A virtual press conference from Sound & Video Contractor

Archive by Vanessa Sanchez

PROFESSIONAL WIRELESS SYSTEMS’ JASON ESKEW TO SPEAK DURING AES LIVE SOUND SEMINAR

Eskew to Provide Expert Insight on Wireless Frequency Wrangling at Large Events

SAN FRANCISCO, OCTOBER 25, 2012—Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, is pleased to announce that its wireless specialist Jason Eskew will participate in a live sound seminar on Wireless Frequency Wrangling at Large Events at AES 2012 in San Francisco. The seminar will take place on Saturday, October 27, from 4:00 to 6:00 pm (Room 120), and cover the overall approach to RF coordination, preparation and setup for large events. Topics that will be discussed include microphones, in-ear monitoring, and production communications, with a specific focus on antenna systems, cabling, RF-environment isolation, monitoring, verifying operation and procedures.

“I always enjoy having the opportunity to get together with fellow audio experts and professionals to discuss the state of our industry and what innovations are on the horizon,” says Eskew, who has been a wireless specialist with Professional Wireless Systems since 1996. He is the author of the Intermodulation Analysis System (IAS) frequency-coordination software and supports such nationally recognized productions as the Super Bowl half-time show, Republican National Convention, college and professional football games. “AES is the perfect setting for a seminar on wireless frequency coordination,” he adds. “I encourage all attendees of AES to come be part of this informative seminar.”

Eskew will be joined by several industry experts, including seminar chair Bob Green, Audio Technica, Dave Bellamy, Soundtronics, Steve Caldwell, Norwest Productions, Henry Cohen, Production Radio, Chris Dodds, The P.A. People, Pete Erskine, Freelancer and Larry Estrin, Clear-Com. Panel members will describe their experiences (national and international) with events as diverse as Olympic ceremonies, Super Bowls, Presidential debates, Grammy Awards and Eurovision contests.

For more than 60 years, AES has been the largest gathering of audio professionals and enthusiasts in the world, attracting delegates from more than 100 countries worldwide. Workshops, tutorials, technical papers and the exhibition floor provide attendees with a wealth of learning, networking and business opportunities.

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.

# # #

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News, Tradeshow News |

Sound Devices Showcases PIX 260i Production Video Recorder at AES 2012

32-Track Audio Recorder Incorporated into File-Based Audio/Video Recorder/Player

SAN FRANCISCO, OCTOBER 25, 2012Sound Devices, experts in portable audio and video products for field production, showcases its new PIX 260i Production Audio/Video Recorder at AES 2012 (Booth 934). Based on Sound Devices’ field-proven PIX 240i recorder, the rack-mounted PIX 260i is a file-based audio/video deck that seamlessly replaces tape-based video decks in production and post-production environments, while offering 32-tracks of audio record/playback.

“We are excited to showcase PIX 260i at AES. Its impressive 32-tracks of audio record and playback is a great feature for many audio professionals,” says Jon Tatooles, managing director at Sound Devices. “Our entire line of PIX recorders provides users with an all-in-one audio and video product.”

Using the Apple ProRes or Avid DNxHD codecs, the PIX 260i records and plays files at up to 220 Mbps in high-quality, 10-bit 4:2:2 video. It also records 32 tracks of 48-kHz audio. Files from the PIX 260i are ready for direct import into the Avid and Final Cut Pro editing platforms, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260i for real-time applications.

Building on the company’s deep heritage in production sound, Sound Devices has infused the PIX 260i with 32-track record/playback capability. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260 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.

The PIX 260i has a built-in, five-inch 800- x 480-pixel IPS video display that allows users to view video and setup-menu selections. With its extensive control capabilities, the PIX 260i is a flexible video playback source, compatible with Final Cut Pro 7, Final Cut Pro X and Avid sessions. The PIX 260i can be controlled by both external RS-422 and via Ethernet through its embedded Web server, allowing for machine transport control over Ethernet-based networks.

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 recorder to all four drives simultaneously.

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 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 rate or a different rate. Hardware-based 3:2 pull-down removal is included as well.

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, 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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

RTW TM3 Loudness Meter Smooths out Audio for New Independent Film He Ain’t Heavy

Compact Audio Meter Ensured Clear and Consistent Dialogue for Fraternity Hazing Movie

SAN FRANCISCO, OCTOBER 24, 2012 – When audio engineer Russ Long was tasked with mixing the sound for He Ain’t Heavy, an independent film that sheds light on the darker side of fraternity hazing, he turned to the TM3 TouchMonitor from RTW (AES booth 1144), a leading manufacturer and distributor of professional audio metering and control devices for studio recording, radio and TV broadcast applications, to keep the audio levels in check. The film’s director and producer, Jeff Obafemi Carr, shot the film in the style of a documentary, using prosumer camcorders and such devices as cell phones, security cameras and flip camcorders, to capture the gritty reality of the intense subject matter.

Cast of "He Ain't Heavy" Left to right: Robert Fitzgerald II, Terrence “TK” Kendrick, Joel Diggs, James Rudolph and Bralyn Stokes.

He Ain’t Heavy is a fictional story about the brutal and sometimes deadly rituals that often take place during fraternity hazing on college campuses across the country. While the film’s cast is made up of professional actors, what Carr depicts in it is very real. Seeking to give audiences a “fly-on-the-wall” perspective, he used non-traditional camerawork to capture the actors’ reactions to the hazing rituals as if they were going through it themselves. Carr and his cinematographer filmed without audio support or much equipment on site, save for a few boom mics, the onboard camera mics and other devices used for shooting. Without an audio engineer on site to make sure the sound was being properly captured, a large percentage of the dialogue was incomprehensible, making the use of RTW’s TM3 necessary.

“The audio was rough,” says Long. “I had to do a lot of restoration and I used iZotope plug-ins and hardware extensively to try to pull out some intelligibility from the footage. As I started to put it together, building the actual mix, the metering became extremely important because of the inconsistency of the audio. I set up RTW’s TM3 right in front of my computer monitor, watching it at all times. It was critical to create a consistent and uniform mix. Because of all the background noise, if you are just listening to and mixing for the dialogue it is easy to find yourself pushing things too much or not pushing enough and ending up with an inconsistent mix, so keeping a close eye on the meters throughout the process was very helpful. Plus, it helped me maintain clarity without being too loud or too soft.”

In addition to the TM3’s concise metering, the compact size of the TouchMonitor device was perfect for Long’s small studio. The compact, portable meter fit right into his Pro Tools rig, making his workflow much easier. “With an external device that is completely independent from the computer, such as the TM3, you never question the accuracy or the point in the signal path at which you are measuring things,” he notes. “Also, it is really easy to compare levels to a reference mix or a previous mix that is coming off another playback source that is totally separate from my Pro Tools rig. When using the TM3, I never have to second guess levels because this meter is accurate and is sitting right in front of me all the time.”

Pleased with the outcome, Carr, who first heard the final mix when the film premiered at the Nashville Film Festival this past summer, was also pleased that the film’s viewers felt the same way.

“Russ had quite the challenge, taking all of those different audio sources and making them come out clean and consistent,” says Carr. “He did a phenomenal job of it and I know the TM3 was a true asset to him in order to properly monitor that audio all the way through. To date, we have not had one complaint about the sound quality of the picture.”

The RTW TM3 is the latest introduction in the company’s successful range of products, marking the next generation in compliant professional audio signal metering. It 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 ideal for editorial offices, edit suites and small control rooms.

Featuring PPM and true-peak instruments, the TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-3/1771, ATSC A/85 and ARIB. Instruments include single-channel and summing bar graphs, an LRA instrument and numerical displays. The basic version handles analog and digital stereo audio, while the 5.1 option adds the support of six-channel digital input.

He Ain’t Heavy
is currently making the film festival rounds. More information about the film can be found at www.heaintheavymovie.com.

ABOUT RTW
RTW, based in Cologne (Germany), has more than 40 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on professional audio signal metering tools that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio highlights the TouchMonitor range, a new series of tools for visual signal analysis and comprehensive loudness metering. The TouchMonitor combines the highest of flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. The high-end SurroundControl series of products with fully fledged loudness measuring combines the convenient metering options of the RTW surround display devices and the control functions of an eight-channel monitoring controller.

For more information,visit www.rtw.de or www.facebook.com/rtw.de, or call +49 (0) 221 709130.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

PROFESSIONAL WIRELESS SYSTEMS FREQUENCY COORDINATION ROCKS OUT AT 2012 AUSTIN CITY LIMITS MUSIC FESTIVAL

On-Site Expert Team Ensures Solid RF Coverage for Annual Three-Day Event

AUSTIN, TX, OCTOBER 24, 2012—Professional Wireless Systems (PWS), a Masque Sound company and experts in supplying and supporting wireless systems for live and broadcast events, was backstage when the 11th annual Austin City Limits Music Festival took place in the eclectic city’s Zilker Park earlier this month. PWS set up and coordinated the performers’ wireless microphones, along with other communication elements, for the three-day music spectacular.

Responsible for managing 350 frequencies per day across eight stages for artists and the media, PWS’ four-person crew worked closely with the festival’s producer, C3 Presents, to ensure all wireless microphones, in-ear monitors and show communications were properly coordinated and operating flawlessly.

“When dealing with a festival of this size, and with so many artists and media bringing their own equipment, pre-planning is essential,” says Jimmy Van Winkle, general manager, PWS. “We do our homework ahead of time so that when we arrive at the location, we know what we are walking into and are prepared for it. You always have to expect last-minute challenges, but our team of experts has worked hard to earn the reputation we have and does a fantastic job.”

In order to ensure proper frequency coordination, PWS sent out coordination forms to stage managers and media representatives attending the event. These forms detail the frequencies and model numbers of the microphones, in-ear monitors and communications devices that will be in use at the festival, to help eliminate the potential for signal interference. Once on site, PWS also actively searches for users who haven’t submitted their RF needs ahead of time, providing them with available frequencies.

In addition to managing frequency coordination, PWS lent two of its Domed Helical Antennas to the music festival. Launched in late 2011, the PWS Domed Helical Antenna boasts the highly successful circular polarization configuration, pioneered by the company’s original Helical, but with the unit sealed within a unique new compact “domed” design. Thanks in part to its unique characteristics and ability to offer extreme flexibility of use, the PWS Domed Helical Antenna has become the industry standard for multi-channel wireless microphone, in-ear and intercom systems. With an inherent boost in gain, greater bandwidth and dropout-free polarization, it truly outshines the performance of traditional antenna designs. Inconspicuous and robust, it is ideal when the requirements of aesthetics and function can’t be compromised. It also holds up to considerable road-related abuse.

Founded in 2001, The Austin City Limits (ACL) Music Festival is a yearly American music event that brings together more than 130 acts from all over the world to play rock, indie, country, folk, electronic and more on eight stages. It hosts more than 200,000 people and has featured a diverse range of bands. This year, it presented such artists as The Black Keys, Neil Young and Crazy Horse, Jack White, Red Hot Chili Peppers, Weezer and The Roots.

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.

# # #

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Darrell Webb Band Gets Picking With DPA Microphones

Bluegrass Group Relies on DPA d:vote and d:fine Mics for Pure Sound and a Completely Wireless Experience

NASHVILLE, OCTOBER 23, 2012 – Whenever the Darrell Webb Band bluegrass group performs live, it’s sure to be a raucous, high-energy set. While Webb belts out songs and plays the mandolin, his band mates’ strum their instruments at a frenetic pace around him. To keep this momentum going, the band employs DPA Microphones d:vote™ 4099 instrument microphones and d:fine™ headset microphones, allowing its members to go full throttle during shows, without the hindrance of bulky gear while providing superior sound quality.

Webb was the first member of the band to use DPA microphones, having employed them since the band formed three years ago. Last year, he and the rest of the group began using the d:vote 4099s for each of the instruments played in the group. Impressed with the level of precision of the audio, the band members soon added the d:fine headset mics to their mix. The band members chose to have all microphones arranged in a wireless setup, which gives them the flexibility of movement and ability to put on lively performances that are typically associated with a bluegrass band.

“The d:vote and d:fine mics give us the complete freedom to do whatever we feel like doing on stage, including walking out to the crowd if we want to,” says Jeremy Arrowood, the bass player for the Darrell Webb Band. “The clarity of the mics has also stepped our musicianship up, allowing the personality of our instruments to really show through. You just can’t beat the sound. We’ve received so many compliments on the sound of our instruments; it’s just a great feather in our cap. Now, when we perform at venues that don’t have the ability to support our DPAs, it feels like torture.”

Based on DPA’s award-winning 4099 series, the d:vote 4099 instrument microphones feature supercardioid polar patterns for highly uniform off-axis frequency response and superior gain-before-feedback. Capable of handling high sound pressure levels these microphones live up to DPA’s pedigree of breathtaking clarity and natural sounding richness. Capable of accurately capturing the true voice of acoustic instruments, all d:vote 4099 condenser microphones reject unwanted noise and the enhanced shock-mount design and extendable gooseneck provides stable positioning. The additional option of detachable cables in varying lengths, make the d:vote highly flexible for all live performance applications. The mics can easily be unclipped and repositioned or moved to another instrument with only one hand. d:vote’s microphone mounting system is designed to be extremely gentle, never marring the finish of an instrument.

Despite its tiny, discreet size and lightweight design, the DPA d:fine is rugged and stable, while still being versatile. The line of headset microphones combines absolute pristine audio quality with unique and simple mechanical solutions alongside an extensive accessory line. Ergonomically designed to adjust to fit the user’s ear and head easily and seamlessly, it also mounts securely, with minimal visibility. The microphone is available in several colors as omnidirectional or directional and in single- or dual-ear varieties
The Darrell Webb Band performs traditional bluegrass music in the vein of Bill Monroe, Ralph Stanley, Dierks Bentley, Doyle Lawson and Ken Mellons, among other greats. Known for its electrifying sets and the high-tenor vocals of Webb, the band features Webb as the lead vocalist and mandolin player, Arrowood on bass, Jared Hensley singing baritone and playing guitar, Jake Joins on the Dobro resonator guitar and Chris Wade on banjo. Webb is famous for his version of the Stanley Brothers tune, “Little Maggie,” which can be found on his “Live at Bellamys CD” as well as “Smash Hits of Bluegrass Vol. 1.”

The group was nominated for the International Bluegrass Music Association (IBMA) Emerging Artist of the Year Award and will soon release a new album, titled “Breaking Down the Barriers,” on which it used the DPA microphones. It also used the microphones during performances recorded to DVD, planned for upcoming release.

The band’s IBMA performances include the Rhythm Showcase on Tuesday, September 25 at 7 p.m. at the Earnest Tub Record Shop, the Darrell Webb Band Showcase and CD Launch on Wednesday, September 16 at 11:30 p.m. at the Grand Master Fiddle Championship and an appearance at FanFest on Saturday, September 28 at 3:15 p.m.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Sound Devices’ New 664 Production Mixer Makes Pro Audio Debut at AES 2012

Flagship Mixer Features an Unprecedented Amount of I/O Connectivity and Recording Flexibility

SAN FRANCISCO, OCTOBER 23, 2012 — Following its recent international introduction at IBC 2012, Sound Devices’ 664 Production Mixer will make its first professional audio debut at AES 2012 (Booth 934). Sound Devices, experts in audio and video products for field production, has designed the 664 to build upon the powerful features of the company’s best-selling line of field and production mixers. This new flagship mixer offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. Its six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

The 664 contains six ultra-low noise, high-dynamic range and transformer-less preamps, which accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin and TA-3M connectors; unbalanced on TA-3M or 3.5mm connectors. Secondary output buses X1 and X2 are available on balanced TA-3M connectors. Inputs and buses can be routed to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

The 664 can record up to 10 tracks of 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With its dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign different tracks to each memory card.

The 664 includes a high-precision, Ambient-based time-code generator/reader for multi-camera and double-system sound applications. All common production time-code rates and modes are supported.

Sound Devices also introduces a companion accessory, the CL-6 Input Expander, for the 664 Production Mixer. It is designed specifically to add six analog line-level inputs to the mixer. With the CL-6 attached, the direct output connectors are available as inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Input Expander, users can now record all 12 input channels and four outputs, for a total of 16 tracks.

The 664 features an abundance of connectivity options in addition to the main audio I/O, catering to the complex productions becoming more common today. It has expanded return-monitoring capabilities, with three separate camera returns as well as a dedicated private-line communications connection. The 664, like the 552, has a built-in slate microphone and tone oscillator, and includes a dedicated input for an external slate mike. The internal or external slate mike can be routed to either outputs or to the dedicated comm output. The 664 can easily build a private-line communication with a comm return input, separate from camera returns.

“Our customers are looking for more inputs, connectivity, flexibility and power in the field,” says Jon Tatooles, managing director, Sound Devices. “We have taken the strengths and knowledge gained from our existing mixer line and continue to evolve the technology to meet the growing needs of sound mixers. The 664 is how we see the future of high-performance field mixers; they need to have recording capabilities in order to be a fully functional tool in the field.”

Sound Devices’ 664 features an intuitive LCD menu enabling users to simply adjust input settings. It also offers the capability to see how an input is routed and connected when its settings are altered. The LCD display also allows users to quickly activate the individual tracks that are to be recorded. The Sound Devices 664 features dedicated front panel controls for gain, trim and faders, as well as full-size XLR connectors. The mixer is powered by five AA batteries or external DC power.

The 664, like all Sound Devices products, is designed to withstand the physical and environmental extremes of field production. Its top and bottom chassis panels are made from molded, metalized carbon fiber for superior durability and weight reduction. The chassis panels are also gasketed for water resistance.

For more information and to view a video on the new 664, visit http://www.sounddevices.com/products/664/videos/.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: New Products, News |

Bluegrass Band Della Mae Champion DPA Microphones

American Roots Group Employs DPA d:vote™ 4099 Mics for Stellar Sound and Mobility

BOSTON, OCTOBER 18, 2012 – By blending traditional bluegrass technique with modern songwriting themes, Boston-based group, Della Mae, brings a new and fresh perspective to their music. When the members of the band decided to step up the quality of the group’s live performances and achieve more mobility on stage, they chose DPA Microphones d:vote 4099 instrument microphones to make this happen.

Dedicated to crafting exquisite American roots music in the tradition of such greats as Willie Nelson, Del McCoury, Leon Russell and Laurie Lewis, not to mention Johnny Cash and June Carter Cash, the members of Della Mae sought out the DPA mics because they knew the gear would give them maximum mobility on stage and bring out the best sound from their instruments. The band members—Celia Woodsmith on vocals, Jenni Lyn Gardner on mandolin, Kimber Ludiker on fiddle, Courtney Hartman on guitar and Shelby Means on bass—all use d:votes on their individual instruments.

“The biggest thing we wanted when we chose DPA was the freedom to have mobility on stage,” says Della Mae lead vocalist Celia Woodsmith. “We also knew that DPA were top-of-the-line in quality for acoustic instrument microphones.”

“I was familiar with DPA, so we decided to touch base with the company and see what would work best for us,” adds guitarist Courtney Hartman. “We weren’t disappointed; the DPAs have really changed the way we perform for the better.”

In addition to giving the band more freedom to move around stage during performances, the d:vote mics offer a more consistent sound for Della Mae. “Previously, for example, if Jenni Lyn (mandolin) was leaning in to sing harmony with me on a microphone, we might lose her chop in her instrument mic,” continues Woodsmith. “With the d:vote mics, she can lean in, and we can have our harmonies together and the chop doesn’t go away. It makes the rhythm more solid. The mics just do a really good job of portraying the quality of our instruments.”

Based on DPA’s award-winning 4099 series, the d:vote instrument microphones are much more natural sounding than any internal microphone or pickup and accurately capturing the true voice of acoustic instruments. All the d:vote 4099 condenser microphones feature supercardioid polar patterns for high rejection and superior gain before feedback, while retaining a highly uniform off-axis frequency response. Other features include an enhanced shock-mount design, a choice of detachable cables of two diameters and a versatile gooseneck extender, making the d:vote highly flexible for live performance applications. The microphone comes in several varieties designed for specific instruments, including bass, drums, brass instruments, guitar and piano, among others.

Formed three years ago, Della Mae takes its name from the Bobby Osbourne song “Big Spike Hammer.” The band has issued a self-released album titled I Built This Heart, and is anticipating the release of an album from Rounder Records early next year. The band is currently touring the U.S. and will tour six countries in Central Asia this November and December as part of the American Music Abroad program.

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.

Outline and Production Resource Group (PRG) Announce Partnership

PRG Las Vegas Will Serve as Central Hub for Outline U.S. Strategic Initiative

LAS VEGAS, OCTOBER 17, 2012 – Outline S.r.l. and U.S. subsidiary, Outline North America, LLC, have entered into an agreement with Production Resource Group (PRG), one of the largest production services companies in North America. PRG handles all aspects of live event presentations including lighting, video effects, scenery and sound for Broadway productions including Spiderman: Turn Off the Dark, and major live television presentations that include the Academy Awards. PRG also provides extensive audio systems, stage design and lighting effect systems for major tours and events such as Elton John, Black Eyed Peas, Red Hot Chili Peppers and the Super Bowl half-time show. The center of activities for this new relationship will be at PRG’s expansive Las Vegas facility, the hub of PRG’s touring sound business, where a fully complemented turn-key system of Outline GTO, GTO-SUBS, Butterfly, MANTAS, DBS18-2 Subs and recently introduced LipFill-0182, will be inventoried and staged for immediate deployment for PRG’s most demanding production and touring requirements.

A joint launch of the GTO and Outline partnership is planned to coincide with the upcoming LDI Show and Parnelli Awards in Las Vegas. A Stageline Mobile Stage, with a full Outline GTO rig, will be set up on the grounds of the PRG complex. Transportation to and from the PRG compound from the Las Vegas Convention Center will be provided as a courtesy to invitees, and those wishing to experience GTO.

“Timing could not be better to announce this relationship,” says Tim Brennan, PRG vice president. “Many of our clients, production managers and contemporaries with whom we have a professional trading relationship will be in town for LDI. This is the perfect opportunity for us to introduce them to the quality and unique engineering expertise of Outline and its GTO.”

“We are very excited to enter into this relationship with PRG,” says Giorgio Biffi, CEO of Outline S.r.l. “This comes at a very exciting time for our company, as we continue our global growth initiative with the addition of many of the world’s largest premier sound and production companies. PRG is a wonderful and welcomed addition to our family of Outline partners.”

PRG is joined by the recent addition of GABISOM, the largest production company in South America, reinforcing that Outline and its GTO systems are deployed in major events around the globe.

The GTO series of line array speakers, offering a unique combination of high-power output in a compact and relatively lightweight cabinet, feature Outline’s patented Butterfly design. The cabinets deliver clear, non-colored, high-SPL audio capable of bringing listening environment quality to the live event experience. When coupled in an array, GTO’s unique V-shaped front baffle allows individual sound sources to be positioned much closer together than in conventional line-source systems. This facilitates superior acoustical coupling between high-frequency modules, thus producing a smooth yet extended HF response. It also creates the ideal “unbroken baffle” shape through an array, which minimizes diffraction and deterioration of the mid-high frequencies, contributing to the far-field performance of the system. A GTO line array system is capable of delivering a true visceral response to the audience while maintaining clarity.

“I have seen the incredible growth of PRG over the years and am very pleased to have them help lead the charge for our large format line array, the GTO, in the U.S.,” says Outline’s North America Sr. Vice President – Partner and Managing Director, Tom Bensen.“We appreciate PRG’s confidence in our company and their shared vision for the future as we begin this relationship.”

About PRG
The world’s leading supplier of entertainment and event technology, PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems, for these markets from more than 40 offices in North America, South America, Europe, Africa, Asia and Australia.

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

Clear-Com’s Larry Estrin to Participate in Wireless Panel Discussion at AES 2012

Expert Offers Insight into RF Coordination for Live Events

SAN FRANCISCO, OCTOBER 16, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, is pleased to announce that its Strategic Technology Specialist Larry Estrin will be a panelist for the AES 2012 live sound seminar entitled, “LS6 – Wireless Frequency Wrangling at Large Events” taking place on Saturday, October 27, 4:00 p.m. to 5:30 p.m.

As part of the panel, Estrin, along with other industry leaders, will provide his expertise on the overall approach to RF coordination, preparation, and setup for large events. Topics to be discussed include microphones, in-ear monitoring, and production communications, with a special focus on antenna systems, cabling, RF environment isolation, monitoring, verifying operation and procedures.

Estrin is no stranger to frequency coordination. He has 39 years experience from his work on numerous landmark events, such as the first multi-satellite global broadcast of a major concert, the live stereo broadcast of the Olympic Opening Ceremonies, stereo broadcasts of the Grammys and Academy Awards, as well as numerous high-profile projects for the White House, NFL and Disney. From his current position with Clear-Com, he will be able to speak in depth on the coordination of wireless intercom system for live events.

Estrin will be available throughout the show at Clear-Com’s booth (1218) to answer additional questions. For more information on the seminar, please visit www.aes.org.

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.

About HME
HM Electronics, Inc. is a diverse group of companies providing solutions that enhance productivity and customer service in markets including restaurants, sports and professional audio. Founded in 1971, we sell, service and support products in 89 countries worldwide, via company-owned offices in the U.S., Canada, Europe, and China, and an extensive network of HME-authorized distributors, dealers and service agents. Every day quick service restaurants take over 24 million orders using HME systems. With the recent acquisition of Clear-Com, HME is the world’s leading provider of professional intercom systems. To learn more, visit www.hme.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

DPA Microphones and ResInno Offer Test Drive at AES 2012

DPA d:vote™ 4099, 4006A, 4011A and 2000 Series Mics Make Beautiful Music with ResInno Grand Rossa Piano

SAN FRANCISCO, OCTOBER 16, 2012 – DPA Microphones and ResInno, designers of specially engineered piano legs, are teaming up at AES (Booth 629) to highlight DPA’s complete line of instrument microphones. ResInno’s Grand Rossa piano design will be on display at the DPA booth for attendees to not only marvel at the Ferrari-inspired red piano legs, but also to listen to the superb audio quality they produce through the DPA d:vote 4099P piano instrument microphones and 4006A, 4011A and 2000 Series Reference Standard Microphones.

Designed by ResInno Originator Justin Elliott, the legs on the Grand Rossa have been precisely engineered to produce a distinguishable improvement to the impressive instrument’s tonal quality. To emphasize the enhanced audio abilities of the grand piano, as well as those of DPA Microphones, the companies will affix DPA’s d:vote 4099, 4006A, 4011A and 2000 Series microphones to all areas of the piano at AES. Attendees will be able to listen to each individual microphone through various headphone listening stations connected to each microphone and set up throughout the DPA booth.

DPA’s newly-updated d:vote 4099 is ideal for live performance settings requiring high-quality, discreet mics that are effortless to change. Building on the success of the highly acclaimed 4099 instrument clip mic series, d:vote features an enhanced shock mount to provide even better absorption. More natural sounding than any internal microphone or pickup, d:vote rejects unwanted noise and accurately captures the true voice of acoustic instruments. Now, just one microphone model can beautifully reinforce an entire orchestra. The d:vote 4099P piano microphones are sold as a complete system pair on goosenecks, with magnetic mounts that can secure anywhere to the piano to allow the most realistic capture of its sound. With its low profile and unobtrusive design, the d:vote is perfect for capturing true acoustic, closed-lid piano sound in a live setting.

The DPA 4006A, 4011A and 2000 Series Reference Standard Microphones have become recording standards around the world, for both studio and live performance applications. All microphones in the 4000 and 2000 Series boast total transparency in any recording situation, while also being able to provide incredible detail and depth of sound. The definition of the series’ high-frequency characteristics across a wide range of instruments is undeniably impressive for the vast majority of microphone applications. With the Reference Standard Microphones, engineers, broadcasters and musicians alike can achieve extremely clean, natural and precise reproduction in a variety of applications.

The Grand Rossa, named after Ferrari’s 1957 Testa Rossa race car, boasts sleek curves forming semi-helixes on the front legs, as well as a prolonged arch stemming from the tail leg that appears to flow through the piano. The Grand Rossa also features a matching music rack, two-tone lid prop and musician’s bench complete with a hand-stitched diamond pattern that matches Ferrari’s interior. The entire ensemble, all painted in the iconic deep Ferrari “Rossa Corsa” red shade, was inspired by the craftsmanship and artistic beauty of the iconic automobiles.

About ResInno
ResInno’s concept is a revolutionary piano leg design that combines beauty, art and a new sound. Artists and musicians consider it the greatest innovation in the piano industry in the last 100 years. Originally conceived as an artistic way of enhancing the visual impression of the piano, it was discovered that the new design also dramatically enhanced the tonal qualities of the instrument, otherwise known as the voice of the piano. Thus, the ResInno Effect was born. The company name, which was fashioned from a blend of the verb to resonate and the term innovation, communicates the core of what they do: changing the resonant structure and improving the aesthetic design. ResInno’s designs are hand-crafted from superior species of woods by craftsmen in the United States. They can be made for an existing or newly purchased piano.

About Justin Elliott
Twelve years ago, Justin Elliott envisioned a design that would enhance the visual impression of the piano. Today, his vision is a reality, with legendary artists like Bill Cunliffe, Dick Hyman and Johnny Mandel having played on his designs. In addition to designing pianos, Elliott has also been a master piano technician since the age of 15, having worked in this role for Alicia Keys, Elton John and David Foster, to name a few.

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 the company’s website – www.dpamicrophones.com.

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

November 2014
M T W T F S S
« Oct    
 12
3456789
10111213141516
17181920212223
24252627282930

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication