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Archive by Vanessa Sanchez

Sound Devices 970 Takes Audio to the Rack at AES 2014

64-Track Dante™ and MADI-Equipped Audio Recorder Features New FileSafe™ Technology to Guard Against Unintentional Drive Removal and Power Loss

LOS ANGELES, OCTOBER 7, 2014 – Sound Devices 970, the company’s first-ever dedicated audio-only rack-mounted recorder/player, makes its AES debut during this year’s convention (Location Sound Booth 1340). The 970 boasts an impressive 64 channels of Dante™ and MADI, and incorporates Sound Devices’ latest FileSafe™ technology, which recovers audio files if drives are unintentionally removed or power is lost during recording. The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording such as capture of multi-channel sound for large-scale live performance and acquisition of dialogue for TV reality shows, drama and film. Sound Devices 970 - front panel

The Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit Broadcast WAV files from any of its 144 available inputs. Inputs available include 64 channels of Audio-over-IP using Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. It is a supremely powerful tool for professionals who require a significant number of audio channels. Any input can be assigned to any of the 64 tracks and any of these tracks can be routed to any output. In addition, 32-track recording at 96 kHz is supported.

The 970 records to up to four attached drives, which include two front-panel drive caddies and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying and allows for continuous long-form, high-track count recordings.

Sound Devices FileSafeFileSafe, which automatically detects and repairs corrupted file headers when drives are mounted, is incorporated directly into the 970. During recording, data is written to a proprietary Sound Devices file format optimized for high-data rate, real-time audio recording using an ‘.sda’ file extension. When a recording ends, files are automatically “finalized” by converting the ‘.sda’ files to standard ‘.wav’ files. In the event that files cannot be finalized, whether due to power loss or inadvertent drive disconnection, they still remain intact on the drive. Users can recover these files by simply inserting the drive back into the 970. In the absence of the 970, the FileSafe Mac or PC utility, available as a free download (http://www.sounddevices.com/products/filesafe/), can be used to recover files that have not been finalized.

In addition to RS-422 and GPIO control, the Sound Devices 970 features an embedded Web-based control panel for remote transport and setup control from any browser-enabled device as well as the ability to remotely instigate file transfer over Gigabit Ethernet with SMB. In mission-critical audio-over-IP AV installations, where hundreds of audio channels are distributed between zones, the ability to setup a redundant Dante network to protect against loss of audio due to network failure provides peace of mind. The ability to have one drive transferring files over Ethernet, while another continues recording, offers significant production time savings.

Users can perform fast file metadata editing of scene name, take number, notes, track names, circle status and reel folders during, before and after recording across all drives. Metadata is stored in industry standard Broadcast Wave iXML and bEXT containers.

With its vast array of input and output types, the 970 allows for live conversion between analog, AES digital, MADI and Dante, acting as a bridge and routing matrix between these types of audio I/O. The built-in, rock-steady Ambient Recording Lockit time-code technology makes the 970 well suited to operate as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports external synchronization from word clock, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

Sound Devices 970 is designed with a large five-inch screen for large, easy-to-read, full scale metering of up to 64 tracks and for fast and intuitive menu control. It also features the Sound Devices proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

RTW Mastering Tools PlugIn Makes US Debut at AES 2014

Additional Loudness Solutions on Display at Avid Connectivity Partner Pavilion

LOS ANGELES, OCTOBER 6, 2014 – RTW, the market leader in visual audio meters and monitoring devices, will showcase its RTW Mastering Tools, the second plugin in its Masterclass PlugIns line of software-based metering solutions, at the 137th AES Convention (Avid Connectivity Partner Pavilion Booth 1101). Ideal for post production, TV, film and music recording, the new addition brings extensive analysis and display functions for mastering, metering and loudness measurement for single- and up to eight-channel applications as a standard-format plugin for Windows and Mac OS platforms, including AAX Native 64-bit plugin for Avid ProTools 11.RTW_Mastering_Tools

Designed for simple, intuitive operation by a broader user base, RTW Mastering Tools offers a wide range of PPM scales, displays and TruePPM measurements. As with all of RTW’s software plugins and TouchMonitor line of meters, RTW Mastering Tools provide support for many of the leading global loudness standards including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act. Other key features include numerical or bar graph-type readout, plus MagicLRA and correlator display, audio vectorscope, RTA (Real Time Analyzer), SSA (Surround Sound Analyzer) and multicorrelator. For added convenience, users can choose from up to six selectable window frame sizes and multiple instances.

“We are thrilled to introduce our new RTW Mastering Tools software to our friends in the U.S., especially as part of Avid’s Connectivity Partner Pavilion at AES,” says Andreas Tweitmann, CEO, RTW. “Our plugins put a very powerful tool for mastering, metering and loudness measurement into a convenient, easy-to-operate software package, adding further efficiency to the overall workflow. Having them available for use right within Avid ProTools is an exciting step for us and we are happy to join our new partner during this year’s show.”
RTW_Mastering_Tools_Box
Also on display will be RTW’s Masterclass PlugIns Loudness Tools software (also available as an AAX Native 64-bit plugin for Avid). RTW Loudness Tools was designed to serve the needs of users in the DAW sector. Finally, RTW will also demo its TM3-Primus, the latest entry to its smart product category, a compact, fully-loaded specialized meter at an entry-level price point, perfectly suited for individuals working in smaller production environments such as OB vans.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

Solid State Logic Launches New Live Console and New V2.5 Software


The SSL Live.L300 brings the massive sound of SSL to the compact live console arena. V2.5 delivers new advanced FX optimisation and 27 new features and updates to the SSL Live console platform.

OXFORD, ENGLANDSolid State Logic is extremely proud to announce a major expansion to its Live console range with the release of the SSL Live.L300 console and a new V2.5 software release that brings significant developments to the SSL Live console platform. Since the introduction of SSL’s first live console in 2013, the speed with which operators can achieve outstanding results with its consoles has been praised by leading engineers around the world. Just one year on, the release of the new L300 console and a major new software update signals SSL’s dedication to remaining at the leading edge of the live sound industry for many years to come. L300 and the new V2.5 software release embodies the SSL tradition of listening to engineers and customers and demonstrates our commitment to rapid continuous development. The L300 will be shown at the 137th AES show in Los Angeles on booth #1409.

SSL Live. L300The new release means there are now two models available in the SSL Live console range, the larger L500 and the new more compact L300. Both consoles are perfectly equipped for applications in Touring, Installation, Houses Of Worship and Theatre. At SSL we believe that offering a more compact console should not mean compromising and reducing quality or features. Both consoles offer the same immaculate, huge SSL sound and the same superb operator experience. There are no compromises in build quality and both consoles use and can share the same Remote I/O. The L300 is physically smaller than the L500, so it is a more compact, lower cost option… with no hidden performance compromises – it’s that simple. Compact it may be but the L300 delivers the power and connectivity to handle large scale productions with up to 568 input/outputs, 128 processing paths (96 full, 32 dry), a 32 x 36 matrix, 36 VCA’s, and 48 FX slots. If you want to compare connectivity and channel count of the two consoles, you will find a simple ‘L500 Vs L300’ comparison table on the SSL web site.

Being an SSL product release, there is of course more to this than simply unveiling a new model. L300 ships with new V2.5 software which brings advanced Effects optimisation and 27 new features and updates to the SSL Live console platform, which of course includes the L500. The new Effects optimisation significantly increases the number of Effects instances, which can be deployed simultaneously for many of the on board Effect types. New feature highlights include:

Follow Mode
The new Follow Mode feature allows the Select, Solo and unique Query function buttons found on the Live console Fader Tiles to be linked together in any configuration an engineer might require. Each of the three Tile buttons can be programmed to ‘follow’ any of the other buttons on a per channel type basis. Allowing input channel, Auxiliary and Stem Group mix bus operation of the buttons to be linked in different user defined ways. A simple user interface offers fast and customisable setup of the Follow Function. Offering ultimate flexibility for operator workflow and allowing engineers to access the channels they need quickly and efficiently.

Effects Rack Tempo Link
The Tempo Link feature adds the ability to link and control the Tap Tempo of any Delay effects loaded into the L500 and L300’s Effects Racks. Allowing up to 6 independent Tap Tempo functions to be controlled via both the hardware User Buttons and consoles multi-gesture touch screens. If multiple Delay effects need to be controlled by the same Tap Tempo, all the operator needs to do is load those effects into the same rack and enable their Tempo Link functions and they are immediately linked and their tempos linked together.

Introduction of User Buttons for Tap and Menu select

The Master Tile User Buttons have now been activated and offer access to the 6 Tap Tempo functions that are part of the new Effects Rack Tempo Link feature and also direct access to 4 of the most used menus of the Live consoles. The User Buttons now offer direct hardware access to these key functions and can be switched simply between Mute Groups and User Buttons with a single button press. Both sets of functions are also available via the new Home Menu which is also part of the V2.5 feature set.

Home Menu
As part of the feature expansion within the V2.5 software release, a number of new menus have been added to the Channel Control Tiles Home button, which includes its own multi-gesture touch screen. These include access to the Mute Groups and User buttons from the Tiles and also an Automation View, which gives access to and visibility of the console’s scene list, scene notes and many other automation functions.

Mix Bus Copy

This feature allows the contributions of entire mix buses to be copied across the Live console’s flexible bus structure. Copying between Mono, Stereo and LCR configured mix buses is included and it is also possible to copy across all mix bus types. Allowing Auxiliary bus contributions to be copied to Stem Groups and vice versa. This feature offers very fast and powerful mix bus copy/paste feature that is useful for any mixing application.

L300 and V2.5 will be available from November 2014.

A new L300 compatible version of SOLSA, SSL’s OffLine Setup Application will also be released alongside V2.5.

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.

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Masque Sound Goes on Wild Trip with the Star-Studded Broadway Comedy, It’s Only a Play

Custom Audio Equipment Package Ensures the Laughs Keep Coming in Season’s Most Highly Anticipated Show

NEW YORK, OCTOBER 6, 2014 – When four-time Tony® Award-winner Terrence McNally’s raucous, ridiculous and tender comedy, It’s Only A Play, arrived on Broadway at the Gerald Schoenfeld Theatre, Sound Designer Fitz Patton and Associate Sound Designer Justin Stasiw turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the laugh-out-loud hit of the year.It’s Only a Play Gerald Schoenfeld Theatre

It’s Only A Play tells the story of opening night of Peter Austin’s new play as he anxiously waits to see if his show is a critical hit. With his career on the line, he shares his first Broadway night opening with his best friend, a television star; his fledgling producer; his erratic leading lady; his wunderkind director; an infamous drama critic; and a fresh-off-the-bus coat check attendant.

The all-star cast of It’s Only A Play includes F. Murray Abraham, Matthew Broderick, Stockard Channing, Rupert Grint, Nathan Lane, Megan Mullally and Micah Stock. This hilarious ensemble is directed by three-time Tony® Award-winner Jack O’Brien.

In designing the sound, Patton and Stasiw both aimed to create as transparent an audio system as possible. By strategically placing foot and boundary microphones hidden within the framework of the set and at the lip of the stage, the designers were able to successfully pick up the actors’ dialogues, while providing the audience with the transparent feel that they envisioned.
It’s Only a Play Gerald Schoenfeld Theatre
“The play features a high-profile cast, so we were looking to provide a very realistic, acoustical sounding package,” says Stasiw. “The goal in the sound design was to provide a slight vocal lift in order to ensure that everyone in the audience could hear the actors clearly, without it sounding like the dialogue was emitting from the loudspeakers. The selection and placement of microphones were two very important tasks for this play, and Masque Sound was instrumental in providing us with the equipment that we needed to be successful.”

Masque Sound supplied a selection of microphones from DPA, including the 4021s and 4061s. “We utilized the 4021s for our floor microphones and additionally hid some within the set. The 4021 is a great, compact cardioid microphone to use as a boundary source. We also used the 4061s, which not only sound great but also are so tiny that you can hide them without worrying that anyone will be able to see them. We hid microphones around the set in order to pick up the performers’ in as natural a manner as possible. The cast is an amazing set of performers who all have strong projecting voices, so most of the amplified signal is fed into the under balcony section and the delay system. These performers are so talented that their voices can easily reach all the way to the balcony rail, so we just have to ensure that the sound gets to the back of the house.”

At the heart of the custom audio equipment package that Masque Sound provided was the Yamaha CL5 Digital Mixing Console. “The CL5’s Dante® interconnect capabilities make it a great choice because the layout of the theatre makes it difficult to maneuver heavy paired cable from backstage to the front of house,” adds Stasiw. “The ability to only have to run two network cables from backstage to front of house is incredibly helpful. In addition, Yamaha still offers the most MIDI controllability out of any console, allowing us to automate the system by essentially controlling any singular function on the console with MIDI. The ability to have that remote control over any parameter in the deck was a necessity for this production”

The custom speaker system supplied by Masque Sound features a selection of speakers from d&b audiotechnik, including E12 two-way multipurpose loudspeakers for the main left and right and downfill, as well as C7-TOP two-way horn loaded loudspeakers for the center cluster. “The sound effects used for the show feature a lot of realism, including phones ringing, etc., so there are a number of speakers hidden in the set to help us image those objects on stage and ensure that the audience is sonically drawn toward the correct positions on stage,” adds Stasiw. “The d&b speakers are essential, as they sound superior, are easy to set up and minimize steps to successfully tune the sound system.”

Additionally, Masque Sound provided Patton and Stasiw with d&b audiotechnik E8 loudspeakers to position underneath the balcony along with a large surround system comprised entirely of E0s. Patton and Stasiw also hid some E0s on stage.

“Masque Sound is always great to work with,” concludes Stasiw. “I have always had a good experience coming out of their shop and really appreciate that they are a full solution provider. The crew has always been helpful in terms of assisting our staff with everything from service and technical support to equipment advice, and Masque Sound once again did a wonderful job in helping us bring our sonic vision to life on stage.”

It’s Only A Play’s 18-week limited engagement is slated to run through January 4, 2015 at The Gerald Schoenfeld Theatre (4235 West 45th Street). For more information, including how to purchase tickets, visit http://itsonlyaplay.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.

PMC Launches New Large-scale, High resolution Active Reference Monitor at AES 2014

QB1-A Includes ATL™, DSP Crossover Management & Bespoke PMC Drivers & Amplification

2PMCQB1-APair2Los Angeles, October 6, 2014 – British reference loudspeaker manufacturer PMC (AES Booth 1628) has announced the launch of the QB1 Active (QB1-A), a large-scale, ultra-high-resolution main studio monitor with analogue and digital (up to 192kHz) inputs at The 137th AES Convention. Ideal for either soffit-mounted or free-standing use, each QB1-A incorporates the latest generation of PMC’s driver designs, Class-D amplification, Advanced Transmission Line (ATL™) bass-loading technology, DSP control, and a quartet of 10-inch carbon fibre/Nomex® piston bass drivers to create a single reference monitor that has the transparency, resolution, dynamic range, frequency response, forensic sense of detail, and wide, consistent imaging demanded by the international audio elite.

With a maximum SPL of 132dB at one meter, the QB1-A can certainly produce level — but not at the expense of accuracy or increased distortion. Each channel has an expansive 4825W of Class-D amplification at its disposal (275W on the HF driver, 550W on the mid-range, and a generous 4000W on the four bass drivers), and the latest iteration of PMC’s ATL technology ensures a faithful low-frequency response down to 20Hz. The cutting-edge onboard DSP provides driver unit optimization, EQ and sophisticated crossover networks, while the wired RJ45 desktop control provides user-friendly access to user EQ settings via its backlit display and jog wheel, with the ability to store up to four user setup presets. Even the physical dimensions have been carefully considered: at 1092 x 820 x 520 millimeters (WHD), the QB1-A will retrofit into almost all existing studio soffits. Alternatively, its ATL™ design means that free-standing use has no impact on its effortlessly smooth bass response.

1PMCQB1-AThe QB1-A has its roots in the observation by PMC’s design team that there were no large-scale active studio monitors on the market taking advantage of the latest developments in loudspeaker driver analysis and design and DSP-aided control. This starting point, coupled with PMC’s own extensive research into driver performance, using opto-acoustic laser inferometry at the UK’s National Physical Laboratory (NPL), aided and honed the design of the QB1-A. “We saw that there was a gap at the high end of the market,” explains Oliver Thomas, R&D Project Manager at PMC. “In the main, the current products on the market don’t offer the flexibility of analogue and digital inputs, and suffer from giving listeners an insufficient sense of resolution, compared to what can now be attained with good Class-D amp design and DSP-aided crossover management.”

The QB1-A makes up this ground, additionally employing recent advances in PMC’s transmission line design concept, as used in the company’s IB2 midfields and twotwo nearfields, and the aforementioned NPL analyses, to achieve even more efficient, high-performance designs. Extra bracing and damping inside the speaker cabinet prevents noise and reduces resonance to insignificant levels beyond the limits of human audibility, while the newly introduced vertical strakes in the transmission line add further bracing and simultaneously reduce turbulence in the throughput airflow, making it laminar and contributing to the QB1-A’s faster, more dynamic sound.

3PMCQB1-ASideEach speaker employs three carefully integrated proprietary driver types. PMC’s renowned soft-dome 34mm and 75mm drivers deal with the high frequencies and mid-range respectively, producing a natural, transparent sound with super-low distortion — and depending on client requirements regarding the height placement of the QB1-A, the HF driver may be placed above or below the MF driver as needed. No fewer than four handmade, individually matched low-frequency drivers handle the bass, employing PMC’s proprietary ‘honeycomb’ carbon-fibre/Nomex® design in an extensively vented, cast-aluminium chassis. The flat-faced 10-inch piston driver in each bass unit ensures a near-instantaneous, yet highly accurate transient response, while providing the sheer power required to drive the QB1-A’s heavily damped, high-compression transmission line; these power requirements exceed what an off-the-shelf cone driver can deploy without deformation. The result of this carefully judged design is reduced distortion and increased power handling and headroom, with continuous reliability.

The QB1-A’s final form, how it works, and its feature-set, are the result of over a year of practical testing by and feedback from eminent producers and engineers on both sides of the Atlantic. Nor, in the drive to create a high-performance monitor for the digital age, has the sound of this loudspeaker been neglected. Pure reference tools can be fatiguing to listen to, and the working practices of audio pros often reflect this. “Many engineers record with one set of monitors to create a sense of excitement while tracking, but then use another set for the low-level, intensely detailed business of mixing and mastering,” continues Oliver Thomas. “The QB1-A is designed for both kinds of work, offering faithful, non-fatiguing reproduction for a beautiful general listening experience or for recording, but with microscopic detail when you need it.”

The QB1 Active is being officially launched during the 137th AES Convention in Los Angeles, USA, October 6-10 2014. For more information about the product and its launch, see www.pmc-speakers.com/products/professional/active/qb1a, or come to PMC’s booth at the show (1628).

“In this day and age, we felt the market could benefit from a modern, large-scale, high-resolution monitor with digital and analogue inputs,” concludes Oliver Thomas. “We couldn’t find one. That’s why we designed and built the QB1-A.”

About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without colouration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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Compass Bible Church Praises DPA Microphones

Company’s d:vote™ 4099 Instrument and d:fine™ Headset Microphones minimize EQ efforts during worship and provide clear audio for online congregation

DPA Microphones_Compass BibleALISO VIEJO, CA, OCTOBER 2, 2014Compass Bible Church serves its active congregation of 3,000 people almost every day of the week with bible study groups, Sunday school and several mid-week and weekend services. In order to accommodate this busy schedule, the church’s audio staff needs reliable audio equipment, such as the DPA Microphones’ d:vote™ 4099 Instrument and d:fine™ Headset Microphones. With this arrangement, the team can ensure that each sermon is delivered clearly to both the congregation and the extended community, which includes a live online stream through Live Stream as well as listeners to one of the hundreds of Focal Point Radio stations.

Supplied by CCI Solution, a HOW integrator based in Washington, the d:vote 4099s provide the perfect mount to properly close-mic the violin and drum kit used during worship, while the d:fine is the ideal audio solution for the lead and associate pastors. Selected by Jon Lillie, Audio/Visual/Lighting Director at Compass Bible Church, on recommendation by fellow church engineers, the mics have become a staple at the church. The d:votes are especially favored as their unique, lightweight body and mounting options, which are available for almost all acoustic and woodwind instruments, continuously fit the needs of the Compass Bible worship band.

DPA Microphones_Compass Bible 2“With the mounting system, it’s so easy to use the d:vote 4099 for the violin as the mic always ends up right where I want it,” says Jon. “I also use the d:vote 4099 to mic the drum kit because it is very responsive. It works really well with the toms and doesn’t pick up too much of the overheads. What it does pick up really accents the sound nicely and the EQ response is perfect for the violin.”

Jon’s fondness for the d:vote 4099s led to the church’s purchase of a d:fine Headset Mic for Lead Pastor Mike Fabarez. The reputation of the quality and comfort of the d:fines soon spread and it wasn’t long before every pastor at Compass Bible was using the mics. This was also ideal for Jon who enjoys ease-of-setup and flat response of the mics compared to his previous solutions.

DPA Microphones_Compass Bible 3“The mics are high-quality and don’t require a lot of gain, so their feedback resistance is great,” adds Jon. “When I listen to the individual on the microphone, I find that the EQ response is a lot flatter, which makes it sound as though the pastors are speaking face-to-face to each member of the congregation. I also like that the d:fine is so light and comfortable; people forget they are wearing them.”

In the future, Jon hopes to continue to add to the church’s inventory of DPA products, with the company’s podium microphone next on his wish list.

Compass Bible Church, a non-denominational organization, was established in 2006 with a contemporary worship style led by Senior Pastor Mike Fabarez. The church offers a variety of programs from traditional missions and Sunday school offered to adolescents and adults, in addition to modern worship groups such as Navigating Motherhood and Compass Singles 40+ Ministries.

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

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

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SSL Live Bids Farewell to Corey Hart

“The depth of field was amazing; I was really impressed by the spaciousness of it”

MONTREAL Corey Hart hung up his sunglasses for good at an emotional sold-out farewell concert for 13,500 hometown fans at Montreal’s Bell Centre, supported by an SSL Live console at front of house. A 1980s phenom, Hart has had nine consecutive Top 40 hits, with “Sunglasses at Night” being his most recognizable. Outfitted with sound services by Solotech in Canada, it was another local Montreal hero, Denis Savage, who mixed the show and the week-long rehearsal.

Denis Savage with SSL LiveFor Hart’s Farewell concert, the band consisted of two guitars, bass, drums, keyboards, percussion, saxophone and backing vocals, plus a few guests. Since Hart hadn’t performed live in almost a decade, the group spent a week in rehearsals to guarantee he gave audiences the show of a lifetime. “I recorded the rehearsals in multi-track, so I had two Pro Tools® rigs,” explains Savage, a long-time SSL user who has been Celine Dion’s FOH and studio engineer for the past 28 years. “One was a virtual playback machine and the other was recording straight from the preamps on stage.”

The extra practice also provided Savage with plenty of time to familiarise himself with the new SSL Live console. He found the integration of multi-track playback of live performances a great help in quickly programming the console. “For me, the way they set up the virtual sound check so that you can monitor through your recorder all the time and then just play back the sound while you’re programming is great,” he adds. “The way it’s set up is really amazing and effortless. I recorded the entire rehearsal through Pro Tools so I could stop, play back and program quickly while the band was on break, which was a big thing for me.”

Savage was initially drawn to SSL Live’s large, centre touch screen. “You’d think you need to use the centre screen all the time, but then you realize there’s a smaller one with colour-coded rotary knobs around it, and that’s where everything is happening,” he explains. “I was really able to increase my production speed once I understood that while I do want to see things on the big screen, I should use the smaller one to go through my menu, EQs, auxiliaries and so on. Once I got the hang of the process, my output was super fast.”
By the end of rehearsals, Savage had learned the full capabilities of SSL Live’s Focus Channel area located on the right-hand side of the console. “The screen was very visual for me to see where things were and how things were set up, but I was using the encoders way more,” he explains. “Initially, it looks kind of complicated. In fact, when I first saw it I was like, ‘Wow, this is going to be difficult just to set up.’ But, once I got my initial setup taken care of, I was able to better understand how things work. It flows nicely, and the depth of field was amazing. I couldn’t believe it. I was really impressed by the spaciousness of the console. It’s fun to work on and it sounds really good. I really like that console.”

Savage additionally notes that the classic SSL sonic signature combined with the modern control surface of the SSL Live console provide him with the perfect solution to get a great mix. “The sound of the SSL Live is very sweet; the lows are very deep and tight and I didn’t have to fight to blend and mix,” he says. “I also didn’t need to add too much EQ as the mix just falls into place quickly. When you mix on a good console, the little things add up to make a great sound. That’s exactly the feeling I got. Live is a fun console, too. Its compact size ensured that I wasn’t all over the place. It was like driving a sports car; I had access to everything quickly. I loved it.”

The Corey Hart Farewell Concert wasn’t the first time Savage got his hands on an SSL console. He also mixes on an SSL Duality at Studio Piccolo, his commercial studio in Montreal, and started using the SSL MT Plus console over a decade ago for Dion’s initial five-year residency at the Colosseum at Caesar’s Palace in Las Vegas. Today, Savage notes that SSL’s first true live sound console is an even better live solution for him as it incorporates features that improve his previous workflow.

“I did 737 shows at the Colosseum on the MT Plus and I never had a crash in five years, never had a single problem, it was flawless,” he says “Since SSL’s design team is so great, they are always listening to their customers and modifying their solutions to fit our needs. Now, the SSL Live gives me several options that I didn’t have with the MT Plus. I can use channels however I want. I can unfold them, offset them and then refold them. Basically, everything that was added to SSL’s other consoles over the years has now been incorporated into the Live console.”

www.solotech.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.

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Professional Wireless Systems Highlights Range of RF Solutions for House of Worship Events at WFX 2014

DALLAS, TX, SEPTEMBER 30, 2014 – Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, will showcase its range of RF solutions at WFX 2014 (Booth 1023), including its Helical Antennas and Domed Helical Antennas, Intermodulation Analysis Software System (IAS), GX Series of Combiners and DB Series of Multicouplers.PWS_Helical Antenna

“We are excited to bring our range of state-of-the-art RF and wireless equipment to the house of worship professionals in attendance at WFX 2014,” says Jim Van Winkle, general manager, PWS. “In addition to showcasing our RF solutions, PWS representatives will be on-hand to discuss our ability to provide on-site install services and support for wireless systems at HOW events of any size, especially with the influx of larger scale events for the upcoming holiday season.”

Two of PWS’ flagship product lines, Helical Antennas and Domed Helical Antennas, will be on display at the show. PWS Helical Antennas, perfect for long throws and high gain, have become the industry standard for multichannel wireless microphone, in-ear and intercom systems, due in part to their unique characteristics, which offer users extreme flexibility. The circularly polarized UHF antennas cover a frequency range of 450 MHz to 950 MHz and offer 14dbi gain and 8.5dbi for the Domed Helical. With an inherent boost in gain, greater bandwidth, and dropout-resistant polarization, PWS Helical Antennas outshine the performance of traditional antenna designs. Popular for use with IEM systems, users can employ these antennas with other UHF systems, including wireless microphones and intercom systems.

For venues and installations in which site-line appearance is a priority, PWS Domed Helical Antennas offer a wider angle of coverage perfect for smaller stages and medium gain. Offering the same circular polarization as the original PWS Helical Antenna, the Domed Helical features a more durable, sealable enclosure with a compact profile. Inconspicuous and robust, the PWS Domed Helical Antenna is a great choice when aesthetics and function cannot be compromised.

PWS will also be demonstrating its Intermodulation Analysis Software (IAS), which cuts down on setup time by combining a database of wireless performance equipment and access to local television frequencies in use. “PWS’ IAS software is the solution RF technicians have been waiting for,” adds Van Winkle. “This saves tremendous time over traditional trial-and-error methods. Once a clean frequency is found in IAS, a simple pre-show equipment test will verify the software’s ‘offline’ analysis. Our proprietary software helps to speed up a tedious and error-prone process.”

Additionally, PWS will highlight its GX Series of Combiners, the GX-4 and GX-8, which offer selectable high and low output settings, as well as above unity gain on output, as well as its DB Series of Multicouplers, including the DB8 (8 outputs), DB16 (16 outputs) and DB24 (24 outputs). These diversity systems are designed to distribute antenna signals to multiple receivers without loss and with high isolation between ports.

Interested show participants are invited to stop by PWS’ WFX Booth (1023) to speak with executives about the company’s latest product offerings. The team will also be offering site surveys at a discounted price to show attendees who are interested in learning more about how to optimize their frequency coordination during house of worship events.

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.

DPA Microphones Brings d:screet™ Omnidirectional Miniature Necklace Microphone to WFX 2014

Company also features its line of d:vote™ 4099 Instrument Microphones

DALLAS, SEPTEMBER 30, 2014DPA Microphones showcases its new d:screet™ Omnidirectional Necklace Microphone at WFX 2014 (Booth 1016), which is not only perfect for religious holiday productions, but can also be used for a range of other house of worship microphone applications. The company’s d:vote™ 4099 Instrument Microphones, another ideal accompaniment for such performances and daily HOW needs, will also be on display throughout the show.

DPA Microphones_dscreet NecklaceThe new d:screet Omnidirectional Miniature Necklace Microphone addresses an industry need for a mic that can be mounted and removed quickly several times by untrained talent without a sound expert nearby, which is often the setting in a house of worship. Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace Mic is ideal for situations requiring quick costume changes, such as a Christmas play or concert at a house of worship. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

Representing years of research and development, the d:vote 4099 Instrument Microphones are condenser mics that feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the full dynamic range and subtle details of any instrument, these microphones are tiny, discreet, rugged and lightweight. The versatile gooseneck provides stable and repeatable positioning, while the variety of available clips and mounts enable the mics to be repositioned or moved to another instrument without worry of damaging the finish of an instrument of changing its sonic character. Through the use of DPA’s extensive adapter system, the d:vote can be used as a standard 48V phantom powered microphone via the included XLR connector and is compatible with virtually any wireless system. The mic comes standard with a 5.5-inch gooseneck, but an optional extension unit is available along with a detachable cable, which increases the convenience of instrument mounting. Further, the selection of cables makes it possible to tailor the mic to a specific task, such the heavy-duty cable for PA/Live gigs or a thinner option that’s easier to hide on a personal instrument.

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

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

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SSL Live Is the Choice for Legendary Mexican Singer Juan Gabriel’s U.S. Tour


“It sounds exactly how the band is playing”

MEXICO CITY – Mexico’s beloved pop icon Juan Gabriel is touring the U.S. with an SSL Live, the first-ever dedicated live sound console from Solid State Logic. One of Mexico’s most successful vocalists, Gabriel is a Billboard Latin Music Hall of Fame inductee and six-time GRAMMY nominee who has sold over 30 million albums and performed throughout the world. When his Volver 2014 tour prepared for its U.S. leg, front-of-house engineer Rodrigo López was excited to mix on SSL’s latest innovation.

Rodrigo López with SSL Live copy“As soon as it was available, I wanted to use it,” López says of Live. “Just by reading ‘SSL,’ you know it’s a quality console. An engineer friend of mine who used Live for another U.S. tour provided the only training I needed. It’s very user-friendly. Sound check was my rehearsal with the console. It just sounded correct, it was really great. Everything was there, the way I wanted it to be.”

Live features the world-famous SSL SuperAnalogue™ preamplifiers that set the standard for sonic excellence and López says the benefits were instantly audible. “It just sounds perfect,” he says of mixing with Live. “It’s really clear and sounded exactly how the band was playing.”

SSL Live’s sonic quality was particularly noticeable on violins, López says. “We have seven violins for the mariachi. Sometimes it’s hard to hear because it’s loud on the stage. The first time I truly heard violins sound in the place I wanted them was when I mixed with SSL Live. What’s more, we’re running the mariachi musicians through a really small wireless microphone. It’s hard to have power on those instruments, but that just came naturally with the SSL.”

A 25-year veteran in the industry who also mixes FOH for Los Ángeles Azules and was previously with Marco Antonio Solís, López appreciates Live’s versatility, which allows engineers to work exactly the way they want. “The console accommodates to the way you’re mixing,” he says, “not the other way around.”

López added that musicians recognize SSL from thousands of recording studios around the world, and Gabriel’s band members were particularly amazed to see one on tour with them. “An SSL at front of house is really impressive,” he says. “Everyone wants to take a look at it.”

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.

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