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Archive by Vanessa Sanchez

Masque Sound Keeps the Laughs Coming for Bay Street Theatre’s Production of a Funny Thing Happened on the Way to the Forum

Custom Equipment Rental Package Takes Audience Back to Ancient Rome for Musical Farce

SAG HARBOR, NY, AUGUST 27, 2013 – The historic Bay Street Theatre is one of the country’s pre-eminent regional theatres, offering year-round entertainment and events. In anticipation of the theatre’s final production of the 2013 Mainstage Season, Sound Designer Tony Melfa turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company to provide a custom sound equipment package for the musical comedy A Funny Thing Happened on the Way to the Forum.

Directed and choreographed by Marcia Milgrom Dodge, A Funny Thing Happened on the Way to the Forum is a musical that tells the bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. The musical’s original 1963 Broadway run won several Tony Awards, including those for Best Musical and Best Book.

In designing the sound for A Funny Thing Happened on the Way to the Forum, Melfa’s goal was to keep acoustically true to the original production when it was written in the 1960s. “I wanted to provide the audience as authentic a feel as possible and not over-mic the stage,” he says. “In order to make that happen, equipment selection was key and Masque Sound did an amazing job of providing me everything I needed to bring my vision to the stage.”

For A Funny Thing Happened on the Way to the Forum, Masque Sound’s custom equipment package included a Yamaha M7CL 32 channel digital mixing console along with a selection of Meyer speakers, including UPA-1Ps, UPM-1Ps and a USW subwoofer. Melfa utilized a selection of microphones including AKG 414s, Shure SM57s, as well as a Shure Beta 52, Neumann U 89 and AKG D112. Masque Sound also provided Melfa five Aviom personal monitor systems, in addition to an HME wireless intercom system.

Since the Bay Street Theatre is a three-quarter round stage, Melfa’s biggest in challenge in designing the sound was to make sure the entire theatre was covered acoustically. According to Melfa, “The Bay Street Theatre has a unique layout and I wanted to make sure that all 299 seats in the house were capable of having a memorable experience sonically. It was important that the rental house I worked with was attentive to my needs, and that’s exactly what Masque Sound was for me. They are extremely easy to work with and my shop order is always right. It is a huge weight lifted off my shoulders knowing I can expect all the equipment I ordered to be delivered in full and in perfect working condition.”

In addition, Masque Sound worked with Melfa to provide frequency coordination to prevent signal interference from the crowded boating community. “With all of the boats in Sag Harbor there is a surprisingly large amount of frequencies in use, and Masque Sound is incredible in taking care of all the frequency coordination for me,” adds Melfa. “All I have to do is plug the equipment in and we are ready to go.”

Founded in 1991, Bay Street Theatre is a not-for-profit 299-seat professional regional theatre situated on Long Wharf, in Sag Harbor, NY. Many of the productions that premiered or were developed at Bay Street have moved to Broadway, Off-Broadway, regionally and abroad, including Nobody Don’t Like Yogi, Hedda Gabler, Love Janis, If Love Were All, Full Gallop, Swingtime Canteen and Three Hotels.

“We are a small theatre and Masque Sound provides us with as much support as they would give to a big budget Broadway production,” says Melfa. “It is great to know that I can pick up the phone and get an immediate response. They always keep it on a personal level and go the extra mile.”

A Funny Thing Happened on the Way to the Forum plays through September 1 at the Bay Street Theatre, at the foot of Main Street (and the corner of Bay Street) on the Long Wharf, opposite the windmill.

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

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RTW Names Martin Leuenberg Head of Sales

Leuenberg Will Oversee and Develop New Sales Strategies for the Company

COLOGNE, GERMANY, 26 AUGUST, 2013 ─ RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce the promotion of Martin Leuenberg to head of sales, effective immediately. Leuenberg, who will continue to work out of the company’s headquarters in Cologne, first joined RTW in September 2011 as the company’s sales manager for Central Europe. He will draw upon his extensive sales and engineering background to manage the strategic reorganization of RTW’s sales department.

“Martin has played an instrumental role in the successful development of RTW products in Central Europe, and we are confident he will continue to do the same in his new role, leading the sales teams in all regions,” says Andreas Tweitmann, CEO, RTW. “Martin’s extensive experience in both the pro audio and broadcast markets, coupled with his comprehensive knowledge of loudness issues and standards, makes him a great fit for this position.”

In addition to spearheading the reorganization of RTW’s sales team, Leuenberg will put into place strategies that will further support the company’s customer needs as well as set new structures for market growth.

“RTW is enjoying a strong period of growth as it enters new markets and continues to deliver exciting new metering solutions to customers, whether they are new products or software updates to existing models,” says Leuenberg. “It is an exciting time to be at RTW, and the audio industry overall. I am eager to take on this new role, as it will allow me to provide further support to my colleagues at RTW.”

Leuenberg began his career as an audio engineer, working as a freelancer in several markets, including radio, music production and live shows, before joining DW Radio. Soon after, he worked as a sales manager for companies including Lapp Group before joining RTW.

ABOUT RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

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Professional Wireless Systems Brings Its Star-Studded Wireless Equipment to Telemundo’s “Premios Tu Mundo” Awards Show

On-Site Technical Expertise Ensures Exceptional Coverage for Telemundo Awards Show

MIAMI, AUGUST 22, 2013—For the second year in a row, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-site to support the red carpet and live broadcast of Telemundo’s second annual “Premios Tu Mundo” awards show at the American Airlines Arena in Miami.

Broadcast live in primetime, “Premios Tu Mundo” is a musical spectacular event that celebrates pop culture and combines the power of television, web, mobile and social media platforms to give fans the final say in what’s hot in everything that moves and inspires them, including novelas, music, fashion, movies and sports. The pre-show “La Alfombra de Premios Tu Mundo,” featured celebrities like Eva Longoria, Daddy Yankee and many of Hispanic Hollywood’s top celebrities.

“We are thrilled to have once again worked with Telemundo on this event, especially at the American Airlines Arena,” says Jim Van Winkle, general manager of PWS. “Having just been there for the NBA Finals and other events throughout the year, we know this venue extremely well. This allowed us to provide all the necessary equipment needed for a smooth event.”

PWS supplied the network with microphones, IFBs and wireless communications for the red carpet event. In addition, PWS provided the Shure Axient system, Telex BTR-800 wireless intercoms and IFBs for the live broadcast, as well as onsite support from John Garrido. PWS also worked closely Brooks Schroeder, who handled frequency coordination for the show and Acoutech, which provided the PA and monitor systems, microphones and in-ear monitors.

In addition to providing some of the wireless equipment, PWS monitored the event for unregistered wireless devices alongside Schroeder. “We policed the area to ensure that everyone was in compliance, so that everything would run smoothly, and there was no interference during the live broadcast,” notes Van Winkle.

The team also worked with Telemundo to solve any challenges having to do with the video wall. “Whether it’s the video wall or chance of rain in the Miami area, PWS brings its strong history of being a solutions provider with it to each and every event we work on. This allows us to act as a partner to everyone involved in making this a successful and interference-free event,” concludes Van Winkle.

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

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

RTW to Support the IBC 2013 Show with Loudness Metering Tools

COLOGNE, 22, AUGUST 2013 – RTW (IBC Stand 8.D92), a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to announce that it is providing the IBC 2013 show’s technology team with TM9 and TM7 TouchMonitor audio meters to support audio in the IBC Big Screen auditorium, as well as four TM3 TouchMonitor units to support the IBC News team’s live and studio coverage of the show.

“We have long assisted the IBC show with equipment from the RTW product portfolio and are happy to be doing so again this year,” says Andreas Tweitmann, CEO, RTW. “The IBC show represents the best and most advanced technology offerings in Europe within the broadcast industry. We are honored to have the show organizers select meters from our TouchMonitor line of products in order to help support the audio in the Big Screen auditorium, as well as for IBC News broadcasts.”

The IBC Big Screen auditorium, which debuted in 2003, will host several of IBC 2013’s top events, including the keynote presentations, awards ceremony, exhibitor and conference sessions, as well as free movie screenings for attendees. Designed to the IBC’s specifications, the auditorium is equipped for 4K and stereoscopic 3D digital projection and Dolby 7.1 surround sound audio.

The IBC technology team selected the RTW TM9 for signal monitoring in the IBC Big Screen projection booth. The TM9 will be equipped with several software modules, including RTW’s Multichannel Mode, Loudness and SPL Display, RTA Real Time Analyzer and SSA Surround Sound Analyzer.

“By utilizing the TM9, we will be able to check the audio’s signal path at various points within the system during any event being held in the Big Screen area,” says Terry Nelson, Technical Resources, IBC. “For us, it truly is ‘confidence monitoring.’”

In addition, Nelson and his team chose RTW’s TM7, equipped with RTW’s Multichannel Mode, Loudness and SPL Display, SSA (Surround Sound Analyzer) and Radar Display modules, to monitor signals alongside the Midas PRO 9 digital console surface used in the IBC Big Screen. While this version of the TM7 is equipped with the same analog and digital inputs and outputs as the TM9, for this application, as a general rule, the audio team only monitors the main eight outputs.

The four TM3 meters were selected for their similar capabilities, along with their more compact size, which is more suitable for use in the various production centers (including the master control room) that the IBC News team uses to broadcast its live and studio coverage from the show floor.

“The IBC News team specifically requested the compact-sized TM3s for the first time last year,” says Nelson. “They were impressed with the meters’ precision, reliability and ease-of-use, and have chosen to bring them back again this year to monitor the main signal outputs during broadcasts.”

The TM7 and TM9 feature seven- and nine-inch touch-sensitive displays, respectively, and provide unparalleled flexibility and modularity combined with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults, and the capability for both horizontal and vertical operation. The system visualizes up to 48 channels depending on the installed interface combination (analog, digital and 3G SDI). They also feature the innovative Magic LRA instrument, specifically designed by RTW for intuitive visualization of the loudness range and integrated-loudness parameters.

Controlled using a touch-sensitive display, the TM3 has a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. It includes a large number of graphical and numerical instruments showing single-channel, stereo and multichannel audio. It also offers summing-loudness bargraphs, PPM, TruePeak, SPL, loudness range (LRA), dialnorm and correlation. It is a highly appealing compact solution ideal for editorial offices, edit suites and small control rooms. The TM3 also features the Magic LRA instrument, PPM and TruePeak instruments.

Along with the TM7, TM9 and RTW’s entire TouchMonitor range, the TM3 was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85, ARIB and OP-59.

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.

Sound Devices Demonstrates Latest Solutions for Production Professionals at BIRTV 2013

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

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

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

Sound Devices’ PIX 260i brings the features and tools needed by production companies and broadcasters looking to migrate to file-based recording and playback environments. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in common editing environments, such as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

Files are recorded simultaneously on up to four separate, 2.5” SSD storage devices via two front-panel PIX-CADDY slots and two rear-panel eSATAp connections. This redundancy in local, removable storage devices, coupled with standard Ethernet-based file transfer features further reduces steps in the production workflow. Recording to multiple drives offers immediate file backup, eliminating time-consuming post-record copying. Gigabit Ethernet network ports enable remote access to recorded files and the ability to transfer these files quickly into a post-production environment.

PIX 260i can also be controlled from browser-capable computers and tablets. When connected to a data network, transport and setup menu controls are available on PIXNET, which offers control of one or multiple PIX 260i recorders. Multiple units can be grouped for simultaneous control.

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

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

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

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

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

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

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

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

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

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

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

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

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

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

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Masque Sound Appoints Stephanie Hansen to Vice President

Hansen Also Retains General Manager Role

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About Autoscript
Autoscript is the world leader in the prompting industry, providing professional teleprompting equipment to broadcasters across the globe. Established in the UK in 1984, with headquarters in the UK and the US, Autoscript designs and builds innovative hardware, PC cards and software to meet real world needs and continually enhance the production process. A prime example of this is Autoscript’s latest product, the E.P.I.C. (Enhanced Prompting Information Centre), an all-in-one prompter display and on-air talent monitor that vastly simplifies studio equipment, reduces power consumption and enables easier location prompting. Autoscript is a member of the Vitec Group.

For more information visit www.autoscript.tv.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Camera Corps, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – advancing the quality and science of media production.

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