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RTW TM3 TouchMonitor Keeps It Level for Broadcasters

Budget-Conscious Stations Across the U.S. Employ TM3 for CALM Compliance

LUTZ, FLORIDA, JUNE, 27, 2013 – When it comes to helping his customers at U.S. broadcast stations comply with the CALM Act, Alan Vernick, president of Vernick Technology Incorporated (VTI), a manufacturers’ representative, value-added reseller and broadcast technology systems integrator, turns to RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control. Since 2012, the Florida-based Vernick Technology has implemented RTW’s TM3 TouchMonitor audio meter at its customer broadcast stations across the country, providing them with a simple, easy-to-use solution for monitoring audio levels in order to normalize them, throughout several stages of the broadcast production process.

According to Vernick, many U.S. broadcast stations are aware that they need to incorporate an audio-leveling device to comply with the CALM Act, but don’t know how to fit one into their production workflow. He has found that employing an RTW TM3 TouchMonitor at several key phases of the production and on-air workflow enables customers to monitor their audio levels to comply with normalization, quickly and efficiently. He recommends implementing various TM3s to monitor the output of a station’s on-air master control switcher, server ingest stations and the production control room.

“A lot of stations try to monitor the audio level downstream, which is what you need for FCC compliance,” says Vernick. “One obvious place for the TM3 is on the output of the master control switcher, before the audio level control. If you try to adjust audio levels manually ahead of that, you’re looking at a signal that has already been processed. You’ll want to use it to monitor the output of the server ingest workstations as well, when they are first taking in all the content, so that you can ensure everything is at the same level.

“As for the production control room, broadcasters still mix their microphones with VU-meters, so they need a TM3 or other product in the RTW TouchMonitor line, to monitor and adjust the LKFS levels.”

With its compact, 4.3-inch touchscreen and stylish exterior allowing for horizontal and vertical placement, the TM3 is ideal for small control rooms, OB vans, editorial suites and similar environments. It includes features of the larger TM7 and TM9 TouchMonitors, but at a more budget-friendly base price. As with the entire TouchMonitor line of meters, the TM3 allows for monitoring separate signal groups and using multiple instruments at the same time. This way, up to 16 analog or digital signals (with 3G-SDI interface up to 32) can all be displayed for the engineer monitoring the audio levels. The TM3 also includes the Magic LRA instrument, specifically designed by RTW, for intuitive visualization of the loudness range and integrated-loudness parameters. In addition, RTW recently launched the TM3-SWMC Software license, an add-on option that incorporates a moving-coil emulation display.

“We like that the TM3 has an LKFS meter that can be customized according to the user’s needs,” adds Vernick. “It’s a great LKFS meter, depicting the three different durations most stations want to measure all on one screen, along with manual start/stop and peak meters. As a pre-set feature, the TM3 displays the LKFS number in a big, bold numbers, however you can customize it any way you want. It’s simple enough to use that my customers who wouldn’t know how to customize it can still work with it. All I need to do is tell them how to read the meter and what kinds of levels they should be targeting, and they can start working with it.”

While Varnick also sells other models in the RTW TouchMonitor line—such as the TM9 TouchMonitor to larger broadcast stations—he finds the TM3 to be ideal for many applications for his broadcast customers. It works well with mono or stereo outputs and easily fits into environments such as a master control room, which are often cluttered with multiple types of gear. In addition, the TM3 is equipped to work in surround sound, as well, especially important as more broadcast stations adopt this as their standard.

“RTW is very pleased that its TM3 TouchMonitor has become so popular with the U.S. broadcasters,” says Christopher Spahr, Director of U.S. Sales and Operations. “We designed this product as a means of giving broadcasters on a budget many of the same great features found in other models of the TouchMonitor line, but at a more affordable price point that still enables them to easily monitor audio levels, in compliance with the CALM Act.”

Created to help adhere to all major loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB, RTW’s TouchMonitor family of products comprises the TM7, TM9, TM3 and TM3-3G audio meters.

ABOUT VTI
VTI is a broadcast equipment supplier and systems integrator serving the US broadcast industry since 2001. VTI takes pride in providing a high level of customer service whether it is for a small order or a full system. We always want to know how a product is going to be used so we can recommend the right product for the needs. We are experts in all aspects of ATSC encoding, master control rooms and production control rooms. We represent the best products in the broadcast industry. For more information on VTI, visit www.vti.com, call 866-228-1570 or email: DigitalDoneRight@VTI.com

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 includes 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 the Cologne, Germany-based RTW, offering further proof of the company’s continued 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, further reducing product delivery lead times.

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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Clear-Com’s HME DX210 Wireless Intercom Promotes Safety and Increases Efficiency for Amtrak

Intercom System Offers Clear and Customized Wireless Communication Over Long Distances for the Amtrak T-SAVe Operation

WASHINGTON, JUNE 27, 2013 – Clear-Com® is pleased to announce that its HME DX210 2.4 GHz digital wireless intercom has improved crew communications aboard Amtrak’s T-SAVe (Track Structure Assessment Vehicle) inspection car. The DX210’s audio clarity, increased channel count and large coverage area promote clear communication and augment teamwork during critical operations by ensuring that all directives are heard loud and clear.

Amtrak employs the self-propelled T-SAVe car to inspect the tracks, roadbeds and overall quality of its rail lines. Its crew members must communicate with each other both while inside the car and while working behind, along the sides and underneath the car. Depending on their location, the operators might be anywhere from 10 to 75 feet away from the other crew members, sometimes working in noisy environments. This separation proved to be a challenge to the Survey Director and crew members, requiring one or more individuals to loudly repeat the vital information until it was heard on the other end. With the DX210’s ability to provide sufficient wireless coverage across those distances, this issue has now been resolved.

“Although a combination of experience and good judgment are important, they are not enough to ensure safety when operating Amtrak’s T-SAVe car,” says John Kowalski, Director of Sales for Broadcast Networks, Clear-Com. “Clear-Com’s HME DX210 intercom increased safety in that work environment by allowing clear communication and better coordination among the entire team.”

Amtrak acquired a two-channel HME DX210 system. The Amtrak employees use the DX210 base station that is located in the first third of the T-SAVe car, in a combination with the compatible BP-200 wireless beltpacks. Crew members wear comfortably-fitted HS-16 lightweight and HS-15D noise-canceling headsets over or under their hardhats. When crew members go outside the car, they can flip their microphone back and be able to easily communicate with those not on the intercom.

The DX210 system’s Spectrum-Friendly™ Technology and Frequency-Hopping Spread Spectrum (FHSS) Technology allows for interference-free communication between the crew members. These features, combined with the DX210’s ability to provide point-to-point and direct communications was an improvement from the company’s previous system. Prior to using Clear-Com, the Survey Director could only give instructions to one fixed location through a direct microphone. Now, with the DX210’s grouping function, everyone can hear directives simultaneously on the same intercom channel. The system can also be programmed to exclude those that do not require instructions from the Survey Director.

The DX210 has also improved Amtrak pilots’ communications with crew members. The pilot, who is responsible for informing the team about the railroad on which the T-SAVe will travel, used to have to repeat what the front driver said to each crew member. Using the DX210 system has saved time since the crew members can now hear directly from the pilot, eliminating the information repeating step. This has added tremendous efficiency to the overall communications process.

Amtrak purchased the HME DX210 system from Dale Pro Audio, a leading supplier of professional audio equipment in New York and a Clear-Com dealer.

About Clear-Com®
Clear-Com®, an HME company, is the global market leader in critical voice communications systems for professional productions. Since 1968, Clear-Com has developed and marketed a comprehensive range of analog, digital and IP-based wired and wireless intercom technologies for party-line and point-to-point communications. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communication solutions. More information about Clear-Com can be found at www.clearcom.com.

PROFESSIONAL WIRELESS SYSTEMS OFFERS CHAMPION-CALIBER FREQUENCY COORDINATION FOR 2013 NBA FINALS

On-Site Technical Expertise Ensures Solid RF Coverage for 9th Consecutive Championship Series

MIAMI, JUNE 21, 2013—When game one of the 2013 NBA Finals between the Miami Heat and San Antonio Spurs tipped off at the American Airlines Arena in Miami, Professional Wireless Systems (PWS), a Masque Sound Company, and experts in supplying and supporting wireless systems for live and broadcast events, was courtside, coordinating RF for the more than 250 frequencies in use at the championship series. This marks the ninth straight time PWS has managed the frequencies for the Finals.

This year, PWS’ team on the ground included Jim Van Winkle John Garrido and Larry Myhre, who worked closely with the team venues—the American Airlines Arena in Miami (Miami Heat) and the AT&T Center in San Antonio (San Antonio Spurs)—to ensure zero frequency interference throughout the course of each game.

“Familiarity is a key factor in making frequency coordination work,” says Van Winkle, general manager, PWS. “Since this is the third consecutive year the Miami Heat have made it to the Finals, we had the advantage of already being familiar with their arena. And although it’s been eight years since the Spurs were in the championship, we have been in their building as well, so that also made it easier for us.”

For the seven game series, PWS also collaborated with the networks broadcasting the games, along with the local Society of Broadcast Engineers (SBE) coordinators, to get the local contacts and information they needed at each venue. This way, they could ensure they had all the necessary RF information for Miami and San Antonio.

“People working the same event every year begin to recognize faces so they understand that we are there to help protect them from rogue frequencies,” says John Garrido. “Now they come to us if they feel they need a new, cleaner channel. While it doesn’t necessarily take the burden off of anyone, it is nice to be considered a familiar face after working the same event for a while. A lot of them will also come find us when they see someone who is not compliant so we can go find them and issue them frequencies.”

One of the biggest challenges the PWS team faces in providing frequency coordination is the sheer volume of ENG crews and news reporters that cover the Finals. “With more than 250 frequencies spread out all over the arena, it is essential that we stay on top of things, and find and correct any issues as quickly as possible,” says Van Winkle. “In the past, you could have a break in between segments. These days, there are a lot of non-stop entertainment performances that are part of the game experience, which makes it more physically demanding. There are more people with wireless mics than ever before and because it is live, so we run around a lot more to resolve any issues.”

In order to keep the high volume of RF signal usage in check and to ensure frequencies maintain solid signals, PWS brings along its high-end portable equipment, including its spectrum and portable analyzers. “Having these tools is essential, as their portability allows us to chase down and resolve a problem as quickly as possible,” concludes Van Winkle.

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

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Sound Devices Continues to Develop the 788T for the Latest Production Requirements

Firmware Update 3.0 Now Available for Free Download

REEDSBURG, WI, JUNE 17, 2013 — To further position the company’s flagship 788T and 788T-SSD digital audio recorders as the foremost solutions for today’s evolving production standards, Sound Devices, specialists in portable audio and video products for field production, announces the availability of firmware update Version 3.0. A free download for all existing and new 788T users, this latest software update offers a 192 kHz sampling rate for up to four tracks, increased C-Link metadata functionality and added limiters for digital inputs.

Version 3.0 now offers Sound Devices 788T users 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 3.0 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.

“As our flagship digital audio recorder, the 788T has become a mainstay in the industry, and is in constant use on high-profile film, television and new media projects,” says Paul Isaacs, Technical Development Manager for Sound Devices. “As audio production techniques continue to evolve and become more streamlined, Sound Devices is committed to ensuring that our products remain on the cutting edge of technology through regular firmware updates.”

With the influx of multi-tracking both in the field and on set, the Sound Devices 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.

The 788T has several options for recording media, including an internal SATA hard drive (solid-state in the 788T-SSD), CompactFlash cards, an external FireWire hard drive or DVD-RAM (with bus powering). Any or all of these can be used simultaneously. Additionally, when connected to Mac or Windows computers with high-speed USB or FireWire 400/800, the 788T functions as a high-speed mass storage device.

To simplify AES3 connectivity with mixers and cameras, the 788T has eight channels of balanced AES3 digital inputs and six channels of balanced AES3 outputs. The 788T can be clocked from an external word clock or from video sync. The 788T also comes equipped with a high-accuracy time-code reader/generator. It also includes auto-record features to chase external “Rec-Run” video sources. To simplify metadata entry, the 788T accepts USB keyboards directly or can be operated remotely from iOS devices with the optional CL-WiFi. The 788T, like all Sound Devices products, is versatile and designed to withstand the physical and environmental extremes of rigorous field production.

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. The fourteen-year old 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.

The RapcoHorizon Company Highlights Pro Co Data’s TFOCA-II Connectors at InfoComm 2013

Upgraded Hermaphroditic Connector Series Designed Specifically for Use in Harsh Conditions

ORLANDO, FL, JUNE 14, 2013 ― The RapcoHorizon Company, a leading manufacturer of audio/video interfacing and cable equipment, unveils Pro Co Data’s TFOCA-II® Connector Series at InfoComm 2013 (Booth 709). A series of hermaphroditic-style connectors, the next-generation TFOCAs are ideal for use in unforgiving environments, such as broadcast, satellite, military, aerospace and government applications.

Available in four-, six- or 12-channel fiber connections and featuring physical contact-style ceramic zirconium termini, the connectors and corresponding cables are available in a variety of colors and materials. The company’s black anodized aluminum option is perfect for use in broadcast environments, while the matte green aluminum or steel offering is intended for use by the military and geological industries. A brass version is also available for areas where fires are a concern, such as coal mines. As its structure prevents explosions, the stainless steel option is best for nuclear power plants and oil/gas refineries.

“The ruggedness and quality of the TFOCA connectors and the availability of a broad range of colors and materials are of utmost importance to the industries that use them,” explains Josh Welsh, technical services manager for Pro Co Data, a RapcoHorizon Company brand. “The TFOCA-II connectors have become so highly regarded that the four-channel versions were recently standardized by the U.S. Army as the next generation of fiber-optic connectors for the military’s tactical deployable network applications.”

To add to the TFOCA-II’s customizable features, the connector design supports 50/125, 62.5/125 and single-mode 9/125 optical fiber cables as well as hybrid combinations.

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

Clear-Com Eclipse HX-Delta is Now Shipping Worldwide

New High-Performance 3RU Matrix Intercom System is Unveiled at InfoComm 2013 for the First Time

ORLANDO, FL, JUNE 13, 2013 – Clear-Com® is pleased to announce at InfoComm 2013 (Booth 921) that its new Eclipse HX-Delta Matrix Frame is now shipping worldwide. The HX-Delta brings the high capacity of Clear-Com’s larger matrices to a compact, cost-effective 3RU frame. This smaller frame allows connectivity using IP or fiber as well as seamless integration with wireless and third-party devices without external interface frames.

The Eclipse HX-Delta system also offers a new connection paradigm for larger venues such as performing arts complexes. Due to its small size and lower cost, HX-Delta gives users the option of building a distributed matrix system with frames in multiple areas of a facility. This new solution offers a more flexible workflow and permits shorter cable runs between system frames and intercom panels, cutting down on cabling costs. The size of the Eclipse HX-Delta also makes it suited for applications where space is limited but advanced connectivity is required, as with industrial or rental and staging applications.

The HX-Delta’s four interface card slots provide users with the flexibility of using a variety of connectivity options. Cards include the E-MADI64-HX 64 bi-directional channel card, the IVC-32-HX IP connection card and the E-Que-HX integrated wireless/E1/T1 trunking card, among others. Three internal slots for interface modules allow the HX-Delta to integrate seamlessly with other third-party communication devices, such as telephones, two-way radios and camera intercoms. The HX-Delta also comes with two CPU cards for redundant system control.

“As productions become more complex, our users require the additional connectivity options of a larger matrix frame but do not always have the space to accommodate the larger frame size,” says Stephen Sandford, Product Manager at Clear-Com. “Our new Eclipse HX-Delta bridges this gap between our smaller and larger frames. With the addition of the Eclipse HX-Delta to the already extensive variety of Eclipse HX frames, Clear-Com provides users with a complete intercom solution for every size and need of a production or application.”

The Eclipse HX range, comprising the Eclipse HX-Omega, Eclipse HX-Median, Eclipse HX-Delta and Eclipse HX-PiCo offer simplified setup, operation and administration as well as larger system capacity for many audio and user connections. When used along with the EHX Software, these frames allow users to make system-wide changes rapidly. Clear-Com’s V-Series and iStation user panels, existing frame I/O cards and interfaces are all compatible with the Eclipse HX range. This gives existing Eclipse customers a seamless and logical way to upgrade.

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.

The RapcoHorizon Company Showcases Pro Co TradeTools Headphone Junction Boxes at InfoComm 2013

HJ4P Professional and HJ6 Units are Ideal for Studio Cue Systems and Sound Reinforcement

ORLANDO, FL, JUNE 13, 2013 ― The RapcoHorizon Company, a leading manufacturer of audio/video interfacing and cable equipment, features its Pro Co TradeTools HJ4P and HJ6 Headphone Junction Boxes at InfoComm 2013 (Booth 709). The HJ4P Professional and HJ6 models are ideal for cueing or foldback in studios, and can also be applied to sound reinforcement systems where headphones may be required, such as individual demonstrations at museums or for hearing-impaired individuals in meeting spaces.

Designed to provide trouble-free distribution and control of audio signals from stereo power amplifiers to stereo headphones with 150- to 600-ohms, the outputs on the HJ4P support as many as four sets of headphones, while the HJ6 features six outputs. All outputs are individually isolated with resistors to prevent the amplifier output from momentarily short-circuiting when plugging or unplugging. This ensures that the system will not completely short out and eliminates pops from the cue system. The resistive isolation also prevents one defective set of headphones from affecting the levels of the others.

With the option of left, right, mono and stereo inputs, the HJ6 can be used with a single-channel power or guitar-type amplifier. The unit’s stereo input simplifies connections, whether this is from small headphone amplifiers in the mixers or from the Pro Co RMS-1 Recording Monitor Selector.

“The Pro Co Headphone Junction Boxes are sturdy products that will last forever without complications,” says Bill Eaton, custom product specialist for Pro Co Sound, a RapcoHorizon Company brand. “We have found that our customers, such as audio techs and studio engineers, tend to gravitate toward products that produce a natural sound. These units provide the desired crisp and clean sound, which is especially important in the recording industry. In fact, the HJ4P is a popular fixture at recording schools such as Full Sail University. As for the HJ6, its simplicity makes it ideal for sound-reinforcement users who may be less familiar with audio engineering.”

In addition, the HJ4P Junction Box includes a loop-through function, which allows multiple units to be daisy-chained for a greater range of use. With the stereo/mono and left/right switches, the HJ4P can provide either a stereo cue mix or two monaural mixes. This feature is practical in studios for tracking sessions where one musician may require a different mix than another. It is also convenient for bilingual sound-reinforcement applications, as users can arrange it to send audio in one language to one ear and the translated version to the other. The unit’s left/right volume controls enable individual tailoring of the stereo balance levels. When switched to the mono function, the audio is sent to only one ear, leaving the other free for natural listening.

Both the HJ4P and HJ6 are ruggedly constructed from 16-gauge steel and are painted with durable semi-gloss epoxy paint. The heavy base and non-skid feet prevent tipping problems, while all controls and connectors are recessed in the enclosures to avoid accidental damage. The controls and connectors are also clearly identified with white silkscreened labels to ensure easy identification and management.

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

Clear-Com Unveils Next Generation 700 Series Analog Beltpacks at InfoComm 2013

RS-701 Wired Beltpack is the First to be Unveiled in the Series, which Supports a Wide Variety of Partyline Communication Needs

ORLANDO, FL, JUNE 12, 2013 ─ Clear-Com® is releasing its RS-701 Beltpack, the first model in a new line of RS-700 Series wired, analog partyline beltpacks, at InfoComm 2013 (Booth 921). The new beltpacks feature state-of-the-art performance and superior audio clarity for partyline communications. With its rugged ergonomic housing and high-performance audio, the RS-701 beltpack is ideal for use in a variety of environments or applications, such as rental/staging, performing arts centers and houses of worship.

The new RS-700 Series beltpacks are designed to be rugged and reliable to withstand the most challenging production environments. The construction of the units was based on Clear-Com’s popular RS-500 Series beltpacks, which have an ergonomic and strong enclosure. Despite their tough exterior, the RS-700 units have a comfortable contour design that can be worn all day.

The RS-701 is a single channel beltpack, equipped with an XLR-3 line connector that serves the needs of all users, be it first timers or experienced professionals. It combines high headroom with low-noise audio to deliver the exclusive, crystal-clear “Clear-Com Sound” that is familiar to users around the world. Swappable microphone options and built-in limiters in the headsets support a pristine sound. The beltpack’s wide dynamic range and audio contouring enable intelligible voice communication for every audio level, from a whisper to a shout.

All 700 Series beltpacks feature recessed rotary volume controls as well as Talk and Call keys that are guarded against accidental activation. An LED off mode is available for instances when the user requires complete darkness. For these situations, the switches are placed in convenient locations for ease of use. A concealed DIP switch on the back of the beltpack affords the capability to select audio and key options quickly and easily. This includes switching between electret or dynamic headset microphone options and setting a minimum or off level for headphone input and microphone output. Call with talk operation and latch or non-latch keying are also available. These features guarantee that individual users have an ideal setup for each situation.

Electrically, the entire 700 Series requires a lower operating current for additional beltpack drops. Moreover, the beltpacks are built to be fully compatible with all Clear-Com legacy partyline systems and are protected against damage from accidental connection to other XLR-3 equipped digital systems, such as HelixNet.

“The introduction of the RS-701 beltpack is a significant milestone in Clear-Com’s nearly 50 year history,” says Bob Boster, President of Clear-Com. “Clear-Com has been the leader in analog partyline systems since the 1960s. The evolution of our analog beltpack is primarily based on continuous customer feedback in regards to existing and legacy beltpacks as well as on the collective knowledge, experience and expertise of the Clear-Com team. We are proud to unveil the RS-701 beltpack today.”

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.

The RapcoHorizon Company Releases DesignVision Version 2.0 at InfoComm 2013

Updates Include Streamlined Workspace Functionality and Software Access through Microsoft’s Windows Azure Cloud Platform

ORLANDO, FL, JUNE 12, 2013 ― The RapcoHorizon Company, a leading manufacturer of audio/video interfacing and cable equipment, announces DesignVision Version 2.0 (DV2) at InfoComm 2013 (Booth 709). Under the new software release, the panel-design program now offers an updated workspace functionality and access to the software through Microsoft’s Windows Azure Cloud Platform. Ideal for RapcoHorizon’s network of professional systems integrators, dealers and contractors, DV2 enables users to create expert-quality custom installation diagrams for A/V installation projects.

DV2 features a simple interface, allowing someone with no computer-aided design (CAD) experience to create CAD-like setups of custom rack panels, wall plates and floor pocket inserts. Already a great method of speeding up the project quoting process, Azure Cloud now makes the system available in an instant. With the cloud, users have the ability to call up the DV2 report from wherever they are located, including on the job site.

“Since we first introduced DesignVision, our fast-paced world has accelerated further,” says Josh Koehler, IT Director for The RapcoHorizon Company. ”The Azure Cloud functionality will help our systems integrators, dealers and contractors provide real-time updates to their customers. In addition to the quicker, more advanced access options, DV2 also features an updated drawing space. With the new software, users now have one dedicated workspace from which to produce all of the materials necessary, from design to final execution.”

Working directly with the customer, the dealer or systems integrator can utilize the DV2 software’s drag-and-drop feature to place desired connectors directly on the selected panels. Calling on the system’s basic set of design tools, the user can even create a template for engraving. Once the drawing is complete, the dealer has access to an accurate price quote for the customer to view and approve. The dealer can then confirm the design and bill of materials with a RapcoHorizon sales representative to ensure an expedited distribution of the custom panel to the client.

The RapcoHorizon Company’s DesignVision software is available for free download at www.rapcohorizon.com. Users will be required to have a unique login and password, which can be obtained from their RapcoHorizon representative.

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

MASQUE SOUND CELEBRATES 2013 TONY AWARD HONORS

NEW YORK, JUNE 12, 2013—When the curtain dropped on the 67th annual Tony Awards at New York City’s iconic Radio City Music Hall on Sunday, June 9, Masque Sound, a leading theatrical sound reinforcement, installation and design company, emerged victorious, with five of its clients scoring Tony wins and nominations for their respective shows.

Masque Sound clients took home 16 Tony Awards, including John Shivers for Best Sound Design of a Musical for Kinky Boots and Leon Rothenberg for Best Sound Design of a Play for The Nance. In addition to Kinky Boots and The Nance, Masque Sound had also provided custom audio packages for winners Pippin, LUCKY GUY and Vanya and Sonia and Masha and Spike.

“John Shivers (Kinky Boots), Leon Rothenberg (The Nance), Scott Lehrer (LUCKY GUY), Jonathan Deans and Garth Helm (Pippin) and Mark Bennett (Vanya) are all incredibly talented individuals and amazing sound designers,” says Stephanie Hansen, vice president and general manager, Masque Sound. “We couldn’t be happier for them to receive this prestigious industry recognition.”

For these sound designers and their shows, the Tony Awards is the culmination of a lengthy process that begins at Masque Sound’s shop long before the acceptance speeches and honors are bestowed on the awards night. Each sound designer works closely with the team of experts and technicians at Masque Sound to bring their vision to life. Masque Sound’s objective is to supply the designers with the equipment they need to create an environment in which every person in the theater feels a connection to the show through what they are hearing.

“Having the opportunity to provide them the systems, expertise and support they need is what we’re in business to do,” adds Hansen. “This was an amazing year for Broadway, and to be able to see John Shivers and Leon Rothenberg walk away with Tony Awards for their hard work and Jonathan Deans, Garth Helm and Scott Lehrer receive Tony nominations is very gratifying.”

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