A virtual press conference from Sound & Video Contractor

Archive by Vanessa Sanchez

Clear-Com Showcases Latest Intercom Product Releases at the 135th International AES Convention

NEW YORK, OCTOBER 18, 2013 – Clear-Com® will show its latest range of intercom solutions at the 135th International AES Convention (Booth 3030). The company will display its enhanced Eclipse HX Digital Matrix System and HelixNet™ Partyline Intercom System. It is also highlighting its new RS-700 Series Analog Partyline Beltpacks and ICON Connectivity Solutions, as well as the most recent updates to its Tempest® Wireless Intercom System.

“At Clear-Com, we are constantly developing communication systems and adding features that allow our users to have a more efficient workflow,” says James Schaller, Regional Sales Manager, Northeastern U.S., Clear-Com. “Our latest set of wired and wireless intercoms give users increased speed, capacity and scalability. With hundreds of high-quality products in our portfolio, customers have the opportunity to design communication infrastructures to address nearly every application.”

The Eclipse HX Digital Matrix Systems, comprising the Eclipse HX-Omega, Eclipse HX-Median, Eclipse HX-Delta and Eclipse HX-PiCo, offer simplified setup, user operation and administration. The Eclipse HX intercoms have large system capacity for many audio and user connections. All of the systems provide new capabilities, including Ethernet/IP Intelligent Trunking with IVC-32-HX card redundancy and dual-labels for multi-language preferences on V-Series user keypanels. Additionally, the recently introduced Eclipse HX-Delta offers the high capacity of Clear-Com’s larger matrices in a compact, cost-effective 3RU frame, providing a new connection paradigm for everything from small OB trucks to large performing arts complexes.

The RS-700 Series Analog Partyline Beltpacks are being introduced in celebration of Clear-Com’s 45 years of intercom innovation. Designed for everyday use, the reliable RS-700 Series beltpacks have an ergonomic and durable housing, intelligent functionality and exceptional audio performance, making them perfect for a variety of environments or applications, such as rental/staging, performing arts centers and houses of worship. High headroom with low-noise audio enables the RS-700 Series to deliver the industry-leading, crystal-clear “Clear-Com Sound,” while recessed controls and bright LED indicators ensure quick and easy use. The beltpacks also require a lower operating current for additional beltpack drops and are fully compatible with Encore Partyline, PL Pro and TW Partyline.

The new family of ICON Connectivity Solutions is a collection of communications products that link local or globally distributed intercom systems over Ethernet/IP networks and/or optical fiber. ICON, which stands for “Intercom CONnectivity,” provides high performance solutions for reliable and secure connections on common infrastructures and is also cost-effective for scalable multi-system networks.

The latest version of HelixNet Partyline provides a multi-system linking capability over Ethernet and fiber to permit a more sophisticated and cost-effective digital partyline intercom network for large stadiums or multi-campus venues. This function enables the distribution of many digital partyline channels, program audio feeds and auxiliary interfaced audio over a single XLR cable to a digital beltpack user. Enabling the system linking capability are two modules: the HLI-ET2 Ethernet Module, for Main Station-to-Main Station networking over a LAN and the HLI-FBS Fiber Module, for daisy-chaining fiber interfaces to link Main Stations over long distances.

Further developments to the Tempest Digital Wireless Intercoms include the new CCT-RT-EX Remote Line Extender, which is used to increase the maximum distance between a Tempest BaseStation and the Remote Antenna Transceiver. Also featured in the latest offerings is the Tempest2400’s Seamless Roaming feature, which allows Tempest2400 BeltStation users to move freely between as many as 16 different BaseStations (coverage areas or zones) without interference or dropouts. These further extend Tempest’s wireless communications capabilities for mobile productions, multi-level facilities and sports arenas staged in RF-heavy environments.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: AES Newslink, Events, New Products, News |

Autoscript Goes Back To School for William Patterson University

17-Inch On-Camera Prompters Provide Professional Studio Environment for Communications Department Upgrade

WAYNE TOWNSHIP, NJ, OCTOBER 1, 2013 — When the William Patterson University Communications Department was looking to upgrade its broadcast studio facilities, it turned to Diversified Systems, a nationally recognized AV design integration company, to provide six Autoscript 17-inch TFT on-camera prompters (LED17TFT) for use within the departments’ media studies and production program.

The media production track at William Patterson University introduces students to the methods and techniques used to create aural/visual messages in a variety of mass media. Sequences of introductory and advanced courses in theory and practice of film, television and radio provide students with a comprehensive understanding of the aesthetics and techniques of media production, and prepare them for professional roles in different media fields. The production facilities give students hands-on practice in two television studios, a radio station, a film production lab, a digital audio production lab and several digital video and audio editing rooms.

“This upgrade was about moving from the academic environment to a professional environment as seamlessly as possible, and what we keep saying is ‘what you are seeing here either in the studios or the control rooms is what you will be seeing when you move into the marketplace,’ ” says Al Clarke, television studio manager, William Patterson University. “There is no tape; everything goes to a 72-terabyte centralized storage area that is available in two control rooms, as well as in 20 different edit bays. It’s the real deal here and Autoscript’s teleprompters are a wonderful component to this upgrade.”

With three teleprompters in each of the school’s two studios (Studio A & B), along with Autoscript’s +ClockPlus+ timecode display, students have the ability to gain hands-on experience in a professional broadcast studio environment similar to those of major television studios throughout the country. The Autoscript LED17TFT prompters are used with Sony HXCD-70k high definition studio/EFP cameras. The camera setups utilize products from several companies within Vitec Videocom, including Sachtler tripods and Video 60 Plus unit heads. The university also employs Vinten pedestals throughout the studio. In addition, the studios, control and engineering rooms and physical spaces were revamped. Also part of the multi-million-dollar renovation was the installation of new computer floors, along with rooms reconfigured to better service student needs.

“We used the prompters for the first time at the start of this school year,” adds Clarke. “When setting them up, I was really impressed with how easy and intuitive the setting menu was to use. I was able to figure out how to tweak the monitor view within seconds.”

Autoscript’s LED17TFT wide-angle, on-camera prompter incorporates the latest in Autoscript’s illumination technology, the TFT (thin-film transistor) LED system. Unlike CCFLs (Cold Cathode Fluorescent Tubes), which take many minutes to reach full efficiency and light output, the LED17TFT warms up instantly to full brightness. LEDs also provide superior display longevity, reliability, and performance, all of which enable Autoscript’s LED17TFT monitors to provide top-notch light distribution, higher contrast levels, and better overall picture quality. In addition, the LED17TFT comes with a wide-angle hood, making it optimal for news- or studio-based productions.

Autoscript’s ClockPlus is an LED SMPTE/EBU timecode display that can change color from green to red when a suitable tally input is applied. The clock face has 2.25-inch 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.

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.

Oprah & Deepak’s 21-Day Meditation Challenge Finds Enlightened Sound with DPA Microphones

Music for the TV mogul and alternative medicine practitioner’s latest venture recorded using d:dicate™ 2011C Cardioid and d:vote™ 4099 Instrument microphones

NEW YORK, OCTOBER 1, 2013 – This summer, nearly 700,000 people participated in the online launch of Oprah Winfrey and Deepak Chopra’s Oprah & Deepak 21-Day Meditation Challenge: Miraculous Relationships. For co-producers and composers Rich Tozzoli and Scott E. Moore, recording the music for this production proved to be as much of an adventure as the challenge was for the listeners. Featuring over two hours of original compositions across many genres with multiple musicians, the duo needed to create a unique and natural sound for each song, and it had to be as enlightened as each day’s meditation. To do this, they consistently called upon DPA Microphones’ d:dicate™ 2011C Cardioid Microphones and d:vote™ 4099 Instrument Microphones.


Now available as a CD and as an online download, the 21-Day Meditation Challenge is an interactive transformational three-week guided meditation journey hosted by Winfrey and Chopra. At the start of each session, Winfrey introduces the focus of the mediation and Chopra then leads listeners in a mantra that explores one self-discovery topic, with a unique soundtrack for each meditation. The selection of instruments for these segments included a 100-year-old cello, an 1830s double-reeded flute known as a flageolet, Tibetan singing bowls, a vibraphone, vintage analogue synthesizers and vintage acoustic guitars.

“We approached the project very much like a film score,” says Moore. “Each piece had to be a specific, organic and beautiful cinematic experience.”

In order to ensure each song was true to the sound of the instrument and performance, while still sensitive enough for the nature of the relaxing music, Tozzoli, the primary engineer, relied on his DPA 2011C compact twin diaphragm cardioid microphones and d:vote 4099 Instrument Microphones.

“I chose the DPA 2011C for this project because it has low noise and incredible clarity,” explains Tozzoli. “We recorded in various studios and also at a gorgeous remote lodge-like home on a lake, so I wanted to make sure I didn’t have any ambient noise because it was just the bare instruments in the mix. The fact that the 20011C is cardioid is also a big reason for my selection as I needed the recordings to be very focused on the sounds directly in front of me. The 2011C provided me with that nice, narrow path. It’s just a beautiful microphone.”

“It was absolutely heavenly to hear my 1930s Martin acoustic guitar captured with every nuance of that special tone for which those guitars are so cherished,” adds Moore.

Tozzoli and Moore carried a mobile rig – comprising both types of microphones and a Millenia HB-307 pre-amp – to each location. Tozzoli credits the compact size of the DPA mics as being perfect for mobile rigs and said the combination of DPA and Millenia products was such an ideal solution for this project that even the artists took notice. “All of the musicians commented, literally across the board, on the sound in their headphones and said it made them perform better,” says Tozzoli.

“I’m new to DPA Microphones, but when I set them up to record in my studio all I could say was ‘wow,’ ” adds Ray LeVier, drummer/percussionist for the 21-Day Mediation project. “They’re just so good at reproducing exactly what you put them up against. You get the exact same sound back. There’s a clarity and a focus about the mics that is just apparent to everyone who hears them, whether they’re a musician or not.”

In order to ensure that the sound was as natural as possible, Tozzoli used Altiverb reverbs, which is a recording of the actual sound environments of historical buildings and structures around the world, as opposed to signal-processed simulated reverbs. For example, an ancient Indian temple provided the perfect deep and multi-dimensional reverberations for recording the flageolet and other delicate instruments. In addition, he relied on Sonnox Reverb and Eventide Space to help achieve the lush audio experience.

“The combination of DPA Microphones and these other elements created this incredible atmosphere for which the musicians could make their music,” continues Tozzoli. “One challenge we had, musically and technically, was to keep the soothing and lush music continuous after Deepak’s voice dropped out and before it came back in. The DPA mics literally, without question, helped us make such beautiful music that we could balance the bare instruments and have it carry one clear message.”

The 21-Day Meditation Challenge features a wide variety of musicians, including Moore on electric and acoustic guitars; Tozzoli on guitars and keyboards and LeVier, on percussion and vibraphone. Other featured artists on the project include Akua Dickson, who played the 100-year-old cello; Andy Munitz on violin; Laura Josephson on the flageolet and various other flutes; Kristen Hevner-Wyatt on acoustic piano and Bruce MacPherson on analogue synthesizers. David Ondrick performed vocal chanting tones and played Tibetan singing bowls.

The Oprah & Deepak 21-Day Meditation Challenge: Miraculous Relationships is currently available on CD, in two forms: the original guided meditation challenge and the simple music and mantras version. It can also be downloaded from Chopra’s mediation website: www.chopracentermeditation.com or from Winfrey’s OWN Network website: www.oprah.com/own.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Microphones, New Products, News |

Clear-Com Tempest Line Extender Wins “STAR” Award from Editors of TV Technology Europe

ALAMEDA, CA, SEPTEMBER 30, 2013 – Clear-Com® is pleased to announce that its Tempest CCT-RT-EX Remote Line Extender is the recipient of a prestigious 2013 STAR Award (Superior Technology Award Recipient), which was presented by the editorial staff of TV Technology Europe magazine at the 2013 IBC convention in Amsterdam.

The STAR Award is designed to celebrate and showcase technological innovations available to the broadcast industry. TV Technology Europe’s editor reviewed a variety of products, examined the technical applications and their overall contribution to the industry, and then chose 25 winners.

“STAR Awards are given to interesting new products that help a user save money or accomplish a task in an easier way,” says Mark Hallinger, Editor of TV Technology Europe. “This year in particular we also looked for smaller incremental improvements in established products, as these improvements generally reflect a manufacturer responding to customer input, a laudable thing. The products selected help advance the industry; some were chosen because of technical novelty or innovation, some because they filled an important gap in the production or transmission chain, and others because they were just cool products.”

Shown for the first time at IBC, the new Tempest CCT-RT-EX Remote Transceiver Line Extender is used to increase the maximum distance between a Tempest BaseStation and the Remote Antenna Transceiver. The CCT-RT-EX expands the distance of a BaseStation signal to a remote antenna by as much as 914 meters (3,000 feet) with one Line Extender or 609 meters (2,000 feet) per Line Extender if using more than one Line Extender. A total of three Line Extenders can be connected to provide total coverage of up to 2286 meters (7,500 feet). These solutions further enhance the system’s application for users requiring ultra-portable wireless communications in RF-rich environments.

“We are extremely proud to be recognized by TV Technology Europe, a prestigious industry publication, for this innovative product for the professional broadcast industry,” says Judy Cheng, Director of Global Marketing, Clear-Com. “The CCT-RT-EX Line Extender provides the extra coverage required, particularly on large productions to ensure that critical directives are heard regardless of location in a venue/facility. As the only intercom-focused product honored in this year’s awards program, Clear-Com is excited to continue to be recognized for its efforts to be at the forefront of providing cutting-edge intercom technology”

About TV Technology Europe
TV Technology Europe is the region’s leading magazine for broadcast technology. The magazine is published by NewBay Media. See www.nbmedia.com.

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.

MASQUE SOUND TRANSPORTS AUDIENCES TO THE BEGINNING OF AMERICAN HISTORY FOR ONE OF THE MOST BELOVED MUSICALS OF ALL TIME, 1776

When Sound Designer Kevin Kennedy was given the challenge of creating an authentic audio experience that takes audiences on a timely, rousing and suspenseful adventure into the fascinating first chapter of American history for the American Conservatory Theater’s (A.C.T.) production of 1776, he turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package.

One of the most beloved musicals of all time, 1776 is a vivid musical look into the revolutionary events that shaped our republic more than 230 years ago as our founding fathers wrestled with infighting, held heated debates, and negotiated compromises while drafting our Declaration of Independence. Filled with glorious music and unforgettable characters, this triumphant new staging is helmed by acclaimed director Frank Galati.

Kennedy has done a number of shows with Masque Sound in the past, so working with them on 1776 was a natural fit. “In the past three years, all of my shows have been pulled from Masque Sound,” says Kennedy. “My relationship with Masque Sound has always been great. Their selection of gear and their ability to provide the equipment I ask for is second to none. Masque Sound’s customer service element is the best in the business and their level of support is unrivaled.”

In designing the sound for 1776, Kennedy’s goal was to take the audience back in time and provide as realistic and authentic a feel sonically as possible. “This musical takes place over 230 years ago and tells an extremely important story in our countries history,” adds Kennedy. “I wanted to give the audience a very natural sound and make sure that the entire room from the front row to the last row felt that they were not listening to a sound system but rather the actual instruments, only louder. The equipment Masque Sound provided, the supplemental speakers and processing, supplemental wireless microphones, pit microphones, etc., complemented the in-house gear beautifully and was vital in helping me achieve my vision.”

To complement the existing in-house audio equipment, Masque Sound provided a custom speaker package featuring Meyer UPM-1Ps and XTA speaker management processors, as well as a monitor package of Aviom A-16II mixers and Aviom A-16D Pro Distribution systems. Sennheiser Pro Quality Lav-Style Transmitters and Sennheiser Pro Quality Dual Channel Receivers made up the wireless and cabled Shure and Neumann microphones and Radial DI’s were also utilized. Masque Sound also provided a video component for 1776. Since the conductor stand’s positioned on a platform and scenic obstructions obscure him, the members of the orchestra as well as the cast cannot actually see the conductor. In order for the musicians and cast to see the conductor and take their cues, Masque Sound delivered a video distribution package including Rackmount VDA’s, Delvcam LCD monitors and a Vitek Bullet camera.

In addition, Masque Sound also provided frequency coordination for 1776. “With 26 channels of wireless in play on the actors plus the additional headsets and auxiliary equipment, as well as dealing with a production in the theater next door that has a huge frequency list, Masque Sound was instrumental in ensuring that all the wireless channels in use remained interference free and working properly,” concludes Kennedy. “We would not have been able to accomplish what we did without Masque Sound. They are always willing to help a show that comes out of its shop even with the in-house gear. Once again, they did a great job.”

1776 is currently playing at the American Conservatory Theater in San Francisco, CA. The production opened on Wednesday, September 11, 2013 and is currently scheduled to run through October 6, 2013.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Microphones |

SSL Live Console is Now Shipping

SSL’s first live console ships on schedule to first wave of customers and commercial partners

OXFORD, ENGLAND — The premiere of the SSL Live console at Prolight + Sound in April 2013 surprised and enthralled the industry. Solid State Logic has been a dominant player in the design and manufacture of consoles for Music, Broadcast and Post for more than 35 years, but it had never produced a product designed specifically for live audio production. SSL’s reputation and business was built upon visionary operational design and benchmark quality standards in audio reproduction and manufacturing so expectations were instantly high.

Early response from FOH and Monitor Engineers has been extremely positive. The more operators see it, the more the excitement surrounding the console grows. Praise surrounds the operational flexibility of the console, its sonic performance and the sensation of ‘finger painting with audio’ via the gestural touch screen. The on-board effects and superb channel processing toolkit and the unique SSL Blacklight system, which simplifies running audio and control between console and stageboxes delivers a surprising amount of power at a compelling price.

The first three consoles all shipped to U.K.-based global tour production company Britannia Row for use on Peter Gabriel’s forthcoming European ‘Back to Front’ tour and another two shipped to SGroup in France for the imminent Amel Bent tour. Console manufacturing production for 2013 has been sold out since July, and details of the new commercial partner network for SSL Live are available in the ‘Where to Buy’ section of the SSL website.

SSL’s CEO, Antony David, says: “The on-schedule completion of the new Live console is an important milestone for SSL. This has been one of the biggest developments we have undertaken for some time and marks the first application of our new Tempest digital platform. We have been very encouraged by the response from mix engineers, rental companies and our channel partners since we presented the console in April this year. Demand has substantially outstripped our initial production plans, but we will return to reasonable lead times by early 2014.”

Since April, SSL has expanded its dedicated Live product team with key hires including Jason Kelly as Live Consoles Product Manager based in the U.K. office and Jay Easley as Vice President – Live Consoles to lead SSL’s live sector sales operation in North America. Certified training courses have also commenced, with focus on Commercial Partners and initial purchasers. A training program for the wider operator community is scheduled to commence from January 2014.

The SSL Live will be exhibited at next month’s 135th International AES Convention in New York and at ISE in Amsterdam in February 2014. With its latest offerings, SSL will relocate to Hall 8 at Prolight + Sound in Frankfurt in March 2014 and the company will exhibit at InfoComm for the first time, in Las Vegas in June 2014.

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.

San Diego Opera Covers More Ground with Clear-Com’s Tempest2400

Seamless Roaming Allows Crew Members to Travel Throughout Large Venue and Nearby Spaces Without Loss of Signal

SAN DIEGO, CA, SEPTEMBER 24, 2013 – The San Diego Opera is expanding its production communication coverage area with the help of Clear-Com’s wireless intercom system. As part of a system upgrade, the opera has installed six Tempest®2400 Digital Wireless Intercoms with the new Seamless Roaming capability. The four-channel wireless systems not only support more wireless BeltStation users and deliver the most intercom options, but they also provide the crew and management department with interference-free communications across multiple productions spaces.

Clear-Com’s Tempest®2400 Digital Wireless Intercom with the new Seamless Roaming capability provides San Diego Opera with interference-free communications across multiple productions spaces for all its productions, including its recent performances of Samson et Delilah (pictured here).

One of the leading opera companies in the United States, the San Diego Opera puts out four operatic productions a season, in addition to concerts and other special events. Wireless intercoms are essential for the crew members since the systems permit untethered movement and communication during productions. Because of the limited coverage area offered by the production team’s former wireless intercom, they sought new wireless intercoms that would cover the far-reaching areas of the building and a nearby plaza often used for VIP receptions. In addition, the production team wanted to avoid the issue of interference with their new wireless intercom because wireless systems from local TV stations were already competing for the same frequency spectrum as the opera’s existing equipment. Already familiar with Clear-Com’s intercom solutions and their capabilities, the San Diego Opera decided to employ Clear-Com products for its latest upgrade.

Six Tempest BaseStations were connected via ZSync (Zero Synchronization) technology to give the staff Seamless Roaming in every production area. Tempest’s Seamless Roaming feature lets the crew members conveniently travel throughout the performance facility and stay connected without having to change the settings on their BeltStation.

Operating in the 2.4 GHz band, the Tempest2400 systems also resolved the opera’s challenge of wireless interference in the UHF spectrum. Tempest’s Frequency Hopping Spread Spectrum (FHSS) technology ensured that the system does not compete with signals from other 2.4 GHz wireless devices as well. This minimized frequency coordination and enabled the system to have flawless wireless performance.

“I had television stations intruding directly upon my wireless equipment and so much of it was not working the way it should due to the interference,” says Bill Scott, Audio/Visual Technician for the San Diego Opera. “Clear-Com seems to be first out of the gate to address this, having come up with a very good product to solve all of those problems. We know that the 2.4 GHz operating spectrum of the Tempest2400 system along with its advanced RF technology is going to secure our communications now and for the foreseeable future, so it was worth the investment.”

FHSS, along with proprietary algorithms and timing synchronization mechanisms, allows the Tempest BaseStation to support more full-duplex BeltStations in a single RF space than other systems. As a result, the opera is able to have more full-duplex BeltStation users than previously possible. Approximately 40 people at the San Diego Opera use the Tempest systems and the Clear-Com analog partyline that is integrated with the Tempest for a basic opera production. Crew members handling set changes and other items on the stage utilize the Tempest system, along with personnel in the dressing room, the trap room and a rehearsal hall, which is separated by some distance from the stage area. On the wired system is the center stage manager, along with those manning spotlights in the upper balcony and staff in the venue’s offices.

Having four-channels of communication on Tempest is another asset since this gives the staff the option of communicating within a single channel or talking/listening to more than one channel at a time. Other advantages of the Tempest are that crew members can change the volume of each channel and their program feed from their BeltStation. The entire configuration of the Tempest system can easily be adjusted via the system’s associated T-Desk software to fit the opera’s varying productions.

“My goal with the new intercom system was to expand the loop of communication so that everyone who was critically attached to the production is connected,” says John David Peters, Production Carpenter and Technical Director for the San Diego Opera. “We are learning to take advantage of the multichannel capability of the Tempest system, which we are finding particularly useful when teching a show. In the past, we had one channel on our wireless system, with 19 or 20 people on that one channel, so there was a lot of cross talk. Being able to assign separate work groups to different channel has really streamlined communications. The other thing that I think is really remarkable about the system is how there is absolutely no noise.”

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.

MASQUE SOUND PROVIDES CUSTOM AUDIO EQUIPMENT PACKAGE FOR BROADWAY’S SPELLBINDING NEW PRODUCTION OF TENNESSEE WILLIAMS’ MASTERPIECE, THE GLASS MENAGERIE

Masque Sound, a leading theatrical sound reinforcement, installation and design company specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events, continues its Broadway run by providing a custom audio equipment package for the groundbreaking new production of Tennessee Williams’ masterpiece, The Glass Menagerie.

The Glass Menagerie, starring Cherry Jones, Zachary Quinto, and Celia Keenan-Bolger, is directed by John Tiffany and the Tony Award®-winning creative team behind ONCE, and tells the story of Amanda Wingfield, a Southern belle past her prime who lives with her two grown children in a small apartment in St. Louis. Amanda, dreaming of a better life for her shy and crippled daughter, Laura, pressures her son, Tom, to find a ‘gentleman caller’ for the girl. The arrival of the suitor, however, sends shockwaves through the family and causes cracks to form in the delicate fantasies that keep it going.

For sound designer Clive Goodwin, there were two main goals: To make the play sound as natural as possible and to ensure that the whole audience, even members seated in the very back of the mezzanine, could clearly hear Nico Muhly’s beautiful composition. “Nico’s music sets the theme for the show,” says Goodwin. “The Glass Menagerie is a memory play about the character Tom’s recollections, and Nico’s music beautifully creates that atmosphere. It makes it slightly surreal, so as the sound designer, I wanted to do justice to Nico’s composition and try to make it sound even more exquisite than it already is, and Masque Sound helped make that possible.”

Goodwin’s biggest challenge was dispersing the sound on stage to the back of the theater without it sounding mic’d. In order to do this, Masque Sound provided him with an array of Funktion-One speakers, an unorthodox speaker for the Broadway stage.

“The Funktion-One speakers that Masque Sound provided really allow me to control the dispersion, especially upstairs,” adds Goodwin. “By using the Funktion-Ones, we have the most control possible and are able to minimize room reflections that would otherwise muddy the sound. Masque Sound does a wonderful job of providing me with these non-traditional speakers, even though they are different than the normal Broadway stock. They go out on a limb and are fantastic in supplying me with the rare equipment I like to use.”

Masque Sound’s custom equipment package also included a Midas Pro1 compact digital console, Rode RF-Bias Shotgun mics, Sennheiser wireless microphones, XTA DP428/448 audio management system, D&B E3 speakers, Meyer UMS-1P subwoofers and a Clear-Com Intercom system.

“Masque Sound has always been great to work with,” adds Goodwin. “They work very hard and go the extra mile to make me, as a sound designer, happy.”

The Glass Menagerie is currently playing on Broadway at the Booth Theatre. The production officially opens on Thursday, September 26, 2013, and its 17-week run is slated to conclude on January 5, 2014.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies” 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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Loudspeakers |

Sound Devices 788T-SSD Provides Out of this World Audio Recording Capabilities for BBC’s Doctor Who

Reliable Production Audio Recorder Delivers Outstanding Performance Throughout Busy Production Schedule

CARDIFF, WALES, SEPTEMBER 16, 2013 — When BAFTA Cymru Award-nominated sound recordist Deian Humphreys set out to capture all of the dynamic dialog for the BBC hit science fiction television program Doctor Who, he turned to Sound Devices 788T-SSD digital audio recorder, 442 field mixer, CL-9 linear fader controller and CL-8 mixing control surface to record and mix all the audio action. With 20 years of experience in professional audio, he has worked in many aspects of sound production, ranging from location sound recording for drama and documentaries to sound supervising for studio and outside broadcast programs.

Doctor Who is a British science fiction television program produced by the BBC depicting the adventures of a Time Lord—a time traveling, humanoid alien known as the Doctor. He explores the universe in his TARDIS (Time and Relative Dimension in Space), a sentient time-traveling spaceship. Its exterior appears as a blue British police box, a common sight in Britain in 1963, when Doctor Who first aired. Along with a succession of companions, the Doctor faces a variety of foes while working to save civilizations and help ordinary people.

As the production sound mixer, Humphreys is charged with recording clean, clear dialog and reducing the amount of ADR needed. This can be quite challenging on a science fiction show that has a large amount of special effects audio in the background, including smoke, steam and snow machines, as well as a multitude of explosions. Humphreys records the majority of the show using a trolley-based rig, which consists of a Sound Devices 788T-SSD with a CL-9 controller. When on the go, he takes his 788T-SSD using the more portable CL-8 mixing control surface.

“One of the features that I really like about the 788T is that it allows me to easily switch between a Schoeps SuperCMIT digital mic and a Schoeps analog mic without the need for any peripheral equipment,” says Humphreys. “I will often have eight iso-tracks being recorded and two mixed tracks, so the 788T is being driven hard. It always performs incredibly well.”

Humphrey’s also praises the 788T for its flexibility and versatility, which is paramount for recording on a show that utilizes special effect voice modulations on a daily basis. The Daleks, the Doctors’ arch-nemeses, are voiced by Nicholas Briggs, who uses his own proprietary secret modulation equipment. “Nicholas will sit by me on set watching my monitors and I will take an output of his magic box and feed that into my 788T,” he says. “I am able to iso that and give him a clean feed of what is happening on the floor. I use the Sound Devices 442 as his monitor, so I’ll feed a clean output into the 442 and give him his Daleks voice on another channel, so he has independent adjustment of his tracks, which he will often mix himself. I can then take another output of his voice and feed it to a loudspeaker on the floor for the actors, and another for the animatronics controllers, who make the lights on the Daleks flash, which serves as a speech recognition tool when they talk. It’s actually quite amazing and all made possible by the 788T-SSD with the 442.”

Humphreys also appreciates the 788T-SSD’s metadata features, which allow him to remain in close communication with the editors at the BBC. According to Humphreys, “When I initially started a year and half ago, I had a long conversation with the dialog editors and one of the requests they had was to match the name of each character with each track. Not just lav 1, lav 2, lav 3, but the character name, so I’m constantly in the 778T-SSD’s track naming menu and I’m re-labeling tracks when different characters come in on those particular mics. That’s such an important feature for me and for the editors, who need to know exactly who is on each track, so they don’t need to waste time pre-listening to tracks to find out who’s on what.”

“I have never looked back after purchasing my Sound Devices equipment because it just performs miraculously,” continues Humphreys. “I’ve used my Sound Devices gear 11 hours a day, 11 days and nights in a row, for 10 months straight and it’s exceptional. The service and customer relations are second to none and the company’s regular software updates are just incredible.”

With the influx of multi-tracking both in the field and on-set, Sound Devices 788T-SSD has become the next generation digital audio recorder for advanced sound mixers that require additional isolated tracks. The 788T-SSD comes with a factory-supplied, high performance solid-state drive. The SSD provides several important benefits, including vast internal storage capacity, continuous recordings of over 60 hours of 24-bit, 8-track audio at 48 kHz, increased transfer speed versus a spinning hard drive, increased immunity to shock and temperature extremes and zero acoustical output. In addition to its superior shock immunity, the SSD drive used in the 788T-SSD enhances data transfer due to its increased transfer speed. The high-performance SSD medium in the 788T-SSD has faster read- and write-speeds than the mechanical hard drive in the standard 788T. Like the standard 788T, the 788T-SSD is equipped with eight full-featured microphone inputs and twelve tracks of recording. In a stainless steel and aluminum chassis weighing less than four pounds and roughly the size of a hard-covered novel, the 788T accommodates individual controls and connectors for each of its eight inputs, plus numerous additional I/O and data connections.

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.

RTW Debuts New Software for TM3 TouchMonitors at IBC 2013

Moving Coil Instrument and Test Time Control Options Enhance Loudness Measurement Capabilities

AMSTERDAM, 15 SEPTEMBER, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, will display its latest innovative software options for its TM3 and TM3-3G TouchMonitors IBC 2013 (Stand 8.D92). The new TM3-SWMC software license, now shipping, incorporates a Moving Coil Emulation display, while the recent TM3 firmware update 2.50 includes the new Time Test Control option. RTW will demo a TM3 and TM3-3G equipped with both of these options at the show.

“We are thrilled to share our latest advancements in loudness measurement with the international broadcast community once again at IBC,” Andreas Tweitmann, CEO, RTW. “Since their introduction, the TM3 and TM3-3G TouchMonitors have generated much interest with broadcasters. This is very gratifying to us, as we are always striving to bring forth new technologies and options for users.”

Moving Coil Emulation
The new TM3-SWMC software license expands the functionality of the TM3 TouchMonitor series with PPM, VU, loudness and a new combination of PPM and loudness moving coil instruments. The display features vertical or horizontal orientation and numeric and peak indicators with single, double and stereo channel instruments. For stereo groups in the PPM moving coil mode, additional M/S moving coil emulation is selectable.

Based on a concept developed by the BBC, the TM3-SWMC software license option implements a combined PPM and loudness sum display. On this instrument, a third cyan-colored needle depicts one of the three summed loudness values—M, S, or I—on a separate scale. It is helpful for the intuitive display of loudness to be on target with a fixed relative-loudness scale (-9 to +9 LU). The Moving Coil license option requires users to install the current firmware version 2.50 and the current Devicer DC1 version 2.50. Users can download both for free by logging into RTW’s website: http://www.rtw.de/en/sales-support/manuals-software.html.

Time Test Control
Offered as part of firmware 2.50, users can employ this sub menu to set the parameters for starting and stopping loudness measurement functions. In addition to a manual control enabled by on-screen keys and/or the GPI interface, full or semi-automatic measurements can also be defined. 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 GPI 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.

TM3 and TM3-3G TouchMonitor
Controlled using a touch-sensitive display, the TM3 and TM3-3G both have a budget-friendly base price, a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. They 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.

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

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.

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

July 2014
M T W T F S S
« Jun    
 123456
78910111213
14151617181920
21222324252627
28293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication