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Solid State Logic Launches ‘ScreenSound ADR’ at IBC 2012

The World’s First Dedicated End-to-End Solution for ADR has Arrived

AMSTERDAM – Solid State Logic (IBC, Stand 8.D83), the world’s leading manufacturer of analogue and digital audio consoles, is proud to announce another ground breaking product release with the launch of ScreenSound ADR. Designed to optimize and standardize Automatic Dialogue Replacement for film, foley recording and local language replacement for film and television, ScreenSound ADR is the world’s first end-to-end solution designed to deliver faster and more efficient ADR workflow.

ScreenSound ADR is a turnkey system that combines a suite of integrated software applications providing dialogue spotting and session preparation, session control and management and streamlined audio recording, with an industrial-strength hardware platform including host computer, I/O and Nucleus hardware control surface. At each stage of the ADR process, ScreenSound ADR provides dedicated solutions to streamline preparation, management and production.

ScreenSound ADR is all about efficient workflow. The session preparation stage of the process is handled by SpotShot, a comprehensive take logging, dialogue spotting and session preparation tool. Imported scripts are automatically turned into take lists, and a dedicated interface streamlines the dialogue spotting process with an integrated HD capable video player with full script and annotation text overlay. Take lists can be filtered to show appearances by individual cast members or groups and to calculate word/line count to help plan studio and talent time. SpotShot is a standalone application enabling dialogue spotting to be done away from the ADR studio.

At the heart of ScreenSound ADR is SpotFire, which presents a dedicated session management and automated ADR interface that provides complete control of studio session workflow. SpotFire offers a unique interface that combines a ‘rehearse – record – review’ based transport control panel with a

versatile and customizable Take List that makes viewing, navigating and controlling the recording process simple and efficient. SpotFire relies on SSL’s Soundscape DAW as the underlying platform for recording, editing and mixing with all track arming, transport and recording functions controlled entirely by SpotFire’s dedicated ADR interface. Audio workflow with ScreenSound ADR integrates with how the industry works today. The system imports native .ptf format sessions from Pro Tools and can export finished sessions in native .ptf Pro Tools format.

SpotFire also feeds and controls VisionCue, Screensound ADR’s powerful artist cue system. VisionCue is a fully integrated multi-screen HD video player with a completely customizable scrolling script, annotation, graphic timeline cue and count in overlay. VisionCue can natively play a huge range of video formats all the way up to Pro Res and Avid dnxhd without the need for transcoding and the system supports BlackMagic Design video interfaces.

ScreenSound ADR is a turnkey hardware based system: The multi-award winning SSL Nucleus hardware control surface delivers uniquely customizable hands-on control for accelerated operation (Nucleus also provides 2 x SSL SuperAnalogue™ mic pre’s). SSL’s Alpha-Link audio converters offer versatile and scalable I/O options to cater for recording and monitoring with the SSL MX4 software mixer environment providing a standard mixer templates and open architecture routing flexibility. The assurance of a fully tested SSL certified PC system completes a truly unique end-to-end solution to speed up your production workflow.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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DAN FITZPATRICK NAMED PRESIDENT OF ANTON/BAUER

Healthcare Technology Vet to Help Drive New Markets for Portable Power, Including Medical Industry

AMSTERDAM, SEPTEMBER 7, 2012-Anton/Bauer, part of Vitec Videocom, a Vitec Group company and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, is pleased to announce Dan Fitzpatrick as its new president, effective August 13. As the new head of the business unit, Fitzpatrick will focus on driving new markets with the latest power solutions.

“We couldn’t be more pleased to welcome Dan to our executive team,” says Matt Danilowicz, CEO, Vitec Videocom division. “His wealth of experience in healthcare technology will help us foster our aspirations to expand Anton/Bauer into ancillary markets, while his extensive background in sales, marketing and product development will ensure further strengthening of Anton/Bauer’s position as the leader in broadcast and cinematography batteries.”

With more than 25 years in the healthcare technology industry, Fitzpatrick is well-versed in the field and has a keen understanding of what’s required to ensure success. He has held leadership roles in many North American healthcare technology companies, where he gained extensive skills in building and managing sales groups.

Fitzpatrick was formerly vice president of Sales and Marketing for Flo Healthcare, an Emerson company. His vision of developing a dominating market presence for comprehensive wireless technology solutions for the healthcare market-including wireless infrastructure, support services and mobile clinical workstations-helped position Flo Healthcare as a leader in wireless mobile workstations. What’s more, under his leadership, Flo Healthcare’s business achieved significant revenue growth and increased year over year earnings, using a hybrid sales approach with best-in-class products and technology via both internal developments and external partnerships.

Additionally Fitzpatrick has held key sales, marketing, and product development positions throughout his career with companies such as Tremont, Logistix and Sprint Healthcare Systems. He has provided healthcare information technology consulting services to companies such as Anton/Bauer, Sprint Healthcare Solutions, RF Technology, OptiMed, and Vasomedical.

Fitzpatrick holds a BAS from the University of Wisconsin.

For more information, visit www.antonbauer.com or call (203) 929-1100.

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DPA Microphones Help the Fukada Tree Bloom

LONGMONT, CO, SEPTEMBER 7, 2012 – Internationally renowned recording engineer and lecturer Akira Fukada has specified DPA Microphones 4011A directional, 4006A omnidirectional and 4015A wide cardioid ORTF microphones as best suited to his Fukada Tree arrangement. Supplied by DPA’s Japanese distributor Hibino, with whom Mr. Fukada has subsequently presented a number of seminars and workshops explaining the Fukada Tree, Fukada chose the brand for its rich bass and high frequency sound that does not blot during the recording process.

Mr. Fukada made an enormous impact at the New York AES Convention in 1997 when he unveiled the Fukada Tree seven microphone arrangement – a totally new technique for recording orchestral music in surround sound for subsequent broadcast or CD release. Developed to resolve some of the problems engineers had encountered when trying to record spatial environments with traditional omni-directional microphones, the Fukada Tree clarified microphone positioning and also incorporated directional microphones for main and environmental sounds.

Originally designed for Japanese state broadcaster NHK, the Fukada Tree is now owned by Mr. Fukada’s company, Dream Windows, Inc., which consults on a wide range of music recording, special sound design and audio issues. Whether with NHK or Dream Windows, Mr. Fukada has specified DPA microphones from the outset.

“I insist on using DPA microphones because I like the transparent feel they deliver,” says Fukada, CEO of Dream Windows, Inc. “When recording piano, for example, they give me the clear attack sound and the beauty of reverberation when the sound attenuates. Their wide dynamic range and rich bass vigorously catches the expression of an orchestra, while for string ensembles recorded in a studio, they capture the rich overtones and give a better feeling of air.”

Since first announcing the Fukada Tree arrangement, Mr. Fukada has made a number of positioning modifications to improve front localization, but his choice of microphones remains constant and continues to be DPA. “The LL/RR microphones on both sides are intended to pick up the orchestrated sound expanse and a smooth sound envelope covering the front and rear sections of the hall,” he explains. “I don’t, however, use LL/RR microphones for small music ensembles. My arrangement incorporates DPA 4011A directional microphones and DPA 4006A omnidirectional microphones from the Reference Standard Microphone Series. The configuration of the tree can vary depending on the hall’s acoustic characteristics, while the intervals at which the microphones are placed can also change to conform to the size and formation of the orchestra.”

In recent months, Mr. Fukada has used DPA microphones and the Fukada Tree to record a number of prestigious recording projects, including Shostakovich’s Symphony No. 5 with the Saito Kinen Orchestra, directed by Seiji Ozawa.

“I also use DPA microphones for projects that don’t require the Tree,” he says. “Recently, I selected the DPA 4006 for a Decca Tree stereo configuration to pick up string ambience in a studio setting. I also use the DPA 4015A wide cardioid ORTF for piano, and if I am recording acoustic guitar, I like to use a DPA cardioid 4011 XY. For me, DPA microphones are indispensable because they suit any musical instrument and provide all the accuracy that I need.”

Ken Kimura, DPA Microphones’ Regional Sales Director, Asia Pacific, says: “Following the upgrade and release of our finest Reference Standard Microphones, and given Mr. Fukada’s requirement for the best audio equipment, I’m very pleased to see that he continues to rely upon our 4006A, 4011A and 4015A mics for his recording sessions under Dream Windows, Inc.”

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SSL Demonstrates Riedel RockNet and MediorNet Compatibility at IBC 2012

New Compatibility Further Enhances Integration Options for SSL Digital Broadcast Consoles

AMSTERDAM – Solid State Logic, the world’s leading manufacturer of analogue and digital audio consoles is proud to demonstrate compatibility with Riedel RockNet and MediorNet systems at IBC 2012 (Stand 8.D83). Collaborative development between Riedel and SSL has delivered functionality, which aide customers worldwide in specifying and configuring integrated systems that deploy technology from two of the most respected names in broadcast.

SSL C100 HDS and C10 HD digital broadcast consoles can now connect to Riedel RockNet low latency audio distribution network and MediorNet fibre-optic transport, routing and conversion network. Via Riedel’s RN334.MD MADI interface, SSL consoles can then remotely control mic Gain, Phantom Power and Pad settings for Riedel RN series audio interfaces connected anywhere on a RockNet network. In addition SSL’s own MORSE Stagebox and Alpha-Link I/O units can also be connected via MADI to Riedel’s MediorNet networks with full remote control capability maintained for SSL consoles. Redundancy is a key feature for both SSL and Riedel customers and the new implementation ensures that Riedel and SSL remote I/O continue to behave as expected within SSL’s redundancy topology.

“SSL and Riedel share a significant customer base across the world, and these developments make it possible for our users to employ our consoles and distribution technology in truly integrated systems,” says Niall Feldman, director of new products for SSL. “Riedel is a highly respected, professional and innovative manufacturer, and there is considerable synergy between our technologies, so it is a great pleasure to continue to bring the relationship between our two companies ever closer together.”

“We’re proud to welcome Solid Stage Logic to the family of RockNet and MediorNet compatible console systems,” adds Henning Kaltheuner, head of product management at Riedel Communications. “This way, SSL will be able to network their consoles and stage boxes via MediorNet and also combine both with consoles and stage boxes from other RockNet compatible brands. As a result, SSL’s clients realize a streamlined infrastructure and maximum flexibility.”

Riedel Communications designs, manufactures and distributes the most pioneering real-time networks for video, audio and communications for broadcast, pro-audio, event, sports, theatre and security applications worldwide. The products reflect today’s leading-edge technologies that translate tomorrow’s demands into today’s solutions. The company also provides rental services for radio and intercom systems, event IT solutions as well as fibre-based and wireless audio & video transmission systems for large-scale events such as Olympic Games or FIFA World Cups. The Company was founded in 1987 and today employs over 350 people located within 11 locations in Europe, Australia, Asia and the Americas. For more information please visit www.riedel.net.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

RTW SELLS 100 TOUCHMONITOR TM3 UNITS TO COLOGNE BROADCASTING CENTER

RTL Deutschland Group’s CBC Relies on RTW Loudness-Metering Systems

From left to right: Martin Leuenberg - Sales Manager RTW Mahmoud Chatah - Head of Marketing and Sales RTW Oliver Schmitz - CEO Schmitronic Jürgen Mölders - Head of Postproduction CBC

AMSTERDAM, SEPTEMBER 7, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce the recent sale of 100 TouchMonitor TM3 units to Cologne Broadcasting Center (CBC), a television production and broadcasting company with offices in Cologne, Munich and Berlin. CBC purchased the TM3s to help meet the German government’s upcoming loudness requirements for TV shows. Schmitronic, a Cologne-based expert provider of professional audio components, supplied the units, which CBC has already begun to install.

CBC initially planned to purchase approximately 80 TouchMonitor TM3 units, but after further studying its requirements, increased that number to a total of 100 units. According to Jürgen Mölders, head of post production at CBC, who manages nearly 70 post-production suites, when it came to purchasing new loudness meters, CBC, already a longtime user of RTW equipment, felt RTW was the obvious choice. “When we tested a prototype version of the TM3, we were quite taken by its simple and intuitive operation,” he says. “We typically use the TM3 units in editing suites. As the monitoring device is a separate hardware unit, the main screen is reserved for the primary edit applications at any time.”

Since the TM3 installation at CBC spans several stages, Mölders insisted on having the first shipment delivered late in May. “Internally, we already transitioned our production to the new loudness-metering systems in June,” he explains. “This means that our editing suites already comply with EBU R128, but for the time being, we’ve adapted the levels in Final Cut Pro to our previous standards, which are still applicable. Thus, we were well prepared for when German regulators began to enforce loudness regulations for all major TV stations at the IFA in Berlin on August 31.”

Jochen Wellnitz, senior sound engineer at CBC, says he and his team are very happy with the experience they’ve had during their first few weeks with the TouchMonitor TM3. “Operating the device locally using the touch screen is simple and quick,” he says. “When browsing presets, the graphical preview feature is truly handy.”

According to Mölders, in order to avoid operating errors, his team decided to use a single preset that the editor cannot change or modify at the workplace. “This ensures that the metering is based on the same specifications at all our editing suites,” he notes. “On the other hand, there are other workplaces such as post-production suites or special-purpose systems where multiple presets are available to our creative team.”

Andreas Tweitmann, CEO of RTW, says his company is thrilled with the sale. “CBC’s acquisition of the 100 TouchMonitor TM3 units reaffirms the company’s faith in RTW’s loudness monitoring systems. We are very happy about that. We are convinced that the latest member of our extremely successful TouchMonitor series will meet and surpass all expectations in practical use.”

The RTW TouchMonitor TM3 enables quick and easy loudness metering. The system comprises a display unit featuring a 4.3-inch touch screen for horizontal or vertical use and a separate interface box. The easy-to-learn operating concept allows for fast selection of presets that are configured using RTW’s Devicer DC1 software, which is available for Macintosh and Windows. In addition to PPM and true-peak instruments, the TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-2/1771, ATSC A/85 and ARIB. Instruments include single-channel and summing bar graphs, loudness range and numerical displays. The TM3 stereo version handles analog and digital audio; in addition, the TM3-6CH version also supports six-channel digital input. An upgrade option for stereo units is available.

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Clear-Com Introduces Eclipse HX at IBC 2012

Company Revamps Powerful Matrix Intercom Range to Deliver Ultra-Fast Software Performance, Intuitive Management and Higher Capacity for System Expansion

AMSTERDAM, SEPTEMBER 7, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, today unveils the Eclipse HX Digital Matrix Systems and Eclipse HX (EHX) Configuration Software at IBC 2012 (Stand 10.D29a). The distinct set of powerful matrix intercoms offers faster performance, simplified operations and administration and higher system capacity.

The Eclipse HX systems, comprising the Eclipse HX-Omega, Eclipse HX-Median and Eclipse HX-PiCo, as well as the EHX software, are based on the original, powerful and comprehensive Eclipse digital matrix platform. All retain the legacy platform’s unique integration capabilities. Additionally, Clear-Com’s V-Series panels, frame cards and interfaces are compatible with the new Eclipse HX range, providing a seamless logical upgrade path for existing Eclipse customers. What sets Eclipse HX apart from the original Eclipse line are improvements in the software architecture, user interface and system capacity.

“We are very pleased to introduce the new Eclipse HX systems and EHX software at IBC,” says Peter Stallard, Senior Product Manager, Eclipse, Clear-Com. “In broadcast facilities where matrix intercom systems and resources are often shared across multiple studios, having fast and highly intuitive systems is critical when scarce engineering resources are needed to execute system-wide changes reliably, in real-time and with minimal impact on system users. Also, the Eclipse HX systems have the ability to make changes on the fly, which is especially important in OB vans and other live operations.”

The Clear-Com Eclipse is the only intercom on the market with a highly advanced range of user key panels, frame cards, interface modules, seamless wireless integration and intelligent IP intercom connectivity. The new Eclipse HX systems and EHX configuration software offer:

Improved system performance and resource utilization for executing EHX software configuration changes in real time.
• Clear-Com has designed the EHX software for faster processing of configuration and routing cards. This optimizes system performance and speed.

An intuitive user interface and easier setup operations for a better, simplified user experience.
• New “Matrix Ports and Cards” screen for a more efficient setup process.
• New “Resource Chart” to display utilization level of system resources.
• Improved user-panel setup for easy drag-and-drop operation.
• Easier-to-use single-frame operation for an individual user.
• Easier-to-read fonts and vertical-font displays on V-Series key panels.
• User rights features for identifying user types and providing system access control to protect against inadvertent changes.
• Color tallies as indicators for IFB and telephone-assigned keys.
• New “Online Help” feature provides context-sensitive help within software.

Space saving and expanded system capacity.
• Eclipse HX-Omega and Eclipse HX-Median matrix port density has increased to more than 448 ports per 6RU frame, the highest density intercom matrices on the market.
• PiCo-Link provides intelligent audio linking between co-located Eclipse HX-PiCos to resources in just 2RU.
• System features split-mode operation for E-Que cards, making them more efficient when users want to use both E1/T1 trunks and FreeSpeak.
• MADI channels can be used for intelligent trunking.
• Logic Maestro and client-server mode have been bundled with the EHX Software.

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 Analogue and 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.

Anton/Bauer’s New AB-HDRF System Makes IBC 2012 Debut

AB-HDRF System Offers Portable RF Solution

AMSTERDAM, SEPTEMBER 7, 2012—Anton/Bauer®, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, will be showcasing its new AB-HDRF System at IBC 2012 (Hall 11, Stand E55). This compact 5.8 GHz COFDM RF system can transmit a robust HD signal over great distances; all while being powered by Anton/Bauer batteries.

A collaboration between Anton/Bauer and Vitec Group sister company Integrated Microwave Technologies, LLC (IMT), Anton/Bauer’s AB-HDRF System is a COFDM transmitter that utilizes the 5.8 GHz frequency band. The AB-HDTX sends its signal directly to the AB-HDRX dual-diversity receiver or the DirectVu handheld confidence monitor/receiver. The unit’s size makes it ideal for reality-based, ENG/EFP and live event coverage.

“We are thrilled to debut this new system to the IBC community,” says Shin Minowa, vice president of marketing and business development, Anton/Bauer. “The response has been overwhelmingly positive thus far and we believe professionals love this system because it is compact, fits on the end of their camera and can be powered with their existing Anton/Bauer batteries, without adding much extra weight. We are proud to continue to offer solutions to help power our clients’ creativity, while protecting their investment.” As the system only draws about 15 watts, Anton/Bauer batteries, including the DIONIC® 90, HC and HCX, can be used with it to offer reliable power for extended periods of time.

The AB-HDRF System has an RF output of 100 mW and is capable of accepting a wide range of HD/SD video formats along with embedded audio from the HD-SDI output on the camera. The use of MPEG-4 compression allows the signal to travel a half-mile in line-of-site applications. The system offers users the flexibility to choose between 12 different channels in which to transmit, ensuring the least amount of interference. “This also allows multiple cameras to transmit to one central receive site,” adds Minowa. “In this application, a director can conveniently monitor different shots and make adjustments in real time.”

For more information on Anton/Bauer, visit www.antonbauer.com or call (203) 929-1100.

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight® 2, ElipZ®, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

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, Litepanels, OConnor, Petrol, 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 – innovative products around the camera.

RTW ADDS PRODUCT VIDEOS TO ITS WEBSITE

Demos Enhance User Experience, Further Educating Visitors on the Company’s Offerings

AMSTERDAM, SEPTEMBER 6, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, has incorporated video demonstrations of its entire product line to its website. The videos, available in both English and Chinese, were filmed during various trade shows during the year and offer visitors an up close look at the products in action.

“In addition to our commitment to producing innovative solutions for today’s broadcast technology needs, we are also firm believers in education,” says Mahmoud Chatah, director of sales and marketing, RTW. “Our website is a reflection of this commitment and it is why we decided to incorporate video demonstrations of each of products. Each video lives alongside each product’s specs, images and technical information, that way when a customer or potential customer visits our site, they receive a 360 degree view of our products.”

RTW’s current roster of products includes its groundbreaking TouchMonitor line of next generation loudness-compliant professional audio signal meters that consists of the TM3, TM7 and TM9 units. The TM3, the latest model, includes features of the larger TM7 and TM9 TouchMonitor versions, and is controlled using a touch-sensitive display. With its budget-friendly base price, a 4.3-inch touch screen and stylish exterior allowing for horizontal and vertical placement, the TM3 is a highly appealing, compact solution for editorial offices, edit suites and small control rooms.

In addition, RTW’s SurroundControl and SurroundMonitor series both continue to be popular solutions for today’s broadcast needs, implementing all major loudness standards, including EBU R128, ITU-R BS.1770-2/1771, ATSC A/85 and ARIB. RTW’s Loudness Range (LRA) instrument features the MagicLRA mode, a simple and intuitive view displaying integrated loudness and loudness variances within short time periods.

All of these product lines will be available for demos at the RTW booth, during the upcoming IBC 2012 show that kicks off on Friday, September 7, 2012 in Amsterdam.

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SSL Features “Live-Recorder” At IBC 2012

New SSL “Live-Recorder” Systems Deliver Up to 128 Channels of Ultra-reliable Live, Location or Broadcast Recording

AMSTERDAM – Solid State Logic is pleased to feature its Live-Recorder system at IBC 2012 (Stand 8.D83). Live-Recorder is designed for situations where a robust and reliable high-channel-count Recorder/Player is required in a live performance environment. It is ideal for live music recording from front of house consoles at live shows, in broadcast production studios and location recording vehicles.

Live-Recorder is also an excellent solution for live performance playback of studio recorded multi-tracks. Unlike any other solution, Live-Recorder exports/imports directly to/from Pro Tools™ .ptf, Apple™ XML and Steinberg™ XML project formats. System connectivity is via standard optical MADI so can connect over long distances directly to any MADI equipped Digital Mixing Consoles, Venue Audio Distribution infrastructure (Riedel, Optocore etc) or Routers. Live-Recorder systems can capture up to 128 Channels @ 24bit/48kHz or 64 Channels @ 24bit/96kHz.

“Live-Recorder presents significant cost-saving opportunities when compared to hard disk recorders or other DAW recorder systems,” says Niall Feldman, Director of New Products for SSL. “Live-Recorder excels when it comes to high channel count recording. It’s 4 SSD bay RAID configuration and Pro Tools format export and import capability offer exactly the workflow we know our customers need. The system offers exceptional power and flexibility in this budget-conscious era.”

The Live-Recorder system consists of a fully configured & soak tested 1U PC fitted with a 128 channel SSL MADI Audio Interface and with Soundscape V6.2 Recorder/Player software installed. Each system is supplied with a disk image making returning to a fresh system after each project simple and streamlined. The Live-Recorder PC is an extremely high quality 1U unit with 4 x front loading RAID bays pre fitted with SSD drives. The Live-Recorder system is connected to a FOH or Broadcast Production Console (directly or via a Router) using 2 x 64 channel Optical MADI connections. Live-Recorder supports MTC and MMC via MIDI over Ethernet for external system transport control and can sync via MADI or Word Clock (via BNC). Video Sync can be supported via low cost 3rd party hardware. The software also features advanced crash recovery routines which will retrieve incomplete audio recordings on reboot after a host system catastrophic failure such as sudden power loss.

Key Features
• Live and Broadcast Production DAW Recorder / Player
• Exports directly to ProTools® (8 & 9), Cubase/Nuendo, Final Cut and Samplitude/Sequoia
• Combination of DAW Recorder/Player software, MADI audio interface and host PC
• Connects directly to any optical MADI equipped device; Console, Router, etc
• 128 channel (2 x 64 ch I/O) optical MADI connectivity
• 128Ch@24bit/48kHz or 64Ch@24bit/96kHz recording
• Supports MTC and MMC Sync/Remote via MIDI interfaces or MIDI over Ethernet
• Unique crash recovery features
• Ultra stable software with exemplary SSL recording quality
• Live-Recorder MX4 includes versatile DSP powered software mixer & processing
• Add SSL Alpha-Link converters to Live-Recorder MX4 for local I/O & confidence monitoring
• Live-Recorder 128 option for environments where routing & monitoring is controlled upstream by a console or router.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

DPA Microphones Displays Range of Broadcast Microphone Solutions at IBC 2012

Company Also Raffles off brand new d:facto Vocal Microphone to Attendees

AMSTERDAM, SEPTEMBER 6, 2012 – DPA Microphones is highlighting its international reputation for distortion-free sound and ergonomic design at IBC 2012 (Stand 8.D70) by showing a range of high-quality microphones that are ideally suited to broadcast applications. Among the products on show will be DPA’s expanded d:fine™ headset microphones series, which recently won Live Design’s Sound Product of the Year Award, and the new d:facto™ handheld vocal mic, which debuted earlier this year.

IBC visitors will have the opportunity to win a ground-breaking d:facto vocal microphone. They must simply stop by the DPA stand and have their badge scanned. One lucky visitor will be chosen at random, and the winner will be announced and contacted after the show.

“With so many television programs now being delivered in High Definition and 5.1 surround sound, demand for high quality microphones for broadcast use has never been greater,” says Christian Poulsen, CEO of DPA Microphones. “DPA is internationally acclaimed for delivering the pristine sound quality that program makers and viewers desire. Our range includes microphones for a wide variety of broadcast applications, and we are confident that they are the best broadcast microphones on the market today in terms of both sound quality and design.”

Offering impressive gain before feedback and very stable construction, DPA’s unobtrusive d:fine headset microphones are easy to fit on any person, providing presenters and guests with a discreet microphone solution that can’t be seen on the face. The d:fine range is renowned for its audio accuracy and its ability to deliver natural voice intelligibility and consistent audio performance at all SPLs. The d:fine capsules are so small that they are virtually invisible, leaving presenters free to focus on their performance, safe in the knowledge that these hand-built microphones will deliver high-quality, distortion-free sound.

d:fine is available in both directional and omnidirectional options, in single or dual-ear designs and with long or short booms. Designed to fit comfortably, they adjust to accommodate any ear size and head shape, and can be mounted on either the left or right side of the head. Available in black, beige, brown and lime green, each solution performs spectacularly in either cabled or wireless settings and can accommodate a range of accessories including windscreens, power supplies and adapters or cables with fixed connectors (MicroDot, three-pin Lemo, TA4F mini XLR, Mini-jack).

DPA Microphones d:facto handheld vocal mic bridges the gap between live stage performances and studio recordings. Already put through its paces on several TV shows, including Voice of Denmark, a standard format TV show broadcast in several countries, the d:facto offers an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling. This microphone is ideal for live music broadcasting as it combines a supercardioid pattern with superb definition to give high separation and true sound color on stage. Similar to all DPA mics, d:facto features superior gain before feedback, while the inbuilt three-step pop protection grid effectively removes unwanted noise.

DPA is also showing its lightweight range of miniature microphones that are popular with broadcasters because they deliver excellent speech reproduction and can achieve quality pick up even when they are not directly aimed at the sound source. The company rounds out its line-up with its best-selling and versatile Reference Standard range of microphones that exhibit total transparency in any recording situation and are capable of picking up incredible detail and depth of sound.

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 about DPA Microphones, please visit IBC Stand 8.D70. If you are unable to attend the show, please refer to the company’s website – www.dpamicrophones.com.

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Related Topics: Microphones, News, Tradeshow News |

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