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Sound Devices Demonstrates Latest Solutions for Production Professionals at BIRTV 2013

PIX 260i Production Video Recorder and 664 Production Mixer Bring Expanded Functionality to Broadcast and Production Professionals

BEIJING, CHINA, AUGUST 21, 2013 — Sound Devices, specialists in portable audio and video products for field production, showcases the newest functionality for the PIX 260i Production Video Recorder (China Broadcast Technologies Co., Ltd. Booth 1A112) and 664 Production Mixer (Dingrun International Digital Tec.co., Ltd Booth 2001) at the Beijing International Radio, TV & Film Equipment Exhibition 2013. BIRTV is one of the most influential exhibitions in the broadcasting industry in Asia. With recent firmware updates, PIX 260i and the 664 both offer increased functionality to the end user.

“We look forward to attending BIRTV each year, as it gives us the opportunity to meet with local content creators from the region and discuss their needs,” says Ed Capp, Global Director of Sales for Sound Devices. “Attendees at this year’s show will soon find that this year’s lineup can vastly improve their workflows—whether they are looking for production recorders or mixers.”

Sound Devices’ 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.

PIX 260i can also be controlled from browser-capable computers and tablets. When connected to a data network, transport 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.

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

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

Firmware version 1.05, also now available for existing customers as a free download, brings additional features to the already-powerful mixer, including greater flexibility and ease of use during outdoor production. The LCD Daylight Display Mode incorporates a daylight-specific color scheme for improved readability in sunlight. It also offers a new solid bar metering option for improved readability in direct sunlight. Sound Devices has also incorporated additional Front Panel button shortcuts, including LCD Daylight Display Mode (HP + SELECT encoders) and Phrase list (HP + RTN B/C) for fast entry of notes. Version 1.05 also incorporates the shortcut for activating the alternating Tone mode (SELECT + TONE)—if Tone Mode is set to Continuous in the menu, then (SELECT + TONE) activates L-Ident tone. Users also have a Track Names in Meters options (without color gradient/ramp) that are selectable for either right- or left-side display.

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

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.

Clear-Com’s Tempest 2400 and Encore Simplify Production Management for Australia’s National Memorial Theater

Wireless and Partyline Intercoms Enable Minimal Staff to Stage High-Quality Productions

ST. KILDA, MELBOURNE, AUGUST 20, 2013 ─ Clear-Com® is helping to streamline communications at Australia’s National Memorial Theater. Clear-Com’s Tempest®2400 Digital Wireless Intercom and Encore Analog Partyline Systems offer the theater’s production crew members greater mobility and audio clarity, allowing each staff to more easily handle multiple job positions at one time.

The 783-seat National Memorial Theater hosts performances from community and school groups as well as amateur and professional musical, theater and dance groups. The majority of the events that take place at the venue are amateur productions, requiring a more hands-on approach by the professional staff. At the same time, the theater typically runs skeleton crews to keep costs down for its clients. Clear-Com’s Tempest2400 and Encore intercoms, supplied by Jands Pty. Ltd., Clear-Com’s Australian Channel Partner, have provided a massive boost to the theater’s workflow, enabling the crew to be anywhere and do anything without compromising productivity. The systems also permit the theater to seamlessly integrate other intercom systems into its permanent Clear-Com setup, a capability that was previously impossible with its aging intercom system.

“For any production, I might have the person running the lighting console during the show and then serve as the rigger after the performance. Similarly, the stage manager may also act as the flyman, while the floor electrician may also be a stagehand, among other double duties,” explains Mick Crozier, Production Manager and Head Technician at the National Theater. “It’s important that we remain in contact, wherever we may be, so that we can stay abreast of any upcoming cues. I can’t tell you how much easier it is with Clear-Com because we’re able to move freely and talk with the production crew. The audio quality of the Clear-Com systems is astounding—they’re much clearer than our previous system and are great when a performance gets loud. Clear-Com has a reputation for high-quality, reliable and long-lasting products, so I know these systems will be able to support the different performances that take place here.”

Previously, on the larger shows, the single production channel was so cluttered with conversations that it was difficult for people to understand each other. The two-channel Tempest system provides two isolated communication paths to minimize the number of conversations on each channel. Lighting effects, followspots and floor electrics or audio, mic tech and the musical director speak on Channel A while all others are assigned to Channel B. Another useful feature of the Tempest system is the menu-lock function on the beltpacks, preventing non-professional crew members from accidently changing the settings during a performance.

The Tempest2400 BaseStation and Encore partyline main stations are installed at the stage manager’s desk. There is also an Encore speaker station in the stage office, which lets the theater’s supervisor or tech on duty to monitor crew communications for any issues with a particular production. The theater has also run a dual communications loop through the stage and auditorium, so wired beltpacks can plug into either loop from just about anywhere.

“In a live production environment such as the National Theater, where crew members are covering multiple positions, communication is critical to keep productions at a professional level,” says Peter Giddings, Clear-Com’s Senior Vice President, Global Events. “As the most comprehensive systems in the market, Clear-Com’s Tempest and Encore systems provide the crew with the right capabilities to make that happen.”

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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Masque Sound Appoints Stephanie Hansen to Vice President

Hansen Also Retains General Manager Role

NEW YORK, AUGUST 14, 2013—Masque Sound, a leading theatrical sound reinforcement, installation and design company, recently announced that Stephanie Hansen has been appointed vice president. In her new position, Hansen will continue to implement and drive the company’s overarching vision, with an added focus on expansion opportunities as well as the development and acquisition of new business. She will also continue to perform in her role of general manager, a title she has held since 2008.

“Stephanie has been a vital member of the Masque Sound team since joining nearly 10 years ago,” says Geoff Shearing, president, Masque Sound. “Not only does she have all the qualities you look for in a strong leader, but her astonishing track record of success in her role as general manager has made this promotion inevitable.”

Hansen first joined Masque Sound in 2004 when she moved to New York City. Spending her first couple of years working in various departments within the company, she gained comprehensive knowledge of all facets of the business. “Stephanie made a point to not only learn the daily ins and outs of Masque Sound, but also to truly invest in the audio industry as a whole, taking note of current trends, new products and key players in the field,” says Shearing.

“For the past four years as general manager, Stephanie has performed brilliantly,” he continues. “Under her leadership Masque has been able to reduce operating costs while simultaneously improving our already famous customer service and technical abilities. She has done a remarkable job of honing and refocusing the company on what is important, and I feel we are in a perfect position to take a run at the next 75 years!”

Prior to joining Masque Sound, Hansen worked at the Massachusetts Institute of Technology while obtaining her Bachelor’s degree at Harvard. During that time, Hansen began her management training while receiving a first-rate education.

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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Outline Provides Sonic Thunder for Miller Lite Oasis Stage at Summerfest 2013

GTO-Based System Delivers for Rock, Rap, Punk, EDM and Country Acts

MILWAUKEE, WI, AUGUST 14, 2013Clearwing Productions, a full service production company specializing in audio, light, stage and video support for major concerts and festivals, chose an Outline GTO-based speaker system to provide the sonic thunder at the Miller Lite Oasis Stage for Summerfest 2013. Dealing with an eclectic range of music acts from Diplo (EDM), Dropkick Murphys (Celtic punk) and Imagine Dragons (rock), to Leann Rimes (country) and Nelly (rap), among others, the Outline system faithfully delivered the essence of each musical genre for eager audiences of up to 15,000 people per show.

“Summerfest 2013 was our first experience with the Outline GTO system and I can say the sound quality was exceptional,” says Bryan Baumgardner, audio operations and logistics, Clearwing Productions. “We knew Outline was very good, but the system far exceeded our expectations and worked flawlessly. The GTO system was used to provide the sound for a wide variety of acts, such as country and electronic dance music, for example. That is hard to do and only found in the realm of the best systems. The Outline GTO is right up there.”

Summerfest, affectionately known as “The Big Gig,” is certified by Guinness Book of World Records as the “World’s Largest Music Festival,” drawing an audience of some 800 thousand to one million people over the 11 days of the event. Acts ranging from headliners to local bands perform on 11 stages, with the Miller Lite Oasis Stage as the largest walk up stage. With the GTO system powering the performances for this stage, a wide range of different audio engineers operating the system for the different acts were very impressed with the sound.

“The GTO was fantastic and a pleasure to work with,” says Mike Grabarczyk, audio systems technician for Clearwing Productions. “It really is a top-notch system. We had a lot of engineers come through, many using it for the first time, and they loved the power and clarity. Others were excited to use the GTO once again. It blew everyone away.”

The Miller Lite Oasis stage system consisted of nine GTO, one GTO-DF down fill and eight GTO-SUB subwoofer cabinets per side as the main FOH system, with four LIPF-082 Lip Fill cabinets used to even out coverage. Clearwing Productions staff used Outline’s OpenArray 3D simulation software to ensure each cabinet was properly aimed to maximize audience coverage.

“We took existing computer models of the stage area and had no problem bringing that into Outline’s OpenArray software,” Baumgardner relates. “From top to bottom, everything about the physical design of the system is very straightforward to use.”

“I think we really shocked every one of the audio professionals at the festival,” adds Tom Bensen, Sr. VP and Managing Director of Outline NA. “Beyond the intense clarity and high-definition of the GTO, the most impressive feature was the system’s headroom. It never seemed to end! We measured over 124dB C-Weighted at FOH, 80 feet from the array and we easily had 6dB or more additional headroom. To be honest, it even surprised me!”

About Outline
Outline S.r.l., based in Brescia, Italy, is a leading manufacturer of high quality loudspeakers of both powered and un-powered configurations. Founded in 1973, the company has a rich history in the development of high quality loudspeaker systems, test and measurement systems, and holds numerous technology patents. With offices in Italy, The UK, and the USA and over 50 distributors on five continents with more than 4200 venues and users to its credit, Outline has assumed its place among the leaders in the professional audio market.

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Sound Devices Update V3.02 Bring New Capabilities To The PIX 240i Video Recorder

REEDSBURG, WI, AUGUST 12, 2013Sound Devices, specialists in portable audio and video products for field production, introduces its new version 3.02 firmware update for its PIX 220i and 240i Production Video Recorders. The update changes file formatting from UDF to exFAT volumes for PIX 220, PIX 220i, PIX 240 and PIX 240i users. This new update is available free of charge to all PIX customers.

The portable PIX 220i and PIX 240i recorders bring edit-ready Apple ProRes or Avid DNxHD recording to SD/HD-SDI or HDMI-equipped video cameras, simplifying both production and post-production environments. Previously, drives formatted by PIX Video Recorders were UDF volumes. While the PIX 220i and PIX 240i Video Recorders will now format drives as exFAT, users still have the ability to record and play back from UDF-formatted drives.

“exFAT is a well-supported drive format, compatible with Mac OS, Windows and Linux, and will offer expanded convenience and functionality to our end users,” says Paul Isaacs, Technical Development Manager, Sound Devices. “As drive sizes continue to increase, exFAT scales exceptionally well, supporting volumes as large as 64 ZiB.”

While PIX 220i and PIX 240i units running version 3.02 will now be able to read and record to UDF-formatted drives, once a drive has been formatted as exFAT, it can only be accessed by a machine able to address exFAT. PIX 220i and/or PIX 240i recorders running firmware version 3.01 or earlier will not be able to address exFAT-formatted drives.

For more information and to download this latest update, visit http://www.sounddevices.com/download/pix-firmware/download/.

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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Autoscript Showcases Prompting Solutions for Texas Association of Broadcasters at 60th Annual Convention & Trade Show

AUSTIN, AUGUST 7, 2013—Autoscript, part of Vitec Videocom, a Vitec Group company, and a world-leading teleprompting company, will head to Texas this week, showcasing its latest prompting solutions at the Texas Association of Broadcasters 60th Annual Convention & Trade Show (Booth 16). For attendees at the largest state broadcast association convention in the United States, Autoscript will demonstrate its award-winning E.P.I.C. (Enhanced Prompting Information Centre) all-in-one prompter display and on-air talent monitor and ELP15 entry-level on-camera prompter, in addition to other company offerings.

“The E.P.I.C. has seen tremendous interest from broadcasters in the U.S. since its introduction, and we look forward to demonstrating its unique capabilities at the show,” says Robin Brown, product manager, Autoscript. “Attendees will find that the E.P.I.C. offers broadcasters a streamlined system that is not only quick and easy to set up, but also provides the functionality of the fully featured studio systems they’re accustomed to using.”

The E.P.I.C. is a unique all-in-one prompter display and on-air talent monitor that vastly simplifies studio equipment while retaining the advanced features and functions of the Autoscript LED prompter series. The groundbreaking design, which replaces two pieces of equipment with one, features a unique integrated flip-down talent monitor, making the system ideal for both studio and location production. Compared to separate prompter-monitor configurations, this ergonomic system reduces overall weight, increasing compatibility with robotic/support systems. It also streamlines cable management for video, tally signal and timecode display, and lowers power consumption with the capability to run the entire system via one power cable. E.P.I.C. can also incorporate Autoscript’s WinPlus newsroom software—the most popular prompting application in daily usage around the world. The Windows-based WinPlus adds the ease of point-and-click functionality to an intuitive on-screen edit display.

Also on-site will be the company’s entry-level prompter, the ELP15 Plus. The perfect prompting solution for schools, colleges, universities and broadcasters, the ELP15 Plus offers a 15-inch monitor that is energy efficient—ensuring longevity, performance and reliability, while contributing to green energy savings. It boasts 400 nits of brightness, composite, VGA and s-video inputs and the image-reversal capabilities necessary for prompting. “The ELP15 Plus is a lightweight prompter, weighing just five pounds, making it an ideal teleprompter for entry-level users, while also offering great performance in the newsroom,” adds Brown.

For more information, visit Booth 16 or www.Autoscript.tv.

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 Celebrates Commitment to Education and the Arts

EAST RUTHERFORD, NJ, AUGUST 5, 2013—As a leading theatrical sound reinforcement, installation and design company, Masque Sound has worked on projects of all scopes and sizes, including some of the theater world’s most well-known productions. Many of its most rewarding projects, however, have involved educational institutions, with the past several years having been an especially busy period for these types of endeavors.

“Throughout the years, we have provided gear and services to educational facilities, from middle schools right through to universities,” says Stephanie Hansen, vice president and general manager, Masque Sound. “Now more than ever, many schools incorporate the art and science of sound into their curriculum and we believe this is a big step forward for the industry. Masque Sound is proud to be a part of that growth.”

Over the past few years, Masque Sound has steadily built relationships in the education market, catering to standard educational facilities that support the arts as well as more specialized institutions. Notably, in late 2009, Husson University revealed its new state-of-the-art facility. Located in Bangor, Maine, Husson University opened its Gracie Theatre. Masque Sound was on hand to coordinate the audio needs for the new venue, which, in addition to hosting the university’s center for the fine and performing arts, serves as a learning environment for students from the New England School of Communications. At the Gracie Theatre, students get their grounding in digital audio, sound mixing, set design and construction, lighting, acting and electronics.

New York University’s (NYU) program in music technology unveiled a new facility in 2009, as well—a $6.5-million state-of-the-art music technology building, the James L. Dolan Recording Studio. Gensler and the Walters-Storyk Design Group (WSDG) designed the 7,500-square-foot multifunctional teaching, recording, and research space, working closely with Masque Sound on the technology selection and integration. The Masque Sound team provided a plethora of tie lines to accommodate the sheer amount of technology provided, as well as all of the equipment necessary to directly link the entire complex to the main control room.

Also in 2009, Masque Sound completed an audio overhaul at Memorial High School in West New York, New Jersey. The company helped the school, known for its annual musical productions, resolve lingering audio issues stemming from an outdated system. Other schools that worked with Masque Sound throughout 2009 – 2011 include Secaucus High School, Bayonne High School and The Wilson School in New Jersey. Masque Sound took Bayonne High School’s audio system from analog to digital, in addition to updating the school’s wireless capabilities.

Fast-forward to early 2012, and Masque Sound continued its commitment to education by completing an AV upgrade for MS-223, a nationally recognized middle school of excellence in the Bronx, New York. Contracted by Yorke Construction and working with acoustical design firm Akustiks, LLC, the team at Masque Sound provided a much-needed upgrade to the old audio equipment in the aging auditorium.

“This was a special project for a special school,” says Matt Peskie, systems engineer, Masque Sound. “As MS-223 is a model of exemplary teaching and learning, we wanted to make sure we provided it with the technology to give students the ability to explore their creative and artistic sides to the fullest. The auditorium went from an aging room to a great sound stage and was completed just in time for the new school year, a credit to all involved.”

Following the MS-223 project, Masque Sound was sub-contracted by Midland Electric and worked with acoustical design firm Criterion Acoustics to support an upgrade at Brooklyn Tech High School, another acclaimed New York City educational institution. Built in 1933, Brooklyn Tech is home to the third largest auditorium in New York, second only to Radio City Music Hall and the Metropolitan Opera House. Featuring seating for 3,100 and two balconies, the auditorium underwent a 2010 architectural makeover designed to preserve its 20th-century elegance. Masque Sound helped bring the audio capacity up to 21st-century, professional-caliber production standards, including speaker and sound reinforcement.

“Each of the auditoriums turned out nothing short of spectacular,” adds Peskie. “Masque Sound is committed to providing schools with state-of-the art turnkey solutions that allow students, and those involved in the arts programs at the schools, to fully leverage the audio resources needed for a stellar production.”

Adding to an already eventful first-half of 2013, Masque Sound looks forward to several upcoming, education-related installations, including a project at Western Connecticut State University’s Visual and Performing Arts Center with design firm Jaffe Holden, where Masque Sound will work as a sub-contractor under Ferguson Electric. The team looks forward to working with Ben Bausher again as it provides equipment for a proscenium theater, concert hall and recording studio. Additionally, Masque Sound is currently working with the New Jersey Institute of Technology (NJIT) on upgrading their sound system, with an expected install completion date of early fall. NJIT is one of the nation’s leading public technological universities.

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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DPA Microphones in Leading Role at La Jolla Playhouse

Performance Venue at the University of California at San Diego Relies on DPA d:dicate™ Recording Microphones for Variety of Productions

SAN DIEGO, CA, AUGUST 5, 2013 – Many of today’s university theaters serve as teaching facilities for dramatic arts students and as venues for professional productions. To accommodate this dual purpose, the schools often require for high-quality equipment. This is precisely why La Jolla Playhouse at the University of California, San Diego (UCSD) purchased a variety of DPA Microphones’ d:dicate™ Recording Microphones. Included among these are DPA’s 2011C Twin Diaphragm Cardioid Microphones and 4061/4062 Omindirectional Miniature Microphones, which are used during both student and staff productions.

Responsible for staging everything from student plays to comedy troupes to Broadway-level productions, La Jolla Playhouse is regarded as one of the country’s top theaters. Together with the Globe Theater in San Diego, La Jolla has a reputation for sending more shows to Broadway than all other theaters in the country combined. This high level of exposure means that La Jolla Playhouse must make sure its venues and technologies are kept to the highest standards of performance.

“We premier a lot of new productions, which requires us to be flexible in our sound and video area because with works in progress things can change every day,” says Joe Huppert, sound and video supervisor for La Jolla Playhouse and the UCSD department for theater and dance. “In these situations, we also work directly with Broadway sound designers who have set ways of doing things, and they always expect us to have DPA Microphones. Our largest venue is just 600 seats, so we look for a realistic, somewhat intimate, sound reinforcement environment where we need high-quality sound rather than high levels of sound. All of the DPA mics that I’ve encountered have filled these needs.”

Primarily used on instruments and as foot mics, DPA Microphones is a regular part of the La Jolla rotation. The theater also recently embedded its 2011C mics in various areas of the stage for “A Midsummer Night’s Dream,” for which the actors climbed around the set, and one was even suspended upside down, six feet above the stage. In this production, the sound team was able to pick up the audio for all of the performers.

In addition to hosting professional productions, La Jolla Playhouse’s five theaters also are home to a variety of student-run shows and university events. Supported by the venue’s professional carpenters, electricians and sound technicians, the students are mentored on what audio equipment will work best for their production. They ultimately take this gear and implement it on the stage.

“Since UCSD’s students use our sound equipment, it is very important that it always works well,” explains Huppert. “We’ve used some other brands as foot mics, but we found them to be much more difficult to EQ and get a good sound. When we throw in a really good mic, like DPA, it makes it easier for us to teach our students how to get a good production.”
The theater also occasionally rents DPA’s 4021 Compact Cardioid Microphones to use in addition to the 2011Cs as foot mics for its high-end performances, such as the Second City Comedy Troupe that often performs at the school. At these times, Huppert calls on the theater’s sound designer, Eric Stahlhammer, owner of Greater Sound Designs, to specify the gear.

“The DPA mics are just way better in terms of flatter response, full coverage and off-axis response,” says Stahlhammer of the 4021s and 2011s. “We didn’t have an issue with feedback and what was going into the microphone was clean from the PA. Joe [Huppert] was in need of a small shotgun foot mic for Second City, and we both had good luck when we tested the 4021. We ultimately selected the 2011C because we saw it as an interesting option that was great for this application because of its tighter pattern. DPA has an incredible reputation for producing top of the line, world class stuff and when we saw this microphone, we knew it was a good option.”

The next show that will feature the DPA mics is the theater’s summer production of Sideways the Play, which opens July 21 and is performed by the Ruskin Group Theatre Company. Adapted by Rex Pickett from his own novel, Sideways is the comedic story of two friends, Miles and Jack, and their epic journey across the Santa Ynez wine country before Jack gets married. For this production, Huppert is using the DPA mics in a close-quarters trap position.

A theater with a long, storied history, the current incarnation of La Jolla Playhouse has been around for more than 30 years. It consists of five theater buildings, which seat anywhere from 50 to 600 guests. The University California, San Diego is one of the world’s leading public research universities.

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 Swings to the Beat for Chicago’s Theatrical Event of the Season, The Jungle Book

Equipment Package Captures Indian-Inspired Music to Enchant Audiences of All Ages

CHICAGO, JULY 29, 2013 – This summer The Jungle Book has swung into Chicago’s famed Goodman Theatre, enchanting audience members with its exuberant song and dance routines set against the backdrop of the Indian jungle. To give this new stage musical’s sound an authentic feel, Sound Designer Ray Nardelli turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, for a custom audio equipment package.

The Jungle Book is a music- and movement-filled adventure chronicling young Mowgli’s coming-of-age in the Indian jungle. Tony Award-winning Director Mary Zimmerman’s adaptation is based on Nobel Laureate Rudyard Kipling’s 1894 collection of stories and Walt Disney’s 1967 animated film, presenting the movie’s best-loved songs in wholly new Indian-inspired arrangements.

Nardelli’s involvement with The Jungle Book began in February, when Zimmerman and Music Director Doug Peck held a music workshop that brought together six Chicago swing/jazz musicians and six Indian instrumentalists playing sitars, tablas and carnatic violins to fuse songs and styles to create a sound unique to this production.

“The challenges in designing the sound for The Jungle Book were two-fold,” says Nardelli. “Not only did we have to balance these Indian instruments with Western jazz instruments, but we also had to integrate the musicians into the show by moving them from the orchestra pit to the stage for certain songs. As a result, the channel count of the show skyrocketed to a whopping 140.”

Moving the musicians between the orchestra pit and the stage several times during the show required a highly mobile audio package. To meet this challenge, Masque Sound created a custom solution for The Jungle Book that adapted the microphones into the wireless. According to Nardelli, “Blending the music with the action on stage was critical to the overall atmosphere of the show. Masque Sound’s work in micing up the Indian instruments, really helped make this possible. When they came on board, I knew we were going to have all of the expert service and equipment we needed to achieve this.”

For The Jungle Book, Masque Sound provided a custom Sennheiser wireless microphone package as well as a Yamaha CL5 digital mixing console. The company also supplied the show with an extensive speaker package from Meyer, including 13 M’elodie speakers, three Galileo UPMs for front fill, two 600-HP high-powered subwoofers and two Rio 32×16 boxes (one for the actors and one for the musicians’ pit). Masque Sound also supplied UPMs for each of Goodman Theatre’s 16 opera boxes, as the boxes were too far off axis. In addition, Masque Sound worked with Nardelli and David Naunton, the Goodman’s House Audio Supervisor to provide frequency coordination for the show to ensure all the frequencies in use did not cause signal interference.

“Working with Masque Sound always takes a huge weight off my shoulders,” adds Nardelli. “I have worked with them many times in the past and I just trust them. Their services are really the best in the industry. They are very conscientious of the details, and always take great care to ensure we are happy with their services.”

The Jungle Book is playing through August 18 at Goodman Theatre, located at 170 North Dearborn in Chicago. For more information, call (312) 443-3800 or visit www.GoodmanTheatre.org.

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.

Sound Devices Demonstrates 788T with Latest Firmware and Production Capabilities at SMPTE Australia 2013

SYDNEY, JULY 22, 2013 — Sound Devices, specialists in portable audio and video products for field production, will be on-site at The Society of Motion Picture and Television Engineers biennial conference and exhibition, SMPTE13, demonstrating its latest solutions for content creators in the motion-imaging, sound and broadcast industries (John Barry Sales, Stand C29). The company will exhibit its flagship 788T and 788T-SSD digital audio recorders with the latest firmware update, Version 3.0.

With the influx of multi-tracking in the field and on set, the 788T has become the next-generation digital audio recorder for advanced sound mixers who require additional isolated tracks. It boasts eight full-featured inputs and records to up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in a compact package. Routing flexibility allows each input to be routed to left/right mixed tracks, isolated tracks or aux tracks.

Further positioning the 788T as one of the foremost solutions for today’s evolving production standards, Version 3.0 is a free download for all existing and new 788T users offering a 192-kHz sampling rate for up to four tracks (L through B) recording to one drive. It provides for scene, take, notes, false takes, circle and track name metadata to be synched between C-Linked 788Ts. Version 3 firmware also features digital input limiters for AES3 and AES42 inputs, perfect for digital microphones. Additional enhancements include a left/right tone identification mode with a shortcut to toggle the mode on or off, added user-customizable CL-9 encoder adjustments, which affect trim gain and EQ frequency, and the option to decode MS into LR MIX only and leave ISO tracks as un-decoded MS.

In addition, Version 3.0 offers a new timecode mode, “Free Run – Auto Output Mute.” This is the same as the “Free” run mode, but mutes the “Lemo” timecode output when stopped and can be used to roll external devices when the “Rec-Run” timecode is not suitable. In addition to overall faster drive formatting, the latest firmware features an upgraded external low-voltage threshold, now 11.3V, along with various overall system improvements and optimizations.

“SMPTE is a leading technical society for the industry and we look forward to attending the conference once again this year,” says Ed Capp, Global Director of Sales for Sound Devices. “We believe attendees will be pleased to learn more about the new upgrades to the 788T and how the product can continue to be a mainstay in their production rigs, especially as audio production techniques continue to evolve.”

788T/788T-SSD users can download Version 3.0, by visiting: http://www.sounddevices.com/download/788t-firmware/download/.

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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