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Archive by Vanessa Sanchez

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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PROFESSIONAL WIRELESS SYSTEMS PROVIDES INSPIRATION AT MEGAFEST 2013

When an estimated 75,000 people converged on downtown Dallas from August 29-31 for MegaFest, the nation’s largest inspirational family festival, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on hand to provide all wireless equipment and frequency coordination for the multi-venue festival.

Produced by MegaFest Incorporated in conjunction with Mike Walker Creative, MegaFest is a family-friendly festival that brings together the best of T.D. Jakes Ministries, with conferences including Woman Thou Art Loosed, Manpower, MegaKidz and the Mega-Youth Experience. The festival featured inspiration, music, entertainment and seminars, along with appearances by Oprah Winfrey, Babyface, Joel and Victoria Osteen, Jennifer Hudson, Kerry Washington, Steve Harvey, Brandy, Ray Chew and other celebrity guests.

Oprah Winfrey’s Life Class kicked off the three-day festival, which took place at the American Airlines Center (AAC). The main program was broadcast from the AAC, with several other large events held at the Dallas Convention Center. PWS supplied all the wireless ENG gear as well, including Lectrosonics microphones and IFBs, to coordinate this multi-venue festival.

The package that was supplied by PWS included Shure Axient microphone systems and PSM1000 In Ear Monitor systems, as well as Telex BTR800 wireless communications for all events, at both locations surrounding the festival. In addition, PWS provided several of its own products, including its GX-8 Combiners, DB-8 Distribution Systems, and its Helical and Domed Helical Antennas.

While PWS provided all the wireless gear and coordination, the company worked closely with both Spectrum Sound and Crossroads Audio, who provided PA and monitor gear to the American Airlines Center and the Dallas Convention Center. PWS was responsible for coordinating nearly 400 frequencies between the two separate venues including eight performance spaces set up in the Dallas Convention Center, the constantly changing needs for media coverage, and the high level of DTV congestion throughout the Dallas area. PWS’s five-man crew worked closely with the festival’s main production company and the local sound companies at each venue to ensure the coordination of all wireless microphones, in-ear monitors and show communications were flawless.

“Having worked with Mike Walker in the past at Fellowship Church in Grapevine, Texas, we were glad that he decided to contact us for our wireless gear and expertise for an event of this scale,” says Jim Van Winkle, general manager of PWS. “Being able to provide the equipment and services for an event of this size and scope is what we do best, and the fact that the event went as smoothly as it did is a testament to the hard work and dedication of the PWS team.”

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” 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: Large Venue, Microphones |

VISOM DIGITAL SUPPLIES STUDIO TECHNOLOGIES’ IFB PLUS SERIES TO MAJOR BRAZILIAN BROADCASTERS

Visom Digital, a production sales company with a studio division specializing in recording, mixing, post-production film with Foley, ADR, Dubbing, SFX and pre- mixes of stems capabilities, and a systems sales, integration and technical support division, has recently placed Studio Technologies’ IFB Plus Series Interruptible Foldback System with major Brazilian broadcasters to enhance communication flow for OB trucks. Consisting of the Model 2A Central Controller, the Model 22 and Model 24 Access Stations, as well as the Model 32A and Model 33A Talent Amplifiers, the IFB Plus Series brings talent cuing to the next level, allowing reporters and other on-air talent to receive program audio along with audio cues from production personnel.

“The Studio Technologies IFB Plus Series delivers ultra-reliable, high-quality performance to the director, producer or other production associate in need of crystal clear, easy-to-use IFB communication with on-air talent and camera operators,” says Paulo Campos, sales manager for Visom Digital. “The mission of Visom Digital is to work with our clients to understand their particular production needs and, from there, make informed choices of equipment that will best suit those needs. We have successfully placed the IFB Series with a number of major players in the Brazilian broadcast market with great results. With the Studio Technologies IFB unit, our clients have exactly the right tool to accomplish this all-important production communications link.”

The heart of the IFB Plus Series is the Model 2A Central Controller. This one rack-space unit offers a wide range of features particularly optimized for mobile applications. These include two independent IFB channels, an internal interrupt microphone and four program inputs. Two telephone interfaces allow direct connection to telephone lines or standard audio signals. The telephone interfaces can be used to receive and send IFB audio.

Mobile IFB applications present increased challenges as the number and variety of program sources, interrupt sources, and configuration possibilities quickly multiply. Program audio can come from many avenues including off-air receivers, 2-way radios, telephone lines, satellite receivers and cell phones, for example. Interrupt audio (talent cues) may be received with the program material connected via telephone lines or may need to come from the mobile unit itself. The ability to provide IFB audio to a number of destinations is also required. These include talent “beltpack” amplifiers, transmitters used with wireless receivers, and intercom systems. This is where the IFB Plus Series shines.

“IFB Plus delivers all the capabilities necessary to handle even the most complex field operations, taking the technical worry away from this aspect of production workflow,” states Campos. “Now that our clients have a successful experience with Studio Technologies equipment, we are planning to showcase other products that the company makes because their products, like the IFB Plus, work well and solve problems. It doesn’t get better than that.”

About Studio Technologies, Inc.
Studio Technologies, Inc. provides tailored, high-performance video, audio and fiber optic products for the professional audio and broadcast markets. The company was founded in 1978 with a commitment to design and manufacture dependable, individualized solutions for broadcast studio, stadium and corporate environments. Known for “designing for the way professionals work,” the company is recognized as an industry leader that has never wavered from its individualized design pledge. Product categories include fiber-optic transport, broadcast support, mobile broadcast, intercom and IFB, announcer consoles, loudspeaker monitor control systems and sound pressure level monitor systems. For more information, please visit the Studio Technologies website at www.studio-tech.com or call 847.676.9177.

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RTW Rolls Out New Trade-In Program to Support U.S. Calm Act Regulations

LANCASTER, PA, SEPTEMBER 3, 2013 ─ RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce that RTW International Corp., its Lancaster, Pennsylvania-based facility, is offering a new trade-in/trade-up rebate program to U.S. customers. The rebate is valid on any RTW TouchMonitor audio meters and SurroundControl products purchased between Sept. 1, 2013 and Nov. 30, 2013.

“RTW and RTW International Corp. are very aware of the importance of U.S. broadcast and content creators complying with loudness regulations as outlined in the CALM Act,” says Christopher Spahr, Director of U.S. Sales and Operations, RTW International Corp. “Our trade-in program is a cost-effective way for our customers to upgrade the valuable tools they have come to rely on in order to comply with the CALM ACT. We hope that all of our customers are compelled to take advantage of this limited-time promotion.”

This special program is available to all broadcast and content creators currently operating without the proper loudness measurement tools to ensure compliance with the CALM Act, as stated by the December 1, 2012 ruling. In order to receive a rebate, customers must trade in an equal number of working audio metering products, including non-RTW brands.

The following RTW products are available for RTW’s rebate offer:

TouchMonitor Series
• TM3
• TM3-6CH
• TM3-3G
• TMR7
• TM7
• TM9

SurroundControl Series
• 11900
• 11900SD
• 31900
• 31900SD
• 31960
• 31960SD

For more information about RTW International Corp’s trade-in/trade-up rebate program, please call 877-938-7221 or visit www.rtw.com.

For more information about the CALM Act, please visit: http://www.fcc.gov/document/commercial-advertisement-loudness-mitigation-calm-act-implementation

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

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

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

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

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RTW to Unveil New Loudness Solution and Product Upgrades at IBC 2013

AMSTERDAM, 3 SEPTEMBER, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, will debut at IBC 2013 (Stand 8.D92) a new tool for logging, true-peak data analysis and reporting compatible with its TM7 and TM9 TouchMonitors. The company will also introduce several new updates to its TouchMonitor and SurroundControl lines of audio measurement products.

“We are thrilled to share our latest advancements in loudness measurement with the international broadcast community once again at IBC,” says Andreas Tweitmann, CEO, RTW. “Whether it’s a brand-new product, such as the new tool we will unveil at IBC this year, or upgrades to our TouchMonitor and SurroundControl series of products, we are always striving to bring forth new technologies and options for users.”

TM7 and TM9 TouchMonitors
As part of the recently released SW20013 software, RTW is now shipping a new BLITS (Black & Lane’s Ident Tones for Surround) instrument option for its line of TM7 and TM9 TouchMonitors. The BLITS license option uses the order code SW20013, and requires users to install the current firmware, version 3.10, first.

RTW will also demo its new TM7-HW20714 TouchMonitor, featuring a 3G-SDI interface. RTW developed the interface in response to requests by audio engineers in the broadcast market for a seven-inch audio metering tool compatible with 3G interfacing.

SurroundControl 31900 and 31960 Series
For its flagship product line, RTW will have on hand its latest firmware update V04.00.41 for the Surround Control 31900 and 31960 series, which combines control, analysis and monitoring of eight-channel 5.1 to 7.1 surround sound into one single system. Firmware V04.00.41 supports all current EBU/ITU loudness regulations, including ITU 1770-3. Further, the 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.

TM3 and TM3-3G TouchMonitors
The new TM3-SWMC software license for the TM3 line expands the functionality of the TM3 TouchMonitor series with PPM, VU, loudness and a new combination of PPM and loudness moving coil instruments. The moving coil emulation 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.

Finally, offered as part of firmware 2.50 for the TM3 line, users can employ the new Time Test Control 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. The Test Time Control option will also be available for the TouchMonitor TM7, TMR7 and TM9 with the actual firmware release.

Users can download all of RTW’s firmware updates for free by logging into 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.

Cerwin-Vega! P-Series is the Secret Ingredient for the Batch at Cake Shop Music Venue

Powerful, Portable Speaker System Provides an Improved Sound

Cake Shop Live Music Venue recently upgraded its entire PA system with Cerwin-Vega!®’s new P-Series professional PA system and a CVM Mixer. Previously employing an aging system combining a mix of solutions from different manufacturers, Cake Shop sought a high-end PA that’s better equipped to support the variety of Indie musicians and DJs who perform at the venue. Bearing this in mind, Cake Shop’s owners selected a Cerwin-Vega! P-Series system for its ability to deliver consistent, powerful sound throughout the stage and audience areas, ensuring performers achieve the highest quality of sound possible, regardless of their music genre.

Controlled at front-of-house by a 16-channel Cerwin-Vega! CVM Mixer, the setup includes seven P1500X two-way, bi-amped, full-range bass-reflex speakers and four P1800SX-powered subwoofers. The P1800SX’s large woofer and amplifier offer the Cerwin-Vega!-trademark high-level bass punch and extreme low-end response. The proprietary hemi-conical horn of the P1500X, meanwhile, gives the venue enhanced sound clarity over an even, wide coverage area.

“The new Cerwin-Vega! P-Series system sounds amazing,” says Nick Bodor, co-owner of Cake Shop Live Music Venue and Record Store. “Although I’m not a musician, I’m very much a music fan, and I know what I like. With the P-Series, the room’s sound is completely improved and we have a lot more control of the audio. The way the instruments and vocals are separated out, everything just sounds really good. With the P-Series, the audio doesn’t need to be blasting; it can be at a comfortable level and still make for an awesome show.”

Primarily a live music venue, recent performances at Cake Shop have included the indie bands Literature and Jazz Butcher as well as touring bands from Wales and Montreal. Visitors on Friday or Saturday nights can also jam out with a variety of DJs who spin when the bands are between sets or have finished for the night. The venue also hosts underground comedy and reading series on weekdays and comedian Reggie Watts recently stopped by for a set, which is known to do on occasion. With a fully packed schedule and varying types of performances, Cake Shop needs gear that is both durable and versatile. As its P1500X can be used as a single speaker for a small venue, set in pairs for a larger venue needing more coverage and SPL, or side mounted as a floor monitor for a band, the P-Series fulfills these requirements perfectly.

“Because we’re open seven days a week and we host a series of touring bands, our equipment takes a bit of a beating over time,” explains Bodor. “With our previous system, our sound engineer was always soldering stuff, pulling out speakers and replacing them. It was a real miss-match of equipment, but he always made it work. With the P-Series, we no longer have to worry about swapping out gear to keep our consistent sound. My brother Andy co-owns Cake Shop with me, and a big part of our philosophy is that we always want our sound to be good.”

Bodor isn’t the only one who has noticed the difference. “We want bands to feel like they have a good experience here,” he explains. “All of the visiting sound engineers love the new system. Every time I’m around them, they tell me how great it is.”

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

With a café and record store on the ground level, Cake Shop is a versatile venue for performance lovers of all degrees. Bands like MGMT and Vampire Weekend got their start on the CakeShop stage and artists like Surfer Blood, Spoon and Peter Bjorn & John have performed secret shows at the venue.

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

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

DPA Microphones Keeps Brothers Comatose’s Sound Thumping on Tour

Mandolin player for the bluegrass-inspired band calls on the DPA d:vote™ 4099 Instrument Microphone for all performances

SAN FRANCISCO, AUGUST 29, 2013 ― Despite the group’s name, the bluegrass-influenced Brothers Comatose is far from a state of unconsciousness. Currently touring the nation at several summer music festivals, the band’s mandolin player, Ryan Avellone, relies on DPA Microphones’ d:vote™ 4099 Instrument Microphone to give his instrument a clear and natural sound.

Avellone discovered DPA Microphones during his search for an alternative amplification method to the traditional acoustic pickups. He wanted something that provided quality sound, was durable and still discreet enough not to interfere with the physical beauty of the instrument. The DPA d:vote fit that bill. Despite its small size, the d:vote amplifies the natural sound of an instrument, adhering to DPA’s strict reputation for high-quality audio.

“Most pickups produce a similar sound that doesn’t sound like the instruments, so I just don’t like them,” says Avellone. “I was searching for a while, and finally found the DPA d:vote. I decided to try it and I love it. It’s amazing for a live performance and is really good at recreating the sound of my mandolin for both myself and the audience. We play at venues and get loud, and I still have the microphone coming into the monitor. I pretty much never have feedback issues. The d:vote topped all of my expectations.”

A highly durable microphone that can be used across many musical applications, the d:vote is a unique, lightweight and versatile microphone that has mounting options for almost all instruments. It can easily be unclipped and repositioned without marring the finish of the instrument. Built with the touring musician in mind, the d:vote has a modular design that allows the user to swap out or upgrade individual pieces, such as the cable, which is also available as a heavy duty option.

“The microphone is great, it’s really durable,” says Avellone. “All of the cables and accessories are really well designed and can withstand anything. I’ve played probably over one hundred gigs with it all over the country and it has never let me down.”

Avellone wants to see more acoustic musicians using the d:vote to highlight the natural sound of their instruments, starting with his band mates. “I just know that once they try the d:vote it’s going to be their solution, too,” he adds. “I go to a lot of shows and have watched a lot of bands. They are good bands with good music, but their instruments just don’t sound ideal. They have nice instruments, like a $3,000 guitar, with cheap $50 pickups on them. That just doesn’t make sense to me. That’s what’s cool about the d:vote; when you put it on the instrument, it sounds like the instrument.”

Hailing from San Francisco, Brothers Comatose was formed by brothers Alex Morrison (banjo and vocals) and Ben Morrison (guitar and vocals). The duo got their start performing for friends and family at their home, alongside other local musicians. It was there that they met bassist Gio Benedetti. Avellone later joined the pair, along with fiddle player Philip Brezins. No matter where they are performing, an occasional fan on chopsticks can also be found on stage, as the band often invites audience members to participate. The band is currently on tour performing songs from their latest album Respect the Van (2012), a tribute to the Chevy G20 that takes them across the country to music festivals such as Hardly Strictly Bluegrass, Kate Wolf and SXSW.

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

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

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Masque Sound Keeps the Laughs Coming for Bay Street Theatre’s Production of a Funny Thing Happened on the Way to the Forum

Custom Equipment Rental Package Takes Audience Back to Ancient Rome for Musical Farce

SAG HARBOR, NY, AUGUST 27, 2013 – The historic Bay Street Theatre is one of the country’s pre-eminent regional theatres, offering year-round entertainment and events. In anticipation of the theatre’s final production of the 2013 Mainstage Season, Sound Designer Tony Melfa turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company to provide a custom sound equipment package for the musical comedy A Funny Thing Happened on the Way to the Forum.

Directed and choreographed by Marcia Milgrom Dodge, A Funny Thing Happened on the Way to the Forum is a musical that tells the bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. The musical’s original 1963 Broadway run won several Tony Awards, including those for Best Musical and Best Book.

In designing the sound for A Funny Thing Happened on the Way to the Forum, Melfa’s goal was to keep acoustically true to the original production when it was written in the 1960s. “I wanted to provide the audience as authentic a feel as possible and not over-mic the stage,” he says. “In order to make that happen, equipment selection was key and Masque Sound did an amazing job of providing me everything I needed to bring my vision to the stage.”

For A Funny Thing Happened on the Way to the Forum, Masque Sound’s custom equipment package included a Yamaha M7CL 32 channel digital mixing console along with a selection of Meyer speakers, including UPA-1Ps, UPM-1Ps and a USW subwoofer. Melfa utilized a selection of microphones including AKG 414s, Shure SM57s, as well as a Shure Beta 52, Neumann U 89 and AKG D112. Masque Sound also provided Melfa five Aviom personal monitor systems, in addition to an HME wireless intercom system.

Since the Bay Street Theatre is a three-quarter round stage, Melfa’s biggest in challenge in designing the sound was to make sure the entire theatre was covered acoustically. According to Melfa, “The Bay Street Theatre has a unique layout and I wanted to make sure that all 299 seats in the house were capable of having a memorable experience sonically. It was important that the rental house I worked with was attentive to my needs, and that’s exactly what Masque Sound was for me. They are extremely easy to work with and my shop order is always right. It is a huge weight lifted off my shoulders knowing I can expect all the equipment I ordered to be delivered in full and in perfect working condition.”

In addition, Masque Sound worked with Melfa to provide frequency coordination to prevent signal interference from the crowded boating community. “With all of the boats in Sag Harbor there is a surprisingly large amount of frequencies in use, and Masque Sound is incredible in taking care of all the frequency coordination for me,” adds Melfa. “All I have to do is plug the equipment in and we are ready to go.”

Founded in 1991, Bay Street Theatre is a not-for-profit 299-seat professional regional theatre situated on Long Wharf, in Sag Harbor, NY. Many of the productions that premiered or were developed at Bay Street have moved to Broadway, Off-Broadway, regionally and abroad, including Nobody Don’t Like Yogi, Hedda Gabler, Love Janis, If Love Were All, Full Gallop, Swingtime Canteen and Three Hotels.

“We are a small theatre and Masque Sound provides us with as much support as they would give to a big budget Broadway production,” says Melfa. “It is great to know that I can pick up the phone and get an immediate response. They always keep it on a personal level and go the extra mile.”

A Funny Thing Happened on the Way to the Forum plays through September 1 at the Bay Street Theatre, at the foot of Main Street (and the corner of Bay Street) on the Long Wharf, opposite the windmill.

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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RTW Names Martin Leuenberg Head of Sales

Leuenberg Will Oversee and Develop New Sales Strategies for the Company

COLOGNE, GERMANY, 26 AUGUST, 2013 ─ RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce the promotion of Martin Leuenberg to head of sales, effective immediately. Leuenberg, who will continue to work out of the company’s headquarters in Cologne, first joined RTW in September 2011 as the company’s sales manager for Central Europe. He will draw upon his extensive sales and engineering background to manage the strategic reorganization of RTW’s sales department.

“Martin has played an instrumental role in the successful development of RTW products in Central Europe, and we are confident he will continue to do the same in his new role, leading the sales teams in all regions,” says Andreas Tweitmann, CEO, RTW. “Martin’s extensive experience in both the pro audio and broadcast markets, coupled with his comprehensive knowledge of loudness issues and standards, makes him a great fit for this position.”

In addition to spearheading the reorganization of RTW’s sales team, Leuenberg will put into place strategies that will further support the company’s customer needs as well as set new structures for market growth.

“RTW is enjoying a strong period of growth as it enters new markets and continues to deliver exciting new metering solutions to customers, whether they are new products or software updates to existing models,” says Leuenberg. “It is an exciting time to be at RTW, and the audio industry overall. I am eager to take on this new role, as it will allow me to provide further support to my colleagues at RTW.”

Leuenberg began his career as an audio engineer, working as a freelancer in several markets, including radio, music production and live shows, before joining DW Radio. Soon after, he worked as a sales manager for companies including Lapp Group before joining RTW.

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

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

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

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

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