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Archive by Vanessa Sanchez

RTW Brings German Engineering to the U.S.

New East Coast Location, U.S. Team Supports Company’s Commitment to U.S. Market

LANCASTER, PA, MARCH 20, 2013 — As part of its expansion into the U.S. market, RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is proud to announce today the opening of its new facility in the United States. RTW’s U.S. branch, RTW International, Corp., is officially open for business in Lancaster, Pennsylvania. The new office is the first U.S. location launched by the Cologne, Germany-based RTW, offering further proof of the company’s continued dedication to supporting its customers and dealer networks in the U.S.

You’ve got to trust your meters. A user needs to trust in the device he is using for measuring and, therefore, trust its manufacturer. RTW has been a reliable source of innovative audio measurement tools for more than 45 years, bringing its pedigree of precise German engineering to each of its innovative solutions. Along with the company’s ground-breaking products comes a commitment to service. RTW has a longstanding reputation of working with its customers to ensure their experience with RTW products is a positive one.

Over the years, countless audio engineers and mixers have relied on RTW products to meet critical audio standards all over the world. With the advent of the CALM Act, RTW has recognized a clear need in the U.S. marketplace for its loudness metering tools and has now, based on that need, planned to further expand its operations and customer reach in the United States. RTW prides itself on providing the best customer service it possibly can and recognizes the importance of location to its customers, which is why the company has opened its Lancaster, Pennsylvania office.

The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers, further reducing product delivery lead times. To lead the office, RTW has hired Christopher Spahr to be its new U.S. Director of Sales and Operations. In this new role, Spahr will oversee all brand, sales and market development in the United States. In addition, Werner Haase, from the RTW development team in Cologne, will join Spahr in Lancaster, overseeing product service and final assembly.

To view a video interview with Christopher Spahr, please visit RTW’s YouTube channel via the following link: http://www.youtube.com/watch?v=uMD8SY5_1UM&feature=youtu.be

“Our U.S. customers are very important to us,” says Andreas Tweitmann, CEO, RTW. “The goal for the new production facility in Lancaster is to focus our efforts on the U.S. market. Not only does this help us support our growing network of dealers, led by Group One, but ultimately, it benefits our end users, as we will be able to provide them with the best services and availability of products possible. With Christopher heading up RTW’s U.S. team, we will be able to stay in close contact with all of the dealers in this network, helping them to understand and anticipate current and future needs of the North American market so that we can produce devices specifically for U.S. needs.”

Guided by its thorough research, knowledge and commitment to quality, RTW has produced a range of products for the professional audio community that are reliable, easy-to-use and compatible with a variety of leading audio equipment available in today’s marketplace. Over the last few years, it has significantly expanded its product offerings with the successful TouchMonitor series of audio meters. Its award-winning TouchMonitors, the TM7 and TM9, debuted in 2010; since then, RTW has introduced updated versions of those products, as well as the latest additions to this family including the TMR7 for radio stations, and the TM3, which is the entry-level device of the TouchMonitor series.

The unique operating concept behind the TouchMonitor family is based on a 16:9 touch-sensitive screen, allowing a user to simply swipe a finger to interact with the graphical user interface. It offers not only a built-in online help function, but also allows for monitoring separate signal groups using multiple instruments at the same time.

All TouchMonitor meters are built from a state-of-the-art hardware platform. Depending on the user’s preferences, he can choose a device with analogue or digital connectors, or both, including 3G. In addition to the standard versions featuring desktop enclosures, external power supplies and an integrated stand, RTW also offers OEM versions that can be integrated into mixing-console surfaces.

The modular software concept of the TM7 and TM9 provides excellent value for money. Based on a user’s specific needs, he can purchase only those features that are necessary. Some of these options include Loudness meters, the Surround Sound Analyzer and VU meters (the addition of other available instruments that a user may be interested in, is always possible). The user can then individualize his view on the display to see only those instruments he needs in the size and arrangement he prefers. Both in terms of measuring devices and view, the TM7 and TM9 are entirely customizable.

The success of the TouchMonitor series has broadened RTW’s market reach, providing connectivity solutions to numerous professional markets. Now with a stronger presence in the United States, RTW plans to further that reach, supporting the professional audio community with its stellar German engineering, expertise and customer service.

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

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

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130.

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Sound Devices Welcomes Dr. Steve Popovich as Software Engineer

New Addition Furthers Company’s Commitment to Creating Cutting-Edge Products

REEDSBURG, WI, MARCH 19, 2013 — Sound Devices, experts in audio and video products for field production, is pleased to announce that industry veteran Dr. Steve Popovich has joined its engineering team as Staff Firmware/Algorithm Engineer. Popovich will work directly with the Sound Devices research and development team to further enhance the company’s range of firmware and software algorithms for its audio and video products. Popovich brings with him a strong background in audio, systems engineering and software algorithm creation—a unique skill set that will further bolster Sound Devices’ software development efforts.

“Steve is a very talented software coder whom we’ve had the privilege of working with in the past. He has made big contributions with MixAssist on the 788T and other important algorithm developments,” says Matt Anderson, President of Sound Devices. “With more than two decades of experience in the industry, he is a welcome addition to the Sound Devices family. We look forward to his future contributions.”

Popovich’s background in acoustical signal processing began at Digisonix LLC, where he was Director of Research, developing active sound and vibration control technologies applied to silencing HVAC, automotive, aerospace and industrial noise. Since then, he has served in a diverse set of technical and engineering roles in electronic circuit manufacturing, DSP algorithms and embedded software applied to sound, electric motors and vehicle system electronics. His past work has also included supporting audio-related algorithm and software development for videoconferencing products at VTEL.

Popovich most recently served as a faculty member in the Department of Electrical Engineering at the University of Wisconsin, Platteville (UWP), where he participated in the creation of a collaborative program between UWP and UW-Fox Valley in Menasha, Wisconsin. During this time, Popovich also provided DSP-related consulting services, including work for Sound Devices.
Popovich holds a Ph.D. in Electrical Engineering from the University of Wisconsin, Madison, and has been named as inventor on 11 patents.

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

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Outline Butterfly System Installed in the Prestigious Warner Theater

Historic Washington, D.C. Landmark Selects Full Outline System Installed by Maryland Sound International

WASHINGTON D.C. — The prestigious Warner Theater has made its next quantum leap forward in entertainment services with its new Outline Butterfly PA system. Nestled just two blocks from The White House in Washington, D.C. the majestic Warner Theater has a rich legacy dating back to its origins in 1923 — first with Vaudeville, and later as a cinema theater during Hollywood’s Golden Age. Fully restored in 1992, the Warner Theater took on yet another incarnation and became an esteemed live performance venue. The new sound system delivers the power and clarity of Outline technology to support the venue’s expanded entertainment roster. more

Clear-Com Tempest®2400 System Amplifies Communication at University Of Minnesota’s School Of Music

Wireless Intercom Brings Efficiency and Flexibility to Ted Mann Performance Hall

MINNEAPOLIS, MARCH 7, 2013 ─ Clear-Com®, a global leader in critical voice communication systems, is providing the University of Minnesota’s School of Music’s Ted Mann Concert Hall with improved efficiency in its production communications. The school’s theater recently installed a four-channel Clear-Com Tempest®2400 digital wireless system, enhancing production crew members’ communications during and between a variety of shows.

The Tempest2400 is being used for production communication during various types of performances. These include performances by the choirs, bands, orchestras and other large ensembles. They also rely on the Tempest system when transitioning from one event to another. The music department’s previous wired communication system proved to be unsatisfactory in the concert hall because it prevented constant communication with all stage crew. The cables also hindered users’ movement and required frequent repair due to someone accidentally stepping on them. The Tempest2400 wireless intercom gives the crew freedom to roam, extended coverage, and an unlimited number of intercom users via the system’s Split and Shared Modes. In addition, since the Tempest2400 is designed with Frequency Hopping Spread Spectrum (FHSS) technology, it enables reliable, interference-free operation in the RF hostile areas of campus. This allows production crew members to deliver every cue with optimal clarity.

Alpha Video, a leading digital video systems dealer, integrator and provider of visual communication solutions, as well as a Clear-Com Partner, supplied the university with the Tempest2400 system. Flexibility, user capacity, and widespread coverage along with Clear-Com’s solid industry reputation were key factors in the university’s choice to go with Clear-Com. “We had talked about upgrading our old intercom system for quite a while, and after having the chance to demo a Clear-Com system during one of our larger productions, we knew that we needed one for our performance space,” explains Jessica Solinsky, Assistant Technical Coordinator of the Ted Mann Concert Hall. “Communication with the Tempest2400 has simplified collaboration during performances, especially during complicated stage moves. Because everyone is receiving the information they need to hear, there is smoother coordination throughout and between each show.”

The Tempest2400’s user-friendly interface and easy operations have also raised the bar on production crew efficiency. It is extremely simple to configure and allows the crew to make quick changes to the intercom setup. A specific talk group can also be assigned to each of the four channels on the Tempest2400 to isolate communication between relevant parties.

The main unit of the Tempest2400 is installed in the theater’s amp room, off of stage left. To maximize coverage, the crew has run a CAT-5 cable to the upstage area for the placement of a CCT-RT remote antenna.

The Tempest2400 has helped the school’s music department’s annual Collage Concert, a non-stop concert showcase of the School of Music. The stage manager runs the show from an on-stage location, which requires her to move to different areas in the backstage to ensure that everyone is in the correct position. She must also be aware of the moving set pieces during the position transitions and alert other staff that performers are in position. The Tempest2400 system has allowed her to execute these responsibilities while staying abreast of when other stage workers are finished with their tasks.

“The capabilities of the Tempest2400 system have empowered the production team to take greater ownership of its events and performances,” says Jay Wallace, Regional Sales Manager for Northwestern USA, Clear-Com. “With wireless communication, the university now has the opportunity to think bigger than ever before in designing, creating and executing its high quality productions.”

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 BRINGS ALIVE THE SOUND OF THE BEATLES FOR BACKBEAT

MASQUE SOUND BRINGS ALIVE THE SOUND OF THE BEATLES FOR BACKBEAT
Custom Audio Solution Amps up Sound for Smash Hit Play about the Birth of the Band

LOS ANGELES, MARCH 6, 2013—When Sound Designer Richard Brooker was tasked with creating an unforgettable, authentic audio experience for Backbeat, a play chronicling the rise of the Beatles as one of the most beloved rock bands of all time, he turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, for the equipment he needed to turn his vision into a reality.

Backbeat made its United States premiere at the Ahmanson Theatre at the Music Center in Los Angeles on January 20, after playing to sold-out crowds at Toronto’s Royal Alexandra Theatre this past summer. Co-written by Iain Softley and Stephen Jeffreys, it is based on the 1994 Universal Pictures film by Softley, Michael Thomas and Stephen Ward. Five-time Tony Award nominee David Leveaux is the play’s director.

Backbeat marks the third time Brooker has worked with Masque Sound on a project. “Masque Sound did such a great job for me on the musical Chess, so there was no question I wanted them again for Backbeat,” says Brooker. “The main thing is that they’re a very professional and skilled outfit that provide not only the equipment and technical services that I require, but also offer what I find to be a unique level of support.”

In designing the sound for Backbeat, equipment selection was critical. According to Brooker, “Backbeat is an unusual show. I don’t consider it a musical but rather a play with live songs. This creates an interesting sound dynamic. The dialogue is less amplified, requiring us to reinforce the actors with sound gear to ensure the audience can hear them, but then the rock ‘n’ roll music the Beatles are playing in the clubs of Hamburg is very loud.”

In order to accommodate these varying sound levels and tones, Masque Sound provided a custom audio package featuring 24 Sennheiser SK5012 mics, a DigiCo SD10 console with Mac computers running the Q-Lab system for Sound Effect, Meyer M’elodies speakers for the main system, a Meyer M1D center cluster and Meyer UPM1P delays and front fields and Meyer 600-HP subs as well. The setup includes a large drop of M’elodies stage left and stage right and a slightly smaller drop of M’elodies on the sides covering the upper circle of the theater.

One of the challenges Brooker faced was establishing and maintaining the authentic feel of late 1950s-early 1960s Liverpool for the show. “We wanted to deliver a very raw, live sound to the music, as it would have sounded in a small European club at that time,” he says. “It wasn’t so much a sophisticated sound but rather something with raw guitar amps that were quite noisy and harsh and not as beautifully produced as music is now these days. In the sound design I was trying to create that feel and capture that moment at that time and make it sound edgy without making it sound horrible—that was an interesting challenge. Masque Sound was instrumental in pulling this off.”

In trying to keep the show as authentic to the time period as possible, the show also used vintage guitar amplifiers and some slightly non-traditional microphones for vocals. “Since it is very difficult to get a hold of the actual equipment that was used back in the 1950s and 1960s, that was a fairly unique challenge for this show. Masque Sound was once again extremely helpful in coming up with creative solutions to help overcome that issue.”

Brooker says he wouldn’t be able to accomplish what he did on Backbeat without the people who worked with him to implement his ideas and designs into the show. “My associate sound designer, Poti Martin, and production sound engineer, Raf Rutgeerts, do a fantastic job. Also, the support of Masque is incredible. Scott Kalata from Masque Sound is always readily available on the other end of the phone or via email and usually comes out to visit the site as well. Masque Sound really provides great audio equipment, great backup and support and ideas as well. They are a great company and I look forward to continuing my relationship with them.”

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From The Field to the Studio: Sound Devices Highlights Diverse Capabilities of Rack-Mounted PIX 260i at the 2013 NAB Show

File-Based Audio/Video Recorder Ideal for OB, In-Studio and Post-Production Environments

LAS VEGAS, MARCH 5, 2013 — Sound Devices, experts in portable audio and video products for field production, is taking its proven field technology into the studio with its PIX 260i Production Video Recorder at the 2013 NAB Show (Booth C2849). Based on Sound Devices’ PIX 240i Recorder, the rack-mounted PIX 260i is a file-based audio/video recorder that seamlessly replaces tape-based video decks in production and post-production environments. Currently shipping, PIX 260i also offers 32 tracks of audio record/playback as well as control functionality from browser-capable computers and tablets.

The PIX 260i brings the features and tools needed by production companies and broadcasters looking to migrate to file-based recording and playback environments. The PIX 260i 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.

PIX 260i recorders can be controlled from browser-capable computers and tablets. When connected to a data network, transport controls and setup menu controls are available on the Sound Devices PIXNET, which offers IP-addressable control of one or multiple PIX 260i recorders. Users can group multiple units for simultaneous control. Data drives connected to PIX 260i are also accessible on Ethernet-based networks as read-only SMB shares, opening up endless possibilities for file sharing. Files can be copied from any PIX 260i located on a network, enabling access from across a room or the globe.

Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

Building on the company’s deep heritage in production sound, Sound Devices has infused the PIX 260i with 32-track record/playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

With its extensive control capabilities, the PIX 260i is a flexible video playback source. The PIX 260i can be controlled by both external RS-422 and via Ethernet through PIXNet.

The PIX 260i includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady, multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time codes can be read from the SDI stream, the HDMI stream or from an external source.

Like the PIX 220i and PIX 240i, the PIX 260i includes a sophisticated scaler and frame-rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up-, down- or cross-conversion at the same or a different rate. Hardware-based 3:2 pull-down removal and anamorphic conversion is also available.

PIX 260i’s convenient half-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector. Sound Devices’ PIX-RACK accessory includes one full 2U rack, which can hold two PIX 260is.

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

Bexel Launches Technical Sales & Solutions Division

New Division Brings Audio Specialties Group and Broadcast Video Gear Under One Roof

BURBANK, CA, FEBRUARY 28, 2013—Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, is pleased to announce the launch of Technical Sales & Solutions. Known as Bexel TSS, the division merges Bexel’s pre-owned equipment offered by Broadcast Video Gear (BVG), with new equipment featured by Audio Specialties Group (ASG), including audio and intercom products and solutions, RF-over-fiber and Managed Antenna Systems. Bexel TSS will also be expanding their new video sales by sourcing products and manufacturers to optimize growth and strengthen inventory.

“With Bexel BVG and Bexel ASG, we had two different sales organizations. Since we are all operating under one roof, it made sense to streamline our resources and merge the two units together to become the Bexel TSS division,” says Joyce Bente, director of sales, Bexel TSS. “By unifying these two divisions, Bexel will be able to provide more resources to our customers, including increased customer support and the ability to leverage our rental products with our new equipment sales within the same service order.”

As part of the Bexel TSS announcement, Bexel is also proud to have entered into an agreement with DiGiCo to be one of the premier resellers of the company’s broadcast digital audio consoles. In addition, Bexel will also incorporate DiGiCo’s consoles into its rental inventory. To this end, it has already taken delivery of a SD10B and SD11B, two of DiGiCo’s broadcast digital consoles, for its rental pool.

DiGiCo brings together the design skills and digital engineering expertise that have helped create some of the world’s most popular and groundbreaking digital audio solutions. Bexel will primarily focus on selling and marketing DiGiCo’s gear specifically to mobile trucks, small television production facilities (including those involved in webcasting), tier-two and tier-three call-letter stations, smaller owned-and-operated (O&O) stations across the U.S., as well as broadcast education schools and houses of worship.

“DiGiCo has a very successful track record of selling digital audio consoles in the live reinforcement and theater markets and now, as it enters the U.S. broadcast market, Bexel TSS is leading the charge in getting its products to the end user,” says John Root, business development manager, Western Region, Bexel. “DiGiCo is one of the only major broadcast audio manufacturers delivering solutions costing less than $100,000 while meeting the broadcast industry’s audio console requirements, specifications and quality performance standards that the industry demands. We look forward to expanding our audio line with its digital audio consoles.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com.

About the Vitec Group:
Capture the moment™
For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Service provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

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MASQUE SOUND HEADS TO CHICAGO, ON TOUR WITH THE BOOK OF MORMON

CHICAGO, February 27, 2013—The Book of Mormon, winner of nine Tony Awards® including Best Musical, has made its way to Chicago’s Bank of America Theatre. For the Second National Tour, sound designer Brian Ronan once again turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events, to supply audio equipment for the satirical musical.

“For this production, one of our main concerns was ensuring that our sound system and speakers would not interfere with the layout of the staging for the show,” says Cody Spencer, Brian Ronan’s associate sound designer. “A lot of our process involves strategizing ways to provide optimal sound coverage—so that every word is heard throughout the theatre—while making the scenic department happy by keeping our system out of audience view and preventing it from inhibiting the main frame of the show.”

For The Book of Mormon at the Bank of America Theatre, Masque Sound is providing Sennheiser MKE-1 microphones for the lead actors and MKE-2s for various other cast members. Other gear included DPA 4061 microphones, L’Acoustics speakers and a Digico UB MADI interface sound console – used to route a QLab directly to a Digico SD7, digitally.

Spencer also notes that Masque Sound was extremely helpful in getting him and his team urgent pieces of equipment when necessary. He noted, “If there was something that we were in need of, we just called over to Masque and they took care of us. They were able to get us the equipment within a day or two, which was great. We really enjoy working with Masque Sound.”

Throughout the years, many world premiere productions and pre-Broadway performances have called the 2,016-seat Bank of America Theatre home. Steeped in history, dating back to the vaudeville era, this Chicago performance venue has presented such iconic performances as Movin’ Out, Irving Berlin’s White Christmas, Jersey Boys and Monty Python’s Spamalot, among others.

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 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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Adaptive Video Walls and Displays Demonstrates 3×2 Video Wall at Digital Signage Expo 2013

Video Wall Features Winch System for Vertical Movement

LAS VEGAS, FEBRUARY 27, 2013 — Adaptive Video Walls and Displays, a division of Adaptive Technologies Group and the premier provider of innovative wall-mountable, floor-standing, interlocking and flyable video wall frames for multiple LCD, LED and plasma monitors, demonstrates a flyable 3X2 Video Wall at Digital Signage Expo 2013 (Booth 1715).

This flyable video wall consists of six 46-inch NEC flat-screen LCD displays that are joined together and secured to a semi-automated winch system. Users can configure the video wall to exhibit one large image across all the displays or up to six different images. Raising and lowering video walls with a winch system turns conference rooms, command centers, retail environments, casinos, corporate training centers and other venues into multi-purpose facilities by allowing the user to better utilize these spaces.

“Adaptive Technologies Group is excited to demonstrate its flyable, retractable video wall capabilities at this year’s Digital Signage Expo,” says Paul Allen, president, Adaptive Technologies Group. “This 3X2 video wall is just one example of how our video walls put digital content anywhere and can help to transform any multi-purpose venue with just a click of a button. At Adaptive, we offer a full range of video wall framing solutions that can be customized according to size, configuration and monitor type, with a range of mounting options to fit any space’s unique requirements.”

Adaptive’s commitment to safety engineering is evident by its precision-machined connecting bars and compression locks that link its precisely dimensioned frames together into multiple tiers that support thousands of pounds of LCD monitors. Rigging beams provide rugged overhead load-rated lifting and suspensions for nearly any application.

In addition to the frames designed for use at Digital Signage Expo 2013, Adaptive Video Walls and Displays provides frames for a wide variety of other LCD and plasma models that are employed in many permanent, rental and staging applications around the world, including narrow bezel models produced by NEC, Sharp, LG, Orion, Samsung Panasonic and ViewSonic.

About Adaptive Technologies Group
Adaptive Technologies Group combines the talents and disciplines of Allen Products, ATM Fly-ware and Adaptive Video Walls and Displays, and offers state-of-the art rigging and mounting solutions for a range of audio and video applications. With its combined divisions, Adaptive is a full-service solution provider, by way of the design, development and manufacturing of professionally installed AV mounting and rigging equipment worldwide. Each brand offers its own standard and unique time-saving solutions, best safety practices and unlimited custom designs for any venue, size and application.

In addition to providing a wide selection of popular mounting and rigging solutions, Adaptive is a major resource for hundreds of commonly used and often hard to find rigging hardware and fastener items. Based in Signal Hill, California, all overhead products and parts are made and assembled in the USA. For more information, visit http://adapttechgroup.com.

Professional Wireless Systems RF Coordination Puts Signal Interference Out of Bounds at 2013 NBA All-Star Game

HOUSTON, FEBRUARY 26, 2013—Professional Wireless Systems (PWS), a Masque Sound Company, and experts in supplying and supporting wireless systems for live, broadcast events and installations, provided frequency coordination for all wireless microphones, intercoms, in-ear monitors, IFB systems and player mics for the 2013 NBA All-Star Game at the Toyota Center in Houston, Texas. This marks the seventh year PWS provided RF support for the NBA All-Star Game weekend. In addition to the game itself, PWS also handled frequency coordination for the NBA’s Jam Session at the George R. Brown Convention Center, as well as all other official events, including the Slam Dunk Contest and Three-Point Shootout.

With an event like the NBA All-Star Game, production staff must carefully coordinate all wireless technologies to ensure their frequencies do not interfere with one another. To this end, PWS began strategizing its frequency coordination for the NBA All-Star Game weeks before the actual game. “The NBA is extremely proactive in regards to RF communications and we work closely with them leading up to the All-Star weekend so we are well-prepared going in,” says Brooks Schroeder of PWS. “Once we actually got on site, we were able to move users around the spectrum as needed to ensure things operated smoothly without interruption.”

The PWS team was responsible for managing close to 500 frequencies at the Toyota Center in Houston, a large television market with a heavily saturated spectrum. Facing this reduced amount of spectrum space, PWS took extra care to stay on top of all users to ensure they were working within the guidelines.

For the All-Star Game, the NBA provided an in-house 2.4GHZ Wi-Fi system. PWS was tasked with coordinating and managing the system—tracking down uncoordinated and rogue devices to help maintain good signal and data flow. Once located and identified, the individuals or clients who were out of compliance were asked to shut down or move to an acceptable Wi-Fi channel.

In addition to frequency coordination, PWS collaborated with Quantum Q5X to manage the player microphones for the All-Star Game. Quantum Q5X provided its QT-5000 Microphone System, which users can control remotely and wirelessly. Sewn into the jerseys of eight of the players, the rechargeable, flexible and customized QT-5000 transmitters allowed game broadcasters to build packages that could be rolled into the game, and provided audio for NBA Films productions to use for archival purposes and any future shows. The rubberized, flexible, water-and-sweat-resistant QT-5000 body pack will not injure the player even if he falls on it or takes a direct hit. John Garrido from PWS and Quantum Q5X’s Mark Donkers managed the system together.

The antenna system utilized for the player mics was the PWS Domed Helical which is a new standard in wireless antenna performance and physical presence. The antenna combines the highly successful circular polarization configuration pioneered by the original PWS Helical, but with the unit sealed within a unique new compact “domed” design. This provides robust, uncompromised multichannel wireless microphone, in-ear and intercom wireless connectivity. Constructed from rugged polycarbonate, PWS’s Domed Helical is designed to hold up to considerable road-related abuse.

“The NBA All-Star Game and associated events are always challenging for us, but our team has extensive experience in coordinating large events and does a fantastic job,” adds Jim Van Winkle, general manager of PWS. “We look forward to working on this event each year.”

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 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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