Audio specializes in the world’s top live-sound consoles and we are looking forward to showing the SSL LIVE to live sound production companies, houses of worship, theaters and venues across the U.S. There will be some big fun in using this console!”

“We knew Hi-Tech was a company that we wanted onboard with SSL Live from the start,” says Jay Easley, SSL’s Vice President of Live Consoles in the Americas. “The company’s long history of experience with console technology and reputation of laudable customer service makes this partnership exactly what we wanted as part of the SSL Live family.”

www.solidstatelogic.com/live
www.hi-techaudio.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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RapcoHorizon Hits the Stage with Jay-Z

Award-Winning Rapper’s Guitar/Bass and Keyboard Techs Rely on Custom Cable Runs for Magna Carter World Tour

JACKSON, MO, FEBRUARY 5, 2014 – Thanks to RapcoHorizon, an RHC Holdings brand and leading manufacturer of audio/video interfacing and cable equipment, the instrumentals for Jay-Z’s Magna Carter World Tour are making the connection with his audiences night after night, while on stage. As the instrument and speaker cable of choice for the tour, which supports the award-winning rapper’s first new album in four years, the RapcoHorizon cables were custom fitted to accommodate the intricate rigs, some of which are on 28-foot-high risers.

As all RapcoHorizon cables are designed for the working musician, the custom instrument and speaker cables are road ready and tour tough, employing the most rugged constructions without sacrificing sound quality. The custom cables created by the company for the tour include runs as long as 50- to 100-feet in order to not only reach across the stage, but also above.

“With guitar, bass, and keyboard player, Clay Sears, up 28-feet in the air, 22-feet above Jay-Z, I had to have instrument and speaker cables that were able to handle the degradation that happens from that distance,” says A.J. “Jukebox” Srybnik, guitar and bass tech for the Magna Carter World Tour. “These cables work just like they are three feet long. I know that in talking to my monitor engineers and FOH guys, they’re just ecstatic with the tones we are getting, and I don’t think it’s necessarily from all the gear, but rather from the cables. I have a lot of runs that go in different lengths, and you’d think my sound would be inhibited, but it’s not. The cables are so dependable.”

“I’m thrilled to be working with RapcoHorizon,” says Benjamin Jacobs, keyboard tech and backline crew chief for the tour. “These cables outperform every other brand we’ve tried. We recently did a one-off date in Abu Dhabi and my cable looms, which are comprised of the RapcoHorizon cables, were one of the only pieces of our permanent touring gear that I brought along.”

In addition to the unique audio rigs, the Magna Carter World Tour also has extensive load outs, with gear on four different risers and at various heights. With the speed at which the tour moves between stops, and the amount of gear being used, the cables are quite often yanked from the equipment by stagehands, which can sometimes be detrimental.

“We unplug every keyboard, speaker and amp, and push everything away very quickly,” continues Srybnik. “You’d think that everyday I’d have a broken cable or connector, but that hasn’t been the case. I haven’t had to go into the spare cable case once this entire tour. We don’t have a normal load out. It’s the craziest thing I’ve ever seen, it’s literally like ants attacking a sugar hill. But we haven’t had any problems and I think that has to do with the strain release and the stuff they coat the cables with, it’s very durable. The coating on the speaker cables is also gorgeous – a really nice blue and silver that stands out nicely on the floor, which keeps people from tripping on them.”

All cables from The RapcoHorizon Company are designed to work perfectly no matter how often they are put to use. Another benefit of the RapcoHorizon cables is their ability to coil nicely. The quality of the cables and flexible jacket ensure that they not only lay flat on stage, but also roll up easily without causing bends.

Srybnik also admits that his rig isn’t the most complicated on the tour and that Jacobs uses nearly three times as many instrument cables as him. “He’s got probably 30 keyboards all doing stereo runs, so you’re looking at 60 runs, and these cables get beat up the most. Any time he has a problem, it ends up being an outboard problem or some other audio issue. It never comes back as a bad cable, which is funny because that’s what you always used to hear – ‘swap out the cable, it’s bad’ – you’re just not hearing that anymore.”

As an avid RapcoHorizon enthusiast that has used the company’s cables on tour with a variety of artists, such as Selena Gomez, Foreigner and Buckcherry, Srybnik is also impressed with the customer service that he is afforded. In the case of the Jay-Z tour, his custom cables were completed on short notice after the audio rigs were moved from the ground to the air.

“The best part about it all is that I was in a jam when we changed the audio rigs and The RapcoHorizon Company bailed me out,” he adds. “It’s amazing that they were able to get me a high-quality cable that sounds the way I want, pretty much whenever I need. They have the best customer service for touring crews, and this situation emphasizes that.”

RHC Holdings, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications interfacing products. Comprising RapcoHorizon, Momentum, Pro Co, Pro Co Data, RAT, RoadHog and StageMASTER, each RHC Holdings brand has developed a reputation in many industries for reliability, and superior sound performance. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, the company’s products provide optimal flexibility and premium performance. RHC Holdings also has a state-of-the-art Custom Shop to modify existing products or build new devices to meet any need.

THE JUILLIARD SCHOOL IMPLEMENTS CLEAR-COM’S TEMPEST900 WIRELESS INTERCOM

NEW YORK ─ Clear-Com® has revamped the wireless setup at New York City’s prestigious Juilliard School. The school installed three Tempest®900 digital wireless intercoms in its production department and one additional system in its recording department. The two-channel Tempest systems provide coverage within each of the facility’s three performances spaces, operating independently of one another without signal interference. more

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Masque Sound Hits the Road with Inaugural North American Touring Production of Blockbuster Musical, Once

Flexible Custom Audio Equipment Package Maintains Show’s Intimate Feel in Larger Venues throughout the Country

NEW YORK, JANUARY 31, 2014 — When the blockbuster musical Once, winner of eight Tony Awards including Best Musical and winner of the 2013 Grammy Award for Best Musical Theater Album, set out on its first-ever North American tour, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on board to provide a custom audio equipment package for the hit show.

Sound Designer Clive Goodwin has worked with Masque Sound since the beginning of Once’s successful run when it began playing at the New York Theatre Workshop and then moved to Broadway. Based on this working relationship and Masque’s experience and knowledge of the production and its audio requirements, collaborating with the company on the touring production was a natural choice.

Once tells the story of an Irish musician and a Czech immigrant drawn together by their shared love of music. Over the course of one fateful week, their unexpected friendship and collaboration evolves into a powerful but complicated romance, heightened by the raw emotion of the songs that they create together. Brought to the stage by an award-winning team of visionary artists and featuring an ensemble cast of gifted actor/musicians, Once is a musical celebration of life and love.

Since the touring production of Once is playing in venues two-to-four times the size of the show’s Broadway home (the 1,100-seat B. Jacobs Theatre), Goodwin’s design goal for the tour was to be able to reach the larger audiences while maintaining the show’s intimate, unassuming feel.

“In order to preserve the show’s spirit and character in these much larger theatres, flexibility is key,” says Goodwin. “Instead of a sound system tailored to a specific theatre, as we have in the Jacobs on Broadway, we obviously needed an audio system that could work in theaters of varying sizes and shapes. Even though we have had to increase the volume in order to project to the rear of these huge venues, I am pleasantly surprised with how well it has worked. I think we successfully kept the shows feel with a comfortable sound level.”

Goodwin credits Masque Sound with providing him the gear to pull off this impressive feat. “Masque Sound has so much experience and is so good with their touring equipment that we were able to put together everything we needed from their extensive inventory,” adds Goodwin. “They know the equipment that I like to use and know what can stand up to the rigors of a traveling production and used that knowledge to provide me with a great custom solution.”

Masque Sound provided a custom audio equipment package that included the DiGiCo SD7 digital console that Goodwin likes for its extensive number of inputs and outputs, as well as signal routing flexibility. In addition, Masque Sound provided a custom speaker array from d&b as well as a large Sennheiser wireless microphone package consisting of EM3732 receivers and SK5212 transmitters.

While creating the right audio system for the traveling show, Masque Sound also planned for frequency coordination. Keeping the show’s 40+ channels of wireless interference free from city-to-city is quite challenging. Masque Sound’s expert team provided the touring crew with the information and equipment they needed to ensure that all of the wireless signals would remain clear and disturbance free.

“Masque Sound consistently affords me the equipment and services I need to create a fantastic production,” adds Goodwin. “Their service is first-class, and they are one of the hardest working providers. I always enjoy collaborating with them. As expected, everything turned out great.”

Goodwin also recognizes the importance of his crew’s hard work in ensuring the show’s success. “It’s always important to have a wonderful team working for you, and I am incredibly lucky to have a great crew on this tour. My Associate Sound Designer Alex Hawthorn and Production Audio Head, Phil Lojo played a big part in the organizational aspect of putting the show together. The whole team has been on top of everything, always making sure that all of the equipment works, and I am very thankful for that.”

The tour opened at the Providence Performing Arts Center in Providence, RI and will continue through most of 2014 with stops in major cities including Boston, Miami, Atlanta, Minneapolis, St. Louis, Denver, Las Vegas, Los Angeles, San Francisco, Seattle and Charlotte. Once, which was also named Best Musical by the New York Drama Critics’ Circle, Drama Desk, Drama League, Outer Critics Circle and Lucille Lortel Awards, is also currently running on Broadway at the Bernard B. Jacobs Theatre.

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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Sound Devices Named 2013 Business of the Year by Reedsburg Area Chamber of Commerce

REEDSBURG, WI, JANUARY 29, 2014 – Sound Devices, specialists in portable audio and video products for field production, has been named 2013 Business of the Year by the Reedsburg Area Chamber of Commerce.

“On behalf of our employees, we are very proud to receive this recognition from the Reedsburg Chamber of Commerce,” says Matt Anderson, President of Sound Devices. “Sound Devices prides itself on playing a vital part in the economic development of the local community, and we look forward to doing so for many years to come.”

Operating in Reedsburg for over 15 years, Sound Devices settled into its new 27,000-foot headquarters at E7556 State Road 23 in early 2012, where the company designs and manufactures high-technology audio and video recorders for feature film, episodic television, documentary, news and acoustical test-and-measurement applications. Equipped with state-of-the-art technology, the facility enables Sound Devices to continue to develop new, innovative field-production audio and video products with greater operational capacity. Prior to moving into its new Reedsburg headquarters, the company leased its manufacturing and office space from another Reedsburg company, Hankscraft Inc.

As part of its commitment to the area, the company made the renovation of its new space a community project, donating an existing building on the property to the Sauk County Habitat for Humanity. To develop local talent, Sound Devices established a paid internship program, giving local students from Reedsburg Area High School valuable hands-on engineering and computer-programming experience.

Sound Devices, LLC is an industry-leading company designing and manufacturing 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. Sound Devices sells its products in over 50 countries. For more information, visit the Sound Devices website, www.sounddevices.com.

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SSL Showcase Live Sound Console at ISE 2014


SSL signals long-term commitment to the installed systems sector by exhibiting at key EU show.

AMSTERDAMSolid State Logic, the world’s leading manufacturer of creative tools for audio professionals, is proud to announce that it will showcase the SSL ‘Live’ console at the 2014 ISE show (Stand 7.H18). Since its announcement at ProLight + Sound in 2013, the SSL Live console has rapidly become the audio console the industry is talking about. Coinciding with the roll out of a global resale partner network and the first commercial sales, SSL’s presence for the first time at ISE signals a strong long-term commitment to the installed systems sector.

“Industry reaction to the arrival of SSL in live sound has been extremely encouraging,” states Antony David, Managing Director at SSL. “Much of the initial attention has centered on the superb sound of the console and the excellent ergonomics it offers to engineers, but the console also delivers from a technical integration perspective. The combination of versatile inbuilt and remote connectivity, generous processing capability and extremely flexible console configuration and routing and powerful output matrix make Live the perfect product for installed environments. We are very excited to be exhibiting at ISE for the first time and looking forward to meeting the unique partner and user community that attend the show.”

About SSL Live
Live brings SSL’s unique approach to audio quality and console ergonomics to sound for live audio production. SSL has been at the leading edge of analogue and digital audio console innovation for over 35 years. Like so many multi award-winning, ground-breaking and much loved consoles for Music, Broadcast and Post production that SSL has created through the decades, Live brings something new and very special to the party.

Live is a flexible and extremely powerful digital audio console designed specifically to meet the demands of all aspects of live sound production. It is perfectly suited to touring or installation, FOH or monitors, to venues and arenas, houses of worship and concert halls, to anywhere where audio quality is important and engineers require power, complete flexibility and a user interface that puts them in control.

Live is all about power and control. Based on SSL’s new Tempest processing platform, Live has plenty of power and it is deployed in a uniquely versatile way. The headline numbers are impressive at the price with 976 inputs and outputs and 192 full processing audio ‘paths’ at 96kHz. How those ‘paths’ are utilised 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 and it has 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.

Power really is nothing if it can’t be controlled and Live offers a truly excellent control surface. It combines multiple tablet style multi-gesture touch screens with elegant hardware ergonomics, excellent visual feedback and a collection of innovative new features. It enables engineers to work how they do today, whether they prefer new touch screen or classic hardware technology, or like to combine them both, and offers new and better ways of doing things that will make 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 which take SSL’s acclaimed studio grade processing and re-craft it for live and they have their own dedicated processing power.

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

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

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Masque Sound Supports Billy Crystal’s Return to Broadway for Reprisal of Tony® Award-Winning Play, 700 Sundays

Photo Credit: Carol Rosegg

When Billy Crystal returned to Broadway to reprise his Tony® Award-winning play 700 Sundays, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on hand to support Sound Designer Steve Canyon Kennedy and Associate Sound Designer Walter Trarbach with a custom audio equipment package.

700 Sundays, an autobiographical journey, is an original two-act play centered on the legendary actor’s heartfelt and often hilarious story of growing up, growing old and the undeniable power of family. Crystal plays numerous characters that have influenced who he is today, taking audiences through his youth, growing up in the jazz world of Manhattan, his teenage years, and finally his adulthood. The title refers to the number of Sundays shared by Crystal and his father, Jack Crystal, who passed away when he was 15.

“Masque Sound has been the audio equipment rental provider since the show made its Broadway debut in 2004. They have been with us for two national tours as well as the show’s Australia run, so they were the obvious choice for this reprisal,” says Trarbach. “We have enjoyed our relationship with Masque Sound, and their equipment and support is always top notch.”

For 700 Sundays, Masque Sound provided a custom audio package that included an Avid VENUE Profile digital mixing console. L-Acoustics dv-DOSCs made up the line array elements for the main speaker system and a selection of speakers from Meyer Sound, EAW and d&b were utilized as fill speakers for the rest of the theater. An XTA Electronics DP428/448 Audio Management System and Meyer Sound Galileo 616 Loudspeaker Management System as well as a wireless microphone package from Sennheiser and an intercom system from Clear-Com were also included.

“In addition to the high quality gear provided by Masque Sound, the sound system worked well thanks to the hard work of our team,” says Trarbach. “Production Sound Engineer Andrew Keister and John Cooper, who handled the backstage audio, both did a wonderful job.”

700 Sundays won the 2005 Tony Award for Special Theatrical Event and the 2005 Drama Desk and Outer Critics Circle Awards for Outstanding Solo Performance. The limited nine-week engagement will continue through January 5, 2014 at the Imperial Theatre (249 West 45th Street). HBO will be filming the play for a special that is slated to air in 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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