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Archive by Vanessa Sanchez

DPA Microphones Capture an Operatic Sensation

Sound Specialists RG Jones chooses DPA d:vote™ 4099 Instrument Microphones to capture the orchestra during a series of concerts by mezzo soprano Katherine Jenkins

LONDON, FEBRUARY 22, 2013 – Audio hire specialist RG Jones specified a wide selection of DPA Microphones’ 4061 Omni Miniature Mics and d:vote™ 4099 Instrument Mics for a recent series of concerts by Katherine Jenkins, a multi-platinum selling mezzo soprano and one of Britain’s best-loved singers.

For two weeks at the end of 2012, Katherine Jenkins sold out venues around the U.K. and Ireland, including London’s Royal Albert Hall. During the tour she was supported by the National Symphony Orchestra and London Philharmonic Choir, conducted by Anthony Inglis. She was also joined by guests such as The Boy Choristers of St. George’s Chapel, Windsor Castle and The Band of the Welsh Guards.

RG Jones supplied all of the audio equipment for the tour and specified DPA Microphones for the orchestra. A total of 14 4061 miniature microphones were used to capture the sound of the strings, while the low strings and the brass section were miked using 10 d:vote 4099 Instrument mics.

“We chose the DPA 4061 omni miniature microphones for the strings because those are a tried and tested method for achieving high-quality close miking,” says Steve Carr, front-of-house sound engineer. “The DPA d:vote 4099 Instrument Microphones give you all the benefits of the 4061, but with a super cardiod pattern. This is very useful for isolating the sources in the middle of a loud orchestra. Although we close-miked the orchestra, we tried to also get a rounded, open orchestral sound by blending reverb effects and ambient mics with the close mic sounds.”

RG Jones carries a large stock of DPA Microphones, all of which were supplied by DPA’s UK distributor Sound Network. Carr adds that he was delighted with the results the DPA microphones achieved during the Katherine Jenkins tour. “I’ve been using DPA microphones for many years now and am always very happy with the sound they deliver,” he says.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

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

DPA Microphones’ d:facto II Vocal Mic Makes Its Rental Debut

ALLEROED, DENMARK, FEBRUARY 21, 2013 – After a live test of DPA Microphones’ original d:facto™ Vocal Microphone at London’s Royal Festival Hall, sound production and rental company RNSS was so impressed with the mic’s performance that the company has placed an order for six of the new d:facto II Vocal Microphones.

Prior to the purchase, RNSS specified DPA d:facto Vocal Microphones as part of the audio equipment for the London Jazz Festival, an annual event produced in association with BBC Radio 3. Hailed as the capital’s biggest pan-city music festival, The London Jazz Festival featured artists such as Herbie Hancock and Lucinda Williams.

“We have had a long association with DPA Microphones and already carry a large stock of the company’s products,” says Richard Nowell, director of RNSS. “I was intrigued by the new d:facto Vocal Microphone and was keen to try it out. The Jazz Festival gave us the perfect opportunity to put it through its paces. We borrowed two d:factos from DPA’s UK distributor Sound Network and used them as high-end alternatives to our usual vocal mics. The mics performed flawlessly and delivered exceptional sound that was much appreciated by the artists and the sound crew. The mics’ ability to filter out unwanted noise meant that we could safely use them for singers who were performing in front of an orchestra without the risk of vocals being drowned out.”

One of the artists who used DPA’s d:facto Vocal Microphone was Kris Kristofferson who performed at the Royal Festival Hall shortly after the Jazz Festival.

“We held onto the microphones because we liked them so much and wanted to use them for Kris’ concert,” explains Nowell. “Kris is interested in sound and is always open to trying something new. He really liked the structure and tonal quality of the d:facto and was very happy with the results it delivered.”

Equally at home in sound reinforcement and recording applications, DPA’s new d:facto II Vocal microphone offers an extraordinarily natural sound, high separation and extreme SPL handling, giving users unlimited possibilities for their performances. In addition to use with the new wired DPA handle, the d:facto provides singers and engineers with the added benefit of a state-of-the-art adapter system that allows for seamless integration with many professional wireless systems including Sony, Lectrosonics, Shure, Wisycom and Sennheiser. The d:facto provides improved audio performance as it is superbly linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy reproduces a singer’s voice effortlessly.

RNSS will be taking delivery of its new DPA d:facto Vocal Microphones in a few weeks time and is already anticipating plenty of interest.

“We have decided to buy six of the new d:facto II microphones so that we can use them with our existing wireless systems,” concludes Nowell. ”We see huge potential for these microphones as rental items because they are so versatile. The adapter system will give our customers plenty of options as they can either use a wired DPA handle or the professional wireless system of their choosing, with no loss in the sound quality.”

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

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

Bexel Rolls Out The Red Carpet For E! Entertainment Television’s Live Awards Show Coverage

BURBANK, CA, FEBRUARY 20, 2013—With awards season well underway, Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, is in full force—providing E! Entertainment Television with the field equipment and engineering support it requires for the live broadcast of some of Hollywood’s most renowned awards shows. Bexel’s equipment and dedicated engineers successfully supported the network’s coverage of the Golden Globes, Screen Actors Guild (SAG) and Grammy Awards, and will be behind the scenes for the upcoming Academy Awards® as well.

With awards shows, Bexel must take multiple filming locations into consideration, including the red carpet, lobby and post-show area. As a result, Bexel’s custom rental packages can be quite extensive, including monitors for production use (talent), program feeds and monitors for on-air support and decoration. To ensure all the technical components run smoothly throughout an awards show telecast, two Bexel engineers are staffed onsite to manage intercoms, talent mics and IFBs. In addition, Bexel provides a voice over translation package utilized at the E! main studio for live translation into French and German.

For the 2013 awards show season, Bexel has supplied E! with multiple systems-based solutions, including a selection of intercoms and accessories from Clear-Com and RTS. Bexel custom packages for the awards have also included on-air and production monitoring, multiple channels of RF microphones from Sennheiser and production servers from EVS. To ensure all wireless devices operate without interference or loss of signal, Bexel employs a frequency coordination service for E! when necessary.

“As the most knowledgeable live-event resource and systems integration-driven provider in the world, we take pride in delivering unparalleled creative solution designs and total quality of service to all of our clients, including E!,” says Greg Bragg, regional sales director, Bexel. “In addition to our technical acumen and experience, we are committed to bringing these tenets to everything we do.”

E! Entertainment Television is a network of NBCUniversal Cable Entertainment, a division of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience.

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.

DPA Microphones Tours with Legendary Guitarist Paco Peña

Continuity of sound between venues and PA systems is primary reason engineer Raul Mendez selected several company products for Peña’s U.K. and U.S. tour dates

ALLEROED, DENMARK, FEBRUARY 19, 2013 – Sound Engineer Raul Mendez relies on DPA Microphones for legendary guitarist Paco Peña’s current U.K. and U.S. tour. Mendez lists his ability to move from venue to venue and achieve the same sound regardless of the acoustics or the PA system as his main reason for selecting the d:vote™ 4099 Instrument mics, 4061 Omni Miniature mics and d:fine™ Headset mics for the tour.

“I have been using DPA microphones for a long time now, and they are always my first choice of microphone because they give me the sound I want without any feedback problems,” says Mendez. “Whether I am miking an acoustic instrument or a voice, for anything from event to a musical, I know these microphones will work perfectly every time and in all different areas of performance.”

Mendez is currently using a selection of DPA microphones to capture the sound of legendary guitarist, composer, dramatist and producer Paco Peña. During his career spanning more than four decades, Peña has expanded the possibilities of flamenco and changed perceptions of the art form by fusing the richness of its traditions with contemporary culture.

Peña, who is now touring in the U.S., recently gave a series of concerts at London’s Sadlers Well’s where he presented his 2010 work Quimeras, a marriage of traditional Spanish and African music and dance. Directed by Jude Kelly, artistic director of London’s Southbank Centre, Quimeras tells the story of sub-Saharan African immigrants who move to Spain in search of a better life. The shift from hope to disillusion as reality confronts them is summed up by the title of the piece, which means chimeras or illusions.

For these performances, DPA’s U.K. distributor Sound Network supplied Mendez with a selection of DPA microphones, including the d:vote™ 4099 Instrument microphones, which Mendez used to bring the sound of the guitars to life. Peña’s guitar was miked using a DPA 4061 Omni Miniature microphone, the show’s vocalists were supplied with DPA d:fine™ Headset microphones.

“I prefer all my microphones to be wireless, and with DPA technology this is really easy,” explains Mendez. “I particularly like DPA’s wireless d:fine miniature headset microphones for vocals as they provide the perfect solution for the performer, while still giving me the sound I need.”
For Peña’s U.S. tour, Mendez has also specified DPA and has switched Peña from a DPA 4061 omni miniature microphone to a DPA d:vote 4099 Instrument Microphone because both preferred the sound.

“The two other guitarists in my company use DPA d:vote 4099 Instrument microphones with an attachment that allows them to be suspended away from the instrument,” explains Peña. “At first, I found the actual support used for attaching them to the guitar was a little difficult to use. I play with the guitar quite close to my body, and I move while playing and tuning etc, so I tended to knock the support on occasions. For that reason I was initially using an equally excellent mike – the DPA 4061 omni miniature microphone – which was attached to the guitar instead of being suspended in the air. However, I have now experimented with the d:vote and have found a spot to attach it to the guitar where I can manage it pretty well. It is a really great microphone and I am very happy with the sound it is giving me.”

Both Mendez and Peña feel that when it comes to the choice of microphone, the most important aspect is the sound.

“I am very happy with the sound we are achieving on this tour,” adds Peña. “I have known for a long time that DPA microphones are held in very high regard in the industry, but using them on a regular basis really makes the run of the show a whole lot better. The quality is excellent, but also the actual physical design allows musicians to attach them to the guitar and to move the instrument without altering the amplification and the EQ. They can also move around the stage without hindrance. The vocals are also performing well with the DPA d:fine Headset Microphones.”

“I have compared DPA microphones with others on the market, and I definitely prefer them,” concludes Mendez. “I spend a lot of time in different venues with different PAs and consoles, but with DPA the one thing I know is that the sound won’t change. This is a good way to start the day, especially when you consider that during our current U.S. tour we will be doing shows in 32 different venues.”

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

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

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Adaptive Video Walls and Displays Showcases HoverPro at Digital Signage Expo 2013

LAS VEGAS, FEBRUARY 19, 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, will showcase its HoverPro® single LCD monitor suspension device at Digital Signage Expo 2013 (DSE 2013, Booth 1715).

“Adaptive Technologies Group is known for its large fixed and flyable video walls so HoverPro is the ideal product to showcase at DSE, as it is a secure, reliable solution for single LCD monitor suspensions,” says Paul Allen, president, Adaptive Technologies Group. “In the world of digital signage, putting your message in front of the audience is key. HoverPro suspends any size video monitors anywhere inside a facility right in front of the target audience in hallways, doorways and checkout lines. Whether the HoverPro suspension is used in a permanent store location or for a trade show exhibit, Adaptive strives to offer the latest solutions with reliability and safety as its cornerstone.”

HoverPro is a single LCD monitor suspension device that allows you to deliver visual messages and content anywhere and without the limitations of wall mounting and/or expensive kiosks. Messages are permanently displayed above and in front of indoor target audiences by suspending and aiming large LCD and plasma screens (over 40 inches) from any overhead structure. As a pre-engineered rigging system, HoverPro adapts to the standard rear VESA-mounting hole patterns built into flat screen monitors to be safely rigged in portrait and landscape orientations.

These rigging kits provide installers with the ability to safely suspend and tilt screens into a wide range of viewing angles, from any location and distance from the roof. Down-tilt aiming is accomplished by way of suspending the monitors from the HoverPro’ multiple suspension points. An optional aiming device, the One-Way-Array®, may be installed in line, above the HoverPro, to provide up to 360 degrees of horizontal rotation. Additionally, a wide variety of standard off-the-shelf rigging hardware is available to allow the installer to safely assemble and “hover” the LCD or plasma monitor at any desired height and angle above an audience, store traffic and window fronts. Power is usually delivered along one of the suspension cables while the signal wire runs down the other suspension cable. Close fitting spiral loom then encloses both suspension cable and wire to deliver a very cosmetically appealing display.

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.

OPTOCORE TECHNOLOGY SUPPORTS AUDIO FOR THE 2013 U.S. PRESIDENTIAL INAUGURATION

Maryland Sound International Utilizes Optocore Network Rings for Signal Distribution and Monitoring

WASHINGTON D.C., FEBRUARY 19, 2013 – When audio integrator Maryland Sound International (MSI) was once again tasked with supplying the main audio system for President Barack Obama’s second presidential inauguration on January 21, 2013, the company employed two Optocore Networks. MSI, a longtime user of Optocore technology, a leading choice for powering professional audio, video and data transmission networks in a variety of markets, including broadcast, post production and AV, chose the networks for their multiple levels of redundancy and reputation of superior reliability. This marks the third presidential inauguration in a row for which MSI has chosen Optocore equipment for the critical audio distribution.

With the ceremony taking place on the grounds of the Capitol in Washington, D.C. in January, MSI was faced with unpredictable winter conditions as well as a long transmission path back to MSI’s Front-of-House position, nearly 2,000 feet from the last speaker tower. MSI and audio designer Patrick Baltzell needed a way to distribute audio signals with as few conversions as possible in order to ensure the approximately 1,000,000 attendees of the ceremony heard every word.

MSI chose Optocore Network technology in order to drive the signal chain directly from the Yamaha PM5D FOH mixing console using Optocore YG2 Yamaha cards that were connected with redundant fiber cabling to the locations of the loudspeaker processors and amplifiers. This provided MSI with lossless digital transmission, which is critical in order to properly transport the audio with crisp sound and clarity over such a long distance transmission path without any glitches.

“The Optocore Networks we put in place for this year’s ceremony certainly made access to all of the amplifiers, signal processors and overall signal distribution far easier and more reliable than in the past,” says Brian Bednar, system technician, MSI. “This time around, everything was more streamlined and faster to set up and tear down at the end of the event.”

The main Optocore Network consisted of one YG2 card in the Yamaha PM5D FOH mixing console connected to an Optocore DD32 networked AES/EBU device on stage right and another DD32 on stage left. Each DD32 was connected to an Optocore X6P-8/8 analog converter and a Dolby DLP loudspeaker processor via AES. The X6P converters gave MSI the ability to feed all the devices that were not AES and/or not driven through the Dolby processor units.

The second Optocore Network consisted of one YG2 card in the PM5D connected to an Optocore DD32R-FX networked AES/EBU device at delay zone 1 (700 feet away) and another DD32R-FX at delay zone 2 (1500 feet away). Each DD32R-FX was connected to an Optocore X6P-16IN analog converter and a Dolby processor via AES. Both networks featured redundant fiber connections.

The DD32R-FX proved to be a helpful add-on for this year’s sound system, with its built-in network wide Ethernet switch. The Optocore Network allowed MSI an easy access to the Dolby DLP loudspeaker processors and amplifiers located off the main site. With a broad part of the sound system offsite, it was then easy to maintain control and monitoring of all the devices on the network to see if they were functioning to MSI’s specifications.

“It is my role to help the FOH engineer tune the system, so having access to all parts of the system at all times in order to make changes without my needing to leave the FOH position is invaluable,” says Art Isaacs, project manager, MSI. “The X6P-16IN converters gave us the functionality to run measurement microphones from multiple city blocks away back to the FOH position. Using the Optocore system proved itself to us in many ways. The sound system was extremely quiet due to the all-AES based drive system. Ethernet access to all of the online devices proved extremely helpful and provided great flexibility. I can only hope that in 2017 that we can continue to work with Optocore systems and further enhance the sound system.”

The relationship between Optocore and MSI goes back for almost a decade. “Optocore has been part of MSI’s rental inventory since 2004,” says Tine Helmle, director, Optocore. “We are proud to provide MSI with the solutions it needed to ensure the audio was heard loud and clear during such an important and historic U.S. event as the presidential inauguration. We look forward to working with them well into the future.”

About Optocore
Based in Munich, Germany, Optocore is the world market leading provider of scalable, high-bandwidth, low-latency fiber-optic networks for the transmission of audio, video and data. For 19 years, Optocore has been continuously innovating and setting new standards with regards to digital network technology. Optocore builds and develops synchronous optical fiber and CAT5 based network solutions for broadcast professionals, fixed installations and live event applications. Utilizing leading-edge technology and high-quality components Optocore guarantees durability and therefore long-term market and customer satisfaction. Due to the open system architecture, Optocore’s platform offers other manufacturers the option to transfer conventional standard audio, video and data formats used in the pro audio industry, via a fiber and CAT5 network. Technical expertise, QoS and an extensive support structure are guaranteed to all customers, together with the highest level of quality controls. For more information, visit www.optocore.com.

MASQUE SOUND KEEPS THE MUSIC OF THE NIGHT PLAYING AS THE PHANTOM OF THE OPERA CELEBRATES 25 YEARS ON BROADWAY

Audio Equipment Provider Commemorates Silver Anniversary
With Longest-Running Show in Broadway History

NEW YORK, FEBRUARY 13, 2013—When The Phantom of the Opera celebrated its 25th anniversary on Broadway on January 26, becoming the first show on the Great White Way to achieve such a milestone, Masque Sound, a leading theatrical sound reinforcement, installation and design company, joined the festivities as the show’s legacy audio equipment rental provider for the past quarter century.

One of the first of the great British musicals to hit America, The Phantom of The Opera rocketed Andrew Lloyd Webber to the pinnacle of success. From an equipment standpoint, it was also one of the first truly elaborate shows on Broadway. Phantom’s quantity of sound equipment, along with the distinctive way that gear was used, helped change the industry’s perspective of sound. It also helped Masque Sound grow into the company it is today.

“When Phantom first opened on Broadway 25 years ago, Masque Sound was operating out of a brownstone on West 51st Street, with barely enough space to put together one company of Phantom,” says Geoff Shearing, president, Masque Sound. “As Phantom has grown, so has Masque Sound, and today we operate out of a 70,000-square-foot facility. These days, we are capable of doing multiple companies of Phantom at the same time.”

The Opera Ghost first haunted the Broadway stage at the Majestic Theater on January 26, 1988, where Masque Sound worked with Sound Designer Martin Levan to bring a unique audio experience to the audience. One of the first musicals to use the Cadac A-Type console, from an audio perspective, The Phantom of the Opera was a groundbreaking show.

“The Cadac was an automated A-type,” says Dennis Short, director of sales for Masque Sound. “Prior to Phantom, mixing was a little more hands on. The A-type on Phantom was now able to automate the VCA and mute functions on a scene by scene basis. You didn’t have to make the changes yourself and that proved to be a game changer for the sound operator. For the 20 years the A-type was used on Phantom, it proved itself as the most enduring element within the sound system, requiring no more than regular maintenance to maintain its performance night after night.”

Since Phantom’s debut in 1988, sound technology has seen many advances. In 2008, to coincide with Phantom’s 20th anniversary, the show’s producers saw the need to bring the production’s sound design technology into the 21st century. This culminated in a retrofit with Masque Sound, which provided a Yamaha PM1D digital console at the front-of-house position. In addition, digital playback systems replaced reel-to-reel tape deck sound effects.

“We also changed the PA,” adds Short. “A selection of Meyer speakers and subwoofers replaced the existing Tannoy speakers and Bose subwoofers. Along with the digitalization of the show, when we changed the console and speakers, we also provided the Meyer Galileo 616 speaker management system, which replaced a rack full of discrete processing.”
Designed by Olivier Award-winner Mick Potter, the new surround sound system consists of more than six miles of cable and an incredible 155 speakers. The digital system upped the number of microphones used in the show from 58 to 76, and The Phantom himself now has three dedicated microphones.

“When my father first saw The Phantom of the Opera in the U.K., before it came to the U.S., he knew it was something special. He wanted Masque Sound to be a part of when it arrived on Broadway,” says Shearing. “Masque Sound has been fortunate enough and extremely grateful to be part of the show since its Broadway debut 25 years ago. We cherish the relationship we have had with the show’s producers over the past quarter century and look forward to providing the show with audio equipment and services for another 25 years and beyond.”

Phantom became the longest-running show in Broadway history on Jan. 9, 2006, when it marked its 7,486th performance, surpassing another Lloyd Webber musical, Cats. Phantom crossed the 10,000 -performances mark on Feb. 11 this year. To date, the musical, which has been mounted at the Majestic Theatre since its Broadway debut, has grossed more than $800 million and consistently remains strong at the box office amid tough competition from other Broadway contenders.

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 Technologies Unveils StarGrid Mounting System for Overhead Cinema Surround Speakers

Unique Speaker Grid Paves the Way for New Cinema Surround Sound Experience

SIGNAL HILL, CA, FEBRUARY 12, 2013 — Adaptive Technologies Group, comprised of Allen Products, ATM Fly-ware and Adaptive Video Walls and Displays, and a premier provider of state-of-the-art rigging and mounting solutions for a wide range of audio and video applications, is proud to introduce its StarGrid™ overhead mounting system, specifically developed for clustering ceiling-mounted cinema speakers. This new system, which supports the latest ceiling speaker formats found in movie theaters, is designed to reduce the cost of multi-channel surround sound installations.

With digital cinema and 3D exhibition becoming state-of-the-art, directors and studios have begun implementing new object-based surround sound technologies, such as the Atmos™ surround format from Dolby Laboratories™ and the Auro format from Barco, to compliment the enhanced visual experience. Recent examples of this include the films Brave, Life of Pi and The Hobbit: An Unexpected Journey, to name a few, as well as upcoming titles such as Star Trek: Into Darkness. Adaptive’s StarGrid system supports the adoption of such technologies with a safe, easy-to-install ceiling grid that reduces total installation costs and optimizes the installation of surround speakers.

Cinema exhibitors are taking advantage of the StarGrid system and quickly recognizing its impact on safety, ease-of-installation, as well as the confidence and predictability that Adaptive designs bring to each of its theaters.

“The engineering and design behind Adaptive’s StarGrid system has enabled us to complete our overhead installations quickly and confidently in order to meet our client’s ever-shrinking installation timelines,” says Adam Peterson, director of technical services, Universal Cinema Services. “While an auditorium is under renovation, it isn’t generating any revenue. The StarGrid allows us to get in and out of an overhead installation fast, in order to help the client get back to selling tickets.”

Proper placement and aiming of speakers in a cinema setting is vital to achieving the desired audio experience. Not every facility, however, is designed the same way. To address this, Adaptive has developed a complete beam-to-speaker design that allows the StarGrid system to be easily retrofitted into almost any theater’s space. This system comes with a variety of components that accommodate most building materials and structures, including trusses, beams, pipes and channels. Further design considerations take wire management, sound isolation and seismic conditions into account. Lastly, Adaptive offers a variety of adjustable speaker mounts that accommodate standard cinema speaker models, including those produced by Eastern Acoustic Works (EAW), Electro-Voice, JBL Professional, Klipsch, Meyer Audio and QSC Audio.

“With Adaptive’s StarGrid there is finally a structurally engineered ceiling speaker attachment method that’s perfect for cinema,” says Jim Kappus, director of sales and logistics, ACS Enterprises, Inc. “It is a safe and risk-free method for properly installing overhead speakers.”

For this customized solution, Adaptive can provide the installer with a complete ceiling grid design based on facility drawings that includes dimensioned drawings for installation, a bill of materials, working load and safety factors, as well as auditorium-specific recommendations. Theater owners need only provide Adaptive with the drawings (preferably CAD files) of the facility and the placement of any acoustic wall treatment. Adaptive then creates the installation design for installers to follow, detailing the exact location of the ceiling speakers and the grid components that support them. This can also provide support for the submittal of plans for approval.

“It is really exciting to once again be a part of another major cinema technology build-out,” says Paul Allen, CEO, Adaptive Technologies Group. “For decades we have worked with leading theater chains and speaker manufacturers to develop cinema specific surround mounts for walls. With StarGrid, we have created an easy way to safely and efficiently install ceiling surrounds in auditoriums, making the whole process more predictable and less costly for theater owners. Adaptive has had a long history of supporting sound innovations and we are happy to continue this tradition with this latest offering.”

    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.

TRINITY LUTHERAN CELEBRATES A NEW SANCTUARY AND IMPROVED SOUND SYSTEM

WAUPACA, WI, FEBRUARY 11, 2013—Trinity Lutheran Church in Waupaca, WI, recently debuted its new sanctuary—offering expanded seating capacity, more space up front for musicians and choirs, and new technology to enhance the worship experience for members and visitors. Among the new technologies included in the audio system design for the church, which was installed by Sonic Art, is the new Aviom AllFrame Multi-Modular I/O System to network audio to various locations around the facility. The church also included an Aviom Personal Mixing System for its musicians in its audio system upgrade.

Sonic Art designed and installed the Pro64® audio network and Pro16® personal mixing system to be much like an analog system, but the system offers far more flexibility than a traditional system would. According to Brian Christ, senior A/V designer for Sonic Art, “The AllFrame System made the installation simple and straightforward with less failure points than an analog system, and the audio quality is excellent.”

Sonic Art wired the church with Cat-5 and placed A-Net® connection jacks (RJ-45s) in various locations to allow for the Aviom AllFrames to be placed at any of these points with an installed connection to the digital Yamaha® LS9-32 in the sound booth. Two 6416Y2 A-Net Interface Cards are installed in the console for digital I/O into the Aviom network. The church’s equipment room houses an amp rack with an MH10 Merger Hub which distributes A-Net to five POA80 Power Over A-Net Power Supplies and an ASI A-Net Systems Interface. The ASI converts Pro64 A-Net to Pro16 A-Net and is connected to an A-16D Pro A-Net Distributor that sends power and Pro16 A-Net to up to eight A-16II Personal Mixers used by the choir and praise band.

The POA80s send power and Pro64 A-Net to five locations in the sanctuary. One is connected to the F6 Modular I/O Frame that is in the choir area, which can be placed elsewhere if needed. Here four C4m Mic/Line Input Cards and one C4o Analog Output Cards provide local inputs and outputs to this location. Two additional F6s, each with four C4m Cards and one C4o Card can be placed at any of the other four A-Net locations connected to a POA80. This allows for the church’s sound team to design the audio network to meet their needs for any given sermon or event. Often one of the AllFrames is used in the praise band area, for instance.

Wanda Eikenbary, director of Music Ministries for Trinity Lutheran, says, “I can’t imagine anything better than to have this flexibility. At any given time we can configure this room with musicians and instruments in the way that we choose. The enormous amount of flexibility is worth its weight in gold to us. We can have a small, simple worship service or a large holiday production. This system opens doors for us in terms of what types of presentations we can do in the future. It is a goal of mine to bring in professional performances. This wasn’t an option in the past but it will be now.”

The AllFrame Multi-Modular I/O System also gives the church the ability to expand their system as needed. Their existing F6s each have an open slot to which four more channels can be added. And adding additional AllFrames allows for even more expansion and flexibility. In addition to the flexibility of the system, the church appreciates how simple it is to use. This characteristic is incredibly important according to Eikenbary because the church relies on good-hearted volunteers who are willing to learn how to use the system.

Eikenbary also appreciates the overall warmth and breadth of the sound in the new sanctuary. She explains, “You can physically feel the sound, which we have never had before. As a musician, of course, it’s important to me that the music and sound is first rate. Making the sound the best it can be was a priority on our list for the new sanctuary. I’m glad that others understood the need and allowed us to take it to this level.”

Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net®, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.

CLEAR-COM RELOCATES UK HEADQUARTERS

New Location Boasts Creative Atmosphere and Expanded Technical Resources

CAMBRIDGE, UK, 7 FEBRUARY 2013 ─ Clear-Com®, a global leader in critical voice communication systems, announces the relocation of its UK headquarters. The new office is located at 2000 Beach Drive, Cambridge, just down the road from the company’s previous UK headquarters. The new facility enables Clear-Com to continue its expansion in the region, while offering further creative resources for its staff members. more

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