A virtual press conference from Sound & Video Contractor

Archive by Vanessa Sanchez

SSL Announces Live Console Distribution in France and Italy

“SSL is entering the live audio world with one of the most exciting products since the invention of the Line Array”

PARIS and MILAN – With industry acclaim for the arrival of Solid State Logic in live audio production continuing to grow, SSL has started to roll out its commercial distribution network for the live sector. Distribution for the SSL Live console in France will be handled by SSL France with Juke Box Ltd as the official SSL Live dealer. The console will be distributed in Italy by Cablateam.

“SSL has been established for a long time in both France and Italy,” says Philippe Guerinet, Director of International Sales for SSL. “We have been working closely for many years with Giovanni Blasi in Italy and JB Lierre in France for our music products, so the SSL Live was a natural addition to their portfolios. The conclusion of some of the first commercial sales in these territories is clear evidence that we are on the right track.”

“Continuing the very successful cooperation between our two companies over the past 10 years, we are delighted to embark on a new adventure with the Live console,” says JB Lierre, Owner and Managing Director of Juke Box, the official main dealer for Live in France. “SSL is entering the live audio world with one of the most exciting products since the invention of the Line Array!”

“I am glad that SSL has expanded into the live performance market and, based on the level of interest we’ve already seen, I am confident that SSL Live will soon establish itself as the most wanted console,” says Giovanni Blasi, head of Cablateam. “The SSL brand name will continue to remain in high regard for live audio applications with the Live console.”

www.solidstatelogic.com/live
www.jukeboxltd.com
www.cablateam.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.

DPA Microphones are on the Road and in the Studio with Alicia Keys and Ann Mincieli

Engineer, technical director and album coordinator for the GRAMMY® Award-winner relies on a variety of d:dicate mics to heighten the sound of Keys’ instruments at Jungle City Studios and during her Set the World on Fire tour

NEW YORK, NOVEMBER 20, 2013 – Anyone who has heard a recent Alicia Keys song, or has attended one of her live concerts during her Set the World on Fire Tour, has experienced the sound of a DPA d:dicate™ Recording Microphone. That’s because engineer Ann Mincieli, who is Keys’ studio technical director and album coordinator and helps with tour programming, uses DPA mics to supply a versatile and pristine sound for Keys’ piano on the road and during studio sessions at Mincieli’s Jungle City Studios in New York.

Among Mincieli’s DPA collection are several 4023 Compact Cardioid Microphones, as well as the 4011A Cardioid Microphone and 4006 Omnidirectional Microphone. “I first started using DPA Microphones because they are really low profile and sound incredible,” says Mincieli. “With the live show kit for the 4023 microphones, I’m able to get an incredible piano tone with the lid closed, which allows me to hide the cables. I sometimes use the 4011s on acoustic guitars, but they’re my choice microphones for recording Alicia’s piano. All of the company’s microphones sound incredible and are really versatile.”

First introduced to DPA Microphones by Eli Ward, Production Manager on Keys’ last tour, which was entirely acoustic, Mincieli found the 4023 Compact Cardioid Microphone to be just the element she needed to bring out the best sound of the musician’s piano.

“When I first heard the microphones, I was just blown away,” continues Mincieli. “We had been experimenting with a few other mics and I just knew the DPA 4023s were the perfect fit. They’re versatile mics that can transition from the stage to promo events to the studio. The 4023s are especially incredible microphones that really fill the void left by other products on the market. Many people will forgo trying to perfect the musician’s sound and will start using a module because they don’t have the right microphones. The 4023s provide a really beautiful, warm tone and a low profile that makes it easier for production crew members to incorporate them unobtrusively into the visual aesthetics needed for a set.”

The engineer also expressed interest in trying out some of DPA’s latest microphone options, including the d:vote™ 4099 Instrument Microphones and d:facto™ Vocal Microphone, for future performances.

With more than 20 years of experience in the music business, Mincieli has travelled the world engineering for some of the industry’s most renowned artists, including Jay-Z, Jennifer Hudson and Whitney Houston. In addition to her work as an engineer, Mincieli is the founder of Jungle City Studios, where she draws upon her extensive background to offer clients a premier recording environment.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

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

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Sound Devices Introduces the Next Must-Have Audio Product, the 633 Mixer

Six-Input Mixer with 10-Track Recorder Offers Unprecedented Capability in a Compact, Portable Device

REEDSBURG, WI, NOVEMBER 19, 2013 — Sound Devices, specialists in portable audio and video products for field production, introduces the 633, a six-input mixer with integrated 10-track recorder. It includes Sound Devices’ proprietary PowerSafe technology and a unique four-way power supply for maximum operational runtime. As the next must-have production tool, the 633 has a full complement of I/O designed into a compact, portable device, ideal for over-the-shoulder applications.

The powerful 633 mixer/recorder features six inputs, with three high-bandwidth mic/line XLR inputs complete with phantom power, high-pass filter, input limiter and variable pan. Three additional line-level inputs appear on TA3 (mini-XLR) connectors. All inputs are assignable to any output bus. AES digital I/O, including support for AES42 digital microphones, is available.

The 633 offers 10-track 24-bit, 48 kHz uncompressed polyphonic or monophonic broadcast WAV file recording (96 kHz for eight tracks, 192 kHz for six tracks) or timecode stamped MP3 recording to CompactFlash and/or SD cards. All six inputs plus Left/Right and Aux 1/2, can be recorded to individual tracks. Similar to Sound Devices’ 12-input 664 Production Mixer, the 633 offers dual card slots that record to either one or both cards simultaneously, with the added ability to assign different tracks to each memory card.

Unique to the industry, the 633 is equipped with a four-way power supply and Sound Devices’ proprietary PowerSafe technology. This four-way powering allows for multiple, simultaneous power sources including external DC on a Hirose 4-pin locking (12-18 V), two removable and independent L-type Lithium-ion batteries and internal AA battery powering (six-AA). The unit detects when power sources are removed and seamlessly transitions to an available power source. With its PowerSafe circuitry, when all power is removed the unit remains on for 10 seconds to close all file operations and properly shut down. With PowerSafe, a complete power loss has no effect on the recording. PowerSafe also provides two-second ‘power-on-to-recording’ so the mixer is ready for operation at a moment’s notice.

The 633’s high-accuracy, Ambient-based timecode generator/reader assists in multi-camera and double-system sound applications. All common production timecode rates and modes are available. Extensive file metadata is supported along with the timecode. The 633 also features a keyboard port for quick and easy metadata entry.

Designed for the demands of field production, the 633 has easily accessible, tactile front panel controls. Its LCD-based setup menu offers easy navigation and control of its extensive features. Menu options for metering, display and headphone favorites are among the selections that can be saved to scenes, which save the complete state of the mixer to memory cards in order to quickly reproduce a setup.

The 633 is also available as a complete package, the 633-KIT, which includes the unit plus all of the accessories needed for use in the field. This production-ready kit includes the 633 mixer, the CS-633 Production Case, two L-type Lithium-ion batteries, one SD and one CF card, plus TA3-to-XLR cables.

The 633, like all Sound Devices products, is designed to withstand the physical and environmental extremes of the field. Its top and bottom chassis panels are made from molded, metalized carbon fiber for superior durability and weight reduction. The chassis panels are also gasketed for water resistance.

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.

Autoscript Showcases E.P.I.C. All-In-One Prompter Display and On-Air Talent Monitor at CCW 2013

Company Also Exhibits Variety of Accessories Designed to Solve Real-World Challenges

NEW YORK, NOVEMBER 12, 2013 — Autoscript, part of Vitec Videocom, a Vitec Group company, and a world-leading teleprompting company, showcases its award-winning E.P.I.C (Enhanced Prompting Information Center) at Content & Communications World (CCW) 2013 — Vitec Videocom Booth 1013. A range of innovative accessories, including the +ClockPlus+ Timecode Display Unit and +TallyPlus+ Numbered Cue Light and Mount, are also on exhibit at the show.

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 its 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.

“E.P.I.C. addresses many major concerns for today’s broadcasters and we are excited to be able to bring it to those in attendance at CCW 2013,” says Robin Brown, product manager, Autoscript. “Displaying our related accessory products alongside E.P.I.C. demonstrates our commitment to making Autoscript the go-to manufacturer for all our customers’ prompting needs.”

Autoscript’s +Clock-Plus+ is an LED SMPTE/EBU timecode display that can change in color from green to red when a suitable tally input is applied. The clock face has 2.25” tall digits that display HH:MM:SS A/P in 12-hour mode or HH:MM:SS in 24-hour mode. The timecode input is taken from either VITC embedded in the video input or from LTC. When a timecode source is connected, the clock will instantly set itself to the input time. If the timecode source is removed, the display will continue to update the time under control of an internal crystal oscillator.

Also at CCW 2013 will be the +TallyPlus+, a unique camera number system that features a large LED indicator. This displays the camera in green while in standby mode, then in red when the camera is live. Switching from green to red is achieved by a photo-electric cell that can be attached to the camera tally light. +TallyPlus+ retrofits to the whole range of Autoscript TFTs and has the unique feature of a second photo-electric cell built into the rear of +TallyPlus+. This docks with the cue light on the TFT.

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.

RTW To Demo TM3, TM9 Audio Meters at the Group One Booth During CCW 2013

NEW YORK CITY, NOVEMBER 11, 2013RTW, a leading manufacturer and distributor of professional audio metering and control devices, is pleased to announce that during this year’s CCW show, Group One (Booth 859) will exhibit RTW’s TM3 and TM9 TouchMonitors. The monitors will be fully equipped with the latest software options, including the TM3 firmware update 2.50, which includes the new Time Test Control option and the popular RTA analyzer for the TM9. RTW invites attendees to stop by the Group One booth for demonstrations of the products.

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

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

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

TouchMonitor Series, TM9
The TouchMonitor series is a range of products that RTW designed to support all relevant loudness recommendations, such as EBU R128 or ATSC A/85, with true peak metering, flexible I/O options with up to 16/32 input channels, a fully modular software design and more. On display will be the TM9, which combines unprecedented flexibility and modularity with an intuitive, nine-inch GUI touchscreen. RTW’s latest firmware, version 1.14, for the TouchMonitor series includes various performance and stability optimizations, as well as new function enhancements and improved ergonomics.

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.

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Sound Devices Latest Firmware Adds Additional Inputs to 664 Production Mixer

Unit offers 12 Analog Inputs and 16 Recording Tracks

REEDSBURG, WI, NOVEMBER 5, 2013 — Sound Devices, experts in portable audio and video products for field production, continues its tradition of adding significant features to its products through regular firmware updates. The latest update, Version 2.00 for its flagship 664 Production Mixer, unlocks six additional line-level inputs on this already powerful field mixer. The 664 now offers 12 analog inputs and 16-track recording without requiring the CL-6 Input Controller.

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, and input trim control. Version 2.0 firmware provides access to six additional, menu-controlled, line-level inputs for a total of 12 inputs. Inputs 7-12 appear on TA3 connectors shared with the direct outputs. Inputs 1 and 6 can be set to accept AES3 or AES42 for digital microphones, each with its own SRC for simplicity in system clocking.

With version 2.00, the 664 can record 16 track files, which include all 12 inputs plus its four outputs, without requiring the CL-6 Input Controller. The CL-6 continues to be an important accessory for users requiring hardware fader control of inputs 7 through 12. Firmware revision 2.00 also brings additional LCD metering modes to support the expanded input capability. Three menu-set metering modes are selectable from the front panel meter button. Meter modes offer combinations of input and output levels.

The 664 records 16-track monophonic or polyphonic broadcast WAV files or stereo MP3 files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, and feature up to three seconds of record pre-roll. With its dual card slots, the 664 can record content to either or both cards simultaneously, with the ability to assign different tracks to each memory card. With cards not optimized for multi-channel monophonic file recording or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD display when starting a recording. In addition, when formatted in the 664, SD cards 64 GB and larger are automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32.

The 664 offers greater flexibility and ease-of-use with its “LCD Daylight Display” mode, which incorporates a daylight-specific color scheme and solid-bar metering option for improved readability in direct sunlight. In addition, it includes a high-precision, Ambient-based timecode generator/reader for multi-camera and double-system sound applications.

Existing 664 users can download version 2.00 for free by visiting http://www.sounddevices.com/download/664-firmware/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Professional Wireless Systems (PWS) Savors the Moment at Inaugural Life is Beautiful Festival

When the first-ever Life Is Beautiful music, art and food festival, took over 15 square blocks of downtown Las Vegas on Oct. 26th and 27th, Professional Wireless Systems (PWS) was on location providing frequency coordination for the more than 80 musical acts, performers and media outlets throughout the two-day celebration.

In its inaugural year, the Life is Beautiful festival featured a diverse lineup of musical acts from a variety of genres including The Killers, Kings of Leon, Beck, Vampire Weekend, Imagine Dragons, Janelle Monae, Passion Pit, Jurassic 5, Danny Brown, Childish Gambino Pretty Lights, STS9 and Empire of the Sun, to name a few.

“PWS was happy to be part of this new festival, and while we have extensive experience in providing frequency coordination for events of this size and scope, it was not without its challenges,” says Jim Van Winkle, general manager, PWS. “There was quite a bit to consider logistically, because the festival was situated over a large area right in the middle of downtown Las Vegas near Fremont Street.”

Jim Van Winkle and John Garrido from PWS arrived two days prior to the event in order to conduct a frequency sweep to identify all frequencies in the area. A total of four PWS staff members were onsite during the two-day celebration to monitor and ensure that any potential issues were kept to a minimum. With six stages and more than 520 frequencies, PWS utilized its proprietary Intermodulation Analysis Software (IAS) and spectrum analyzers to determine occupied bandwidth and track interference sources, ensuring that both the musical acts and attending media were on a safe frequency, once located.

PWS worked closely with Another Planet, the production company for the festival, and all the stage managers, before and during the event to have as much information as possible about the wireless requirements needed by all of the performers and media. PWS also established and coordinated frequencies for the PA companies, including VER Audio and Solotech, to use for the entire weekend.

“Whenever working on an event of this magnitude, there is always a media presence; making sure that they are on the correct frequency is crucial, so that there is no interference with the musical acts,” adds Van Winkle. “You always have to expect last minute changes to arise but our crew works really hard to address these as they come up. The final result turned out great and we look forward to being part of the festival next year.”

In addition to managing frequency coordination, PWS’ Domed Helicals as well as its original Helical Antennas, were onsite for the festival. The PWS Domed Helical Antenna boasts the highly successful circular polarization configuration, pioneered by the company’s original Helical, but with the unit sealed within a unique new compact “domed” design.

In addition to the GX-8 Combiners that are already a part of several of the bands’ rigs, PWS also had extra GX-8 Combiners on-hand in case the need arose. One of the musical acts was so impressed with the GX-8 that the group decided to use the product for its next show. PWS’ GX series of combiners, the GX-4 and GX-8, offer selectable high and low output settings as well as above unity gain on output. Helpful for very anemic transmitters, the combiners in the GX series are considered RF limiters because of their proprietary Automatic Level Control (ALC) circuitry.
For more information, visit 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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DPA Microphones Enhances Main Stage Talent at Annual Monterey Jazz Festival

MONTEREY, CALIFORNIA, NOVEMBER 4, 2013 – The Monterey Jazz Festival is one of the longest consecutively running jazz festivals and has featured some of the most riveting performances from such music industry icons as Billie Holiday, Etta James and Louis Armstrong since its inception more than 50 years ago. Since then, the bar has been set high, so that show audiences, which have grown to more than 8,000 at the arena stage alone, now expect the legacy to live on with outstanding performances each and every year. In order to not disappoint, sound engineers work behind the scenes to address the challenges of having to deliver clear sound in an open arena setting with minimal visibility of mics. DPA Microphones’ d:screet™ 4060 Omnidirectional offers just the solution, as its low-profile, natural sound accommodates engineers for every performance or environment.

The activity backstage at the annual Monterey Jazz Festival is usually chaotic as several guest engineers rifle through the festival’s audio inventory to select mics best suited to each performance. Among them is Nick Malgieri, one of the festival’s freelance audio specialists, who always reaches for the mic he says he trusts most, the DPA d:screet 4060. With the ability to amplify the most natural sound, the miniature mic is low profile so as not to distract the performers or audience members.

“I was really happy I was responsible for the main stage, because I had first pick of what mics I wanted to use,” says Malgieri. “I have been using DPA at this event for a few years now. Because jazz musicians all have opinions on microphone placement, and prefer something low profile, I love the DPA 4060. It removes that visual barrier for performers and audiences, so they don’t even notice the microphone is there. That means I get to really do my job and put the mics where I want them.”

Originally designed for the live theater setting, and for close-miked instrument applications, the sound quality of the DPA 4060 is an accurate omnidirectional pattern, and therefore does not need to be aimed directly at the instrument to achieve quality pickup. While Malgieri uses the 4060 primarily for the piano, he relies on it to meet his needs amplifying the pure sound of many diverse instruments at the jazz event.

“Every year there’s at least one act that is a large band, especially with a lot of percussion, and loud stage volume,” continues Malgieri. “Traditionally it’s a really difficult environment for sound engineers, particularly monitor engineers. For the DPAs to work well in that environment really speaks to their versatility.”

Malgieri often finds himself sharing his setup with fellow engineers backstage, who at first may question his choices until they hear the difference in a live performance.

“The 4060’s achieve great gain before feedback,” he explains. “Some engineers underestimate the power of an omnidirectional microphone to handle the job for a large stage. They are more used to directional microphones that have less stage bleed, but once they hear the real instrumental tone on a large PA system, they realize the DPA d:screet 4060 sounds more natural than any other microphone, and then they change their minds and are eager to try DPA themselves.”

Malgieri has mixed the past several Monterey Jazz Festivals as a freelance audio specialist for McCune Audio/Video/Lighting. He originally discovered DPA Microphones while mixing in a theatrical setting, and has been a fan ever since.

Founded by San Francisco jazz radio broadcaster Jimmy Lyons in October 1958, the Monterey Jazz Festival features over 500 artist performances nonstop on eight stages for three nights and two days spread on 20 acres of land at the Monterey County Fairgrounds in Monterey, California. The annual event is one of the longest consecutively run jazz festivals.

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.

Masque Sound Helps Audiences Have the Time of their Lives at North American Tour of Smash Hit Musical, MAMMA MIA!

When the 2013/2014 North American touring production of the smash hit musical MAMMA MIA! kicked off at Clemson University’s Brooks Center on September 30th, Associate Sound Designer David Patridge turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package to bring Sound Designers Bobby Aitken and Andrew Bruce’s vision to the stage.

Since 1999, the musical MAMMA MIA! has been captivating audiences in London, Toronto, Broadway and all over the world, as it tells the story of the dynamic relationship between a carefree mother and her daughter. The daughter, hoping to build a bond with the father she’s never known, decides to invite him to her upcoming wedding, only to discover that her father could be one of her mother’s three past suitors. A story full of laughs, love and lust, MAMMA MIA! features the hit songs of the Swedish pop group ABBA.

This mark’s Patridge’s 12th MAMMA MIA! production in 14 years, as associate sound designer, and although he is intimately familiar with the show, the 2013/2014 North American tour was not without its obstacles.

“The challenge for this incarnation of the musical was to take the signature MAMMA MIA! sound and put it into a more compact, fast-moving production without cutting the things you need to make the show sound big,” says Patridge. “Just because the show is moving from city to city quickly doesn’t mean the size of the venue is going to be small. It was important that we did not downscale the brand or incur any kind of loss of feel for the amazing show that MAMMA MIA! is. Thanks to the help of the talented professionals at Masque Sound, we didn’t compromise on anything. The show looks and sounds great.”

In order to keep that big sound Patridge was looking for, Masque Sound provided Meyer M’elodie speakers, the largest speakers that could feasibly be put in a tower footprint, yet still fit in all of the smaller theatres on the tour. “We took the footprint that we were allowed based on the technical director’s specs and then we looked at speaker choices,” adds Patridge. “We went with self-powered M’elodie speakers, so we wouldn’t need amplifier racks, which take up extra room in the truck and extra time to connect. We used the M’elodie and Meyer 500HP powered speakers in a tower arrangement, giving us a lot of impact for the size of the footprint. Whether we need to figure out the sizes of trussing needed, engineering concerns, dolly selection, etc., Masque Sound has always been fantastic with figuring out all of the details and on a traveling production that is extremely important.”

In addition to the Meyer M’elodie and 500HP speakers, Patridge also used Meyer 700HP subs, as well as Meyer UPM-1Ps for front fills and under the balconies. Masque Sound provided a DiGiCo SD10 digital console, because the compact size and powerful features of the console make it ideal for a traveling production. In addition, the actors are outfitted with DPA 4060-61 omnidirectional mics. Masque Sound also provided Sennheiser 5212 radios with Sennheiser EM3532 receivers.
“One of the things about Masque Sound that I like is that there is a valuable brain trust of people,” says Patridge. “Professionals like Gary Stocker are not afraid to help partner with us as designers and invent solutions, so I don’t have to be on my own when I’m trying to figure out how to support these speakers and towers, especially on a production that moves from city to city. I know I can ask Gary what we can do to facilitate my vision, and the people at Masque Sound will design and fabricate whatever I need. In addition, Eric Rivera at Masque Sound does an excellent job of coordinating the frequencies from stop to stop. He has the itinerary in hand and is constantly forwarding the list of frequencies to our road personnel. Fortunately, Masque Sound uses all the tools at hand, including FCC charts and intermod study programs, and if there is a problem with anything, I know that they will pick up the phone or answer an email to get us out of a bind.”

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

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Related Topics: Large Venue, Microphones |

BT Sport selects Autoscript E.P.I.C. prompting units for new studios

All-in-one prompter and monitor units provide many efficiencies

Twickenham, UK: 28 October 2013Autoscript, part of Vitec Videocom, a Vitec Group company, supplied three E.P.I.C. (Enhanced Prompting Information Centre) units to BT Sport, the new sports entertainment network, for its brand new studio facility at the Queen Elizabeth Olympic Park, London.

BT Sport transformed the former Olympic International Broadcast Centre into the new home of BT Sport 1, BT Sport 2 and ESPN in just 21 weeks, and began broadcasting on 1 August 2013. The impressive facility includes three large TV studios, seven sports production galleries, a master control room, 20 edit suites, a dubbing theater, and an audience holding area.

An E.P.I.C. unit was installed in each of the three studios, and the units are being used on a variety of programme genres including live sports coverage, post-event analysis shows and entertainment programmes.

Andy Beale, Chief Engineer, BT Sport, said, “With such challenging timescales our technology strategy required us to select the right equipment and vendors. Autoscript’s prompters instill confidence in our on-screen talent and also integrate easily into our production workflow. The design of the E.P.I.C. with its all-in-one prompter and talent monitor set-up provides many efficiencies, and the units were delivered and installed in accordance with our strict schedule.”

Robin Brown, Product Manager, Autoscript, said, “Prompting is a crucial element to any sport or live production workflow which is subject to rapid change throughout a programme. Autoscript systems enable the producers to effortlessly make those changes to the script or run-order on the fly and transfer those changes seamlessly to the prompt output, allowing presenters to concentrate on what they do best. The E.P.I.C. offers all these advanced features and functions that our customers have come to expect of any Autoscript system while also vastly simplifying the studio equipment required.”

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, Litepanels, OConnor, Petrol, 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.

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