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A virtual press conference from Sound & Video Contractor

Archive by Vanessa Sanchez

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.

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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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Maple Leaf Sports and Entertainment Employs RTW TM7 TouchMonitor for 5.1 Studio Upgrade

Canadian Hockey Broadcaster Turns to RTW for Loudness Metering and Measurement

TORONTO, FEBRUARY 7, 2013 – When the engineers at Canada’s Maple Leaf Sports and Entertainment (MLSE) decided to transition their studios to 5.1 audio, choosing the right equipment to support the switch was a top priority. In need of a device that could not only analyze meter levels in 5.1 but also measure loudness, the team chose several TM7 TouchMonitors from RTW, a leading manufacturer and distributor of professional audio metering and control devices for studio recording and radio and TV broadcast applications. The innovative seven-inch-touchscreen audio monitor is simple to use and provides the engineering staff with the measurement data necessary for keeping audio levels in check during the many live sporting events the network covers.

John Hunter, audio engineer, Maple Leaf Sports Network, using the RTW TM7 TouchMonitor.

Alain Siodlowski, MLSE’s senior broadcast engineer and his team needed a budget-friendly solution to help them navigate loudness issues that arise during productions. The TM7, with its customizable modules, fit the bill. Prior to using it at the station, Siodlowski employed the TM7 whenever he needed to rent an OB van. As an operator, he saw first-hand how well it worked with a variety of consoles (the TM7 is used with SSL C10 HD consoles at the network). When the CRTC (Canadian Radio-Television and Telecommunications Commission) implemented a loudness mandate for Canadian broadcasters similar to the CALM Act in the U.S., the network saw the need for a reliable audio meter.

Launched in 2001, MLSE owns four professional sports teams: the Toronto Maple Leafs (NHL), Toronto Raptors (NBA), Toronto TFC (MLS) and the Toronto Marlies (AHL), and operates three television stations: Leafs TV, dedicated to coverage of the Toronto Maple Leafs professional NHL hockey team, NBA TV Canada, covering professional NBA basketball and GolTV Canada, which broadcasts professional soccer matches from across the globe. MLSE also owns three sports stadiums in Toronto: the Air Canada Centre, BMO Field and Rioch Coliseum. In addition to monitoring and broadcasting feeds from around the world, the MLSE networks also produce a lot of in-house programming, including hockey and basketball games for which it uses the RTW TM7 the most.

“In the control rooms, when we are mixing, we are basically in front of a blank canvas, saying, ‘How do we want to create this?’” says Siodlowski. “There are certain sound-placement rules: You put your announcers here, your rink sound here and your audience here, but then you have to really work on how to create the mix and still make it sound good in stereo. And that is where RTW’s vectorscope comes into play. It tells you if your levels are too high or too low or if you are too far forward or too much in the rear—it gives you nice visual feedback.”

“The other thing we liked about the system is that it is so user-friendly,” says Siodlowski. “You can move stuff around, you can set it up the way you want and if there is something you don’t need, you just don’t put it up or make it smaller. It’s so easy to maneuver with the touchscreen. Having that functionality has been really good for our operators. When there is a mix going on, our team members are super busy—there are people on the intercom screaming and yelling. The TM7 isn’t their main tool, so you don’t want this to be in their way, but you do want the comfort of knowing it’s there when they need it and that it works.”

The TM7 is part of RTW’s TouchMonitor family of products, comprising the TM7, TM9, TM3 and TM3-3G audio meters. The TM7 and TM9 TouchMonitor versions, featuring seven- and nine-inch touch-sensitive displays, respectively, provide unparalleled flexibility and modularity combined with intuitive control. The software visualizes multiple sources simultaneously. It supports displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. The system visualizes up to 16 analog and/or digital sources at the same time. The TM9 is even capable of providing a view of up to 32 digital channels when users implement the 3G SDI option.

“We are so happy to see the TM7 in use in such a time-sensitive environment as live sports production,” says Andreas Tweitmann, CEO, RTW. “The Toronto Maple Leafs is an important network serving its hockey-loving Canadian audience and the TM7 seamlessly fits right into its equipment protocol. Loudness control is a huge issue around the world and we are proud to offer a solution that is so well received by broadcasters.”

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.

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Bexel Tackles Equipment Requirements for Super Bowl XLVII Broadcast

Extensive Custom Rental Package, Services and Support Accommodates Super Bowl Week Activities in New Orleans

NEW ORLEANS, FEBRUARY 6, 2013—To prepare for the expansive Super Bowl week broadcast schedule and telecast of the big game from New Orleans, several networks turned to Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services, to handle their on-site production needs and fiber infrastructure. These services were deployed at both the Superdome as well as the Jackson Square Park in the French Quarter of the city.

Bexel assisted CBS with edit capabilities, equipment rentals, engineering support and fiber throughout the week leading up to the big game. Numerous Avid editing bays were set up in an office trailer on the grounds of the Superdome to handle production needs, and managed that location to ensure support throughout Super Bowl weekend. Bexel also outfitted BBS1, the company’s 53-foot edit truck—a fully configurable production platform—with multiple linear edit bays as well as graphics support.

Along with the company’s vast engineering support, led by engineer in charge Lane Robbins, Bexel also supplied ancillary equipment, including cameras, super slo-mo systems, monitors, tape machines, lenses and EVS servers in order to help CBS capture and broadcast all the week’s events.

In addition to fulfilling production needs on-site at the Superdome, Bexel provided fiber infrastructure, production equipment, support and services at Jackson Square, about a mile from the Superdome, as well as Morial Convention Center. CBS contracted Bexel for the fiber optic infrastructure at Jackson Square, allowing for connectivity over the entire park for four separate and independent sets. The broadcast included such CBS Network programming as The Talk, CBS This Morning, Eye on Football, ROME, Super Bowl Live, Lead Off, CBS Evening News and The Late Late Show With Craig Ferguson.

“The broadcast compound is isolated from Jackson Square, with Decatur Street being open to the public,” says Justin Paulk, Bexel’s fiber optic business segment manager. “Bexel was asked to provide a solution to establish temporary connectivity. Collectively we decided the best solution would be to deploy our 72-strand fiber from each mobile unit to its associated set. The result is that each set had a 72-strand fiber with a glass cow sitting next to it.” From each “glass cow,” which Paulk describes as a breakout fiber patch panel, 40 short 200’ TAC-12 single-mode fiber cables extended out to audio, video, and camera feeds. All connectivity crossing the street was made via 288 single-mode strands.

To efficiently react to the needs of the various shows and production sets, Bexel ESS Project Manager Andy Berry oversaw the Jackson Square setup, while Paulk managed the compound. What’s more, to expedite connectivity, Bexel provided one college booth fiber kit to each stage, providing 18 HD video, 48 audio, comms with integrated SAP panels and rewetters for IFB.

“Managing the optical workflow is something that the newly formed Bexel Engineering Systems and Solutions (Bexel ESS) group specializes in,” adds Paulk. “It is always great to be a part of the planning process prior to events, allowing the entire process to be executed in an organized and efficient manner from the start.”

Throughout Radio Row, located at the Morial Convention Center, the Bexel team provided editing facilities and storage for the extensive live radio programming. In addition, the Camera Corps’ Q-Balls and Sony XDCAMS were utilized to capture overhead shooting on the floor of the convention center. “We also brought spare gear with us to New Orleans,” says Julia Rogers, business development manager, Bexel. “If there was a need, we were able to fulfill requests right there on the spot.”

Lastly, Bexel provided its T2 fiber trailer to supply connectivity for NFL Films and more than 30 broadcast affiliates. As in years past, Bexel ensured optical connectivity from the field post-game for all of the local media connectivity. “Historically we have monitored all signals coming off the field with the DA infrastructure we build into the truck and Evertz VIPs,” says Perry Sanderson, Bexel fiber technical sales. “This year, however, we rolled in our pre-built Evertz EMR 128 x 128 Magnum Router, which includes six VIP-Xs and internal patching. This allowed us to not only monitor the signals coming from the field, but also to look at feeds coming off the scaffolding.”

Bexel assisted in providing optical connectivity for the still photography groups, including paths from various locations within the stadium, such as the catwalk, back to the workspaces of the various news agencies’ covering the game.

“Our involvement in the Super Bowl is a huge undertaking and this year was our largest effort to date—demonstrating the tremendous growth we’ve experienced with our broadcast partnerships,” says Lee Estroff, vice president, business development, Bexel. “We touch so many different parts of this event and offer so many different services, not to mention we came into the event already familiar with the venue. Our expertise in large events, coupled by the large amount of staff we were able to supply on location, positioned us nicely for another successful Super Bowl win.”

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

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

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PACIFIC TELEVISION CENTER LAUNCHES 24/7 VIRTUAL POP IN WASHINGTON, D.C.

Enhanced HD Pathway Enables PacTV to Directly Manage Customer Content

WASHINGTON, D.C., FEBRUARY 06, 2013 – Pacific Television Center (PacTV), a Los Angeles-based independent global transmission and production company, is pleased to announce the completion of its new 24/7 virtual MCR in Washington D.C. An enhancement of PacTV’s existing network in Washington D.C., this hub includes a new dark fiber network within the city and increased long haul fiber capacity (OC12) for HD/SD access to PacTV’s entire portfolio of global resources.

“We can now offer our clients a fully managed end-to-end solution in Washington, DC,” says Nick Castaneda, V.P. Development, PacTV. “Our clients based in and around Washington, D.C. come to us for a variety of services. This gives us the capability to deliver all of their content in a more eloquent manner. And given the current demand for news and political coverage around the world, this move further solidifies our global footprint.”

The new hub utilizes the latest dark fiber technology. This enables clients including, C-SPAN, ITN and AuBC to have local uncompressed HD connectivity. This technology provides PacTV extensive flexibility in serving the D.C. market now and into the future.

In addition, PacTV has increased the long haul capacity to D.C. to an OC12 so it can now utilize JPEG 2000 compression for visually lossless delivery of HD/SD content. Customers can now receive reliable and fast point-to-point access to global news and media at an affordable price point.

“By expanding our connectivity to an OC12, we can provide more HD-capable streams via a point-to-point circuit that is instant-no stops, no delays-just immediate access to the newsworthy and timely content our clients are seeking,” adds Michael Barnes, engineer, PacTV New York. “In essence, we have built a virtual hub in D.C. that can be controlled by our facilities in New York, Los Angeles and London.”

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PROFESSIONAL WIRELESS SYSTEMS TACKLES COMPLEX FREQUENCY COORDINATION NEEDS AT SUPER BOWL XLVII

Wireless Management and Equipment Package Provides Interference-Free
Coverage for the Game’s Entertainment Segments

NEW ORLEANS, FEBRUARY 5, 2013—As football fans gathered at the Mercedes-Benz Superdome and in front of television sets around the world for Super Bowl Sunday, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on location in New Orleans to provide its expert frequency coordination and RF management for referee microphones, as well as pre-game and halftime entertainment.

For the company’s 17th consecutive Super Bowl, PWS once again partnered with ATK Audiotek and Versacom for the big game. Recognizing that preparation is extremely important to ensure interference-free RF management on game day, PWS project manager Jason Eskew and his team began their work almost five months prior to the game. “I did a site survey at the Superdome in October and submitted our frequencies in November for approval,” says Eskew. “When doing so, I had to be sure to pick equipment that covers multiple manufacturers’ frequency ranges. Each performer has his or her equipment of choice, along with endorsement deals that require us to use a specific wireless system, so we needed to be able to easily adapt to this, along with any changes the scheduled performers might make on site.”

This year, Grammy Award-winning recording artist Jennifer Hudson was a late addition to the lineup, joining 26 students from Sandy Hook Elementary School in singing America the Beautiful during the Super Bowl XLVII pre-game show. “Thanks to the flexible plan I designed and the excellent bench skills of John Garrido, the team was able to accommodate her needs without any problems,” says Eskew. “The people over at Shure and Sennheiser once again did a good job providing the gear that supports the performers.”

In order to provide an interference-free show and ensure all wireless activities went off as planned, PWS utilized the Shure Axient Wireless, UHF-Rs and PSM-1000 series IEMs. In addition, the team employed 3732 receivers with 5200 transmitters, as well as a range of wireless gear from Sennheiser. An added benefit of the Axient system was its ability, in the body pack diversity mode, to provide automatic fail-over protection for the referees’ microphones. Versacom provided a mixture of wireless intercoms, including HME PRO850 and BTR800s from Telex, for the event.

PWS utilized its Domed Helical Antenna on the field. A new standard in wireless antenna performance and physical presence, the Domed Helical Antenna combines 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. This provides robust and uncompromised multichannel wireless microphone, in-ear and intercom wireless connectivity. Constructed from rugged polycarbonate, PWS’ Domed Helical is designed to hold up to considerable abuse on the road. A combination of Domed Helicals and original PWS Helicals were used for all of the ATK wireless systems on the field.

In addition, PWS’ expert crew of Eskew, John Garrido and Brooks Schroeder were onsite to keep the high volume of RF signal usage in check and to ensure frequencies maintained solid signals. They were also available to troubleshoot any potential issues. “When faced with the clutter of several hundred frequencies in use, it is our job to stay on top of it and be ready with backup frequencies and equipment,” adds Eskew. “This year’s Super Bowl was bigger than ever and the crew at PWS once again did an incredible job making sure that the pre-game festivities, including the National Anthem, America the Beautiful and the incredible half-time show featuring Beyoncé, went off without any fumbles, even with the power outage. Thanks to our uninterruptible power supply (UPS), we were able to maintain power for the referee mics, which was still important at that time even though play was halted, until the rest of the power was restored within the Superdome.”

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

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and 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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Sound Devices 664 Field Production Mixer Receives Nomination for The Cinema Audio Society’s Technical Achievement Award

REEDSBURG, WI, JANUARY 31, 2013 — Sound Devices, experts in portable audio and video products for field production, is pleased to announce that its 664 Production Mixer has been nominated for a Cinema Audio Society (CAS) Technical Achievement Award in the production category.

The 664 Field Production Mixer is the new flagship in Sound Devices’ line of portable audio mixers. The intuitive 664 has six input channels and four output buses. All inputs and outputs are recordable to both CF and SD cards. This unprecedented amount of I/O connectivity and recording capability makes the 664 perfect for any portable production application.

“It is an honor and privilege to once again be nominated for a Technical Achievement Award by the Cinema Audio Society,” says Matt Anderson, President of Sound Devices. “Being recognized by such a prestigious organization confirms our efforts to continue to bring innovative, industry-leading products to market.”

The 664 has six ultra-low noise, high-dynamic-range analog inputs. These transformer-less preamps accept mic- or line-level signals, and include analog peak limiters, high-pass filters, input trim controls and direct outputs. Input connectors 1 and 6 can be selected to accept AES42 or AES3 digital signals

In complex multi-camera productions, output flexibility is essential. The 664 can send its main left/right outputs to three cameras simultaneously. Two additional output buses, X1 and X2, appear on balanced TA3 connectors. AES3 digital outputs are individually selected to appear on the main XLR and multi-pin output connectors.

The 664 can record each of its inputs and four output buses for 10 record tracks. Recordings are saved to CompactFlash and SD cards. Recordings are either 16- or 24-bit broadcast WAV files, with extensive metadata. All popular production sampling rates are supported. When used with a CL-6 Input Expander, the 664 records 16 tracks, 12 inputs and four output buses.

The mixer’s built-in, rock-steady Ambient time code generator allows multiple devices to operate in synchronization. The 664 can operate as a time code master clock, or its clock can be jammed from an external time code. A helpful time code compare utility shows the difference between internal and external time codes.

This year’s winners will be announced at the 49th annual CAS Awards on Saturday, February 16th at the Millennium Biltmore Hotel in Los Angeles.

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

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2013 NAMM Show News: CERWIN-VEGA! UNVEILS P-SERIES

Powerful, portable speaker system with legendary Cerwin-Vega! Bass

Cerwin-Vega!® introduces its new P-Series professional PA system, which delivers a new standard in power and bass punch, suited for any sound reinforcement application, from live performances to public speeches. The P-Series family includes two active speaker products: the P1500X and the P1800SX. more

SpaceX Employs Clear-Com’s Concert For Landmark Mission

Intercom-over-IP Connects Remote Staff in All SpaceX Locations

HAWTHORNE, CALIFORNIA, JANUARY 30, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, is pleased to announce its role as a supplier of intercom systems to Space Exploration Technologies (SpaceX), the first commercial company in history to put a spacecraft into orbit and return it safely to Earth. SpaceX’s remote users rely on Clear-Com’s ConcertTM IP-based intercom software to communicate within and among its four facilities, especially before and after spacecraft launches.

Photo courtesy of Bruno Sánchez-Andrade Nuño, PhD.

Deployed at SpaceX’s Hawthorne (Los Angeles) headquarters, the McGregor, Texas testing facility, and its Cape Canaveral launch site, Concert was used as the internal communications system for coordinating the most recent launch of its Dragon spacecraft. In this monumental undertaking, Dragon both delivered cargo to the International Space Station and returned cargo to Earth, successfully completing its first official operational resupply mission for NASA.

Concert is seamlessly integrated with SpaceX’s existing matrix intercom systems in the mission control rooms to enable those in mission control to collaborate and communicate fluidly with all remote personnel. Remote staff include anyone outside of the mission control rooms, whether in the same facility or in another area. Several hundred remote users, including engineers, flight operators and mission administrators, depend on Concert for reliable, flexible and high-quality communications.

Concert is the optimal communication solution for SpaceX operations. Concert offers a more feasible and cost-effective solution over hard-wired intercom user panels for the number of connected facilities and remote users. The system is highly scalable, interconnecting as few as two users to as many as a several hundred users in a single conference or in multiple, simultaneous conference sessions. Remote users can access Concert from any computer over any LAN, Wan or secure internet connection.

The system also meets the high audio performance that SpaceX requires for minimizing the possibility of communication interruptions and thereby ensuring the safety and success of every spacecraft launch operation. Supported by an ultra-wideband G.722 CODEC connection and built-in audio optimization features, every audio packet is ensured to be securely and instantly delivered. Concert has built-in echo cancellation, built-in redundancy, pack loss reconstruction, recovery algorithms and jitter buffer optimization.

Moreover, the comprehensive features of Concert make it extremely accommodating to SpaceX’s complex and dynamic operations. Concert’s grouping function, for instance, enables each remote user to tailor communication to specific departments and relevant sites. Each new user is also capable of installing and administering the intuitive software without prior training, saving SpaceX both time and money.

“Clear-Com has over forty years of experience and success in deploying intercom solutions around the world. Our intercom systems are used for command and control at NASA, along with many other recognized aerospace facilities nationwide,” says Mike Hughes, Clear-Com’s General Manager for Military, Aerospace, and Government (MAG). “We’re very proud to provide SpaceX with the right communication solution to help the company achieve its goals and continue its history-making endeavors.”

About Clear-Com
Clear-Com delivers professional communication solutions for command and control, training and simulation, test and evaluation, and more. For over 43 years, Clear-Com’s partyline, digital matrix, wireless, and IP-based intercom solutions have led the industry with high quality audio performance that meets critical needs in a variety of settings. Clear-Com continues to be the preferred choice for clear, reliable, and scalable communication solutions. More information about Clear-Com can be found at www.clearcom.com.

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Masque Sound Goes Back To School to Equip Brooklyn Tech with New Turnkey Audio System

New York City’s Third Largest Auditorium Receives Professional Audio Upgrade

BROOKLYN, NY, JANUARY 28, 2013—When Brooklyn Tech High School, one of New York City’s most prestigious public high schools, needed to overhaul the outdated audio system in its 80-year-old auditorium, it called on Masque Sound, a leading theatrical sound reinforcement, installation and design company, to do the job. The company equipped the majestic hall with a range of state-of-the-art audio equipment.

Built in 1933, Brooklyn Tech is home to the third largest auditorium in New York, second only to Radio City Music Hall and the Metropolitan Opera House. Featuring seating for 3,100 and two balconies, the auditorium underwent a 2010 architectural makeover designed to preserve the hall’s 20th century elegance. The Masque Sound upgrade, meanwhile, brought the audio capacity up to 21st-century, professional-caliber productions standards.

Sub-contracted by Midland Electric and working with acoustical design firm Criterion Acoustics, the team at Masque Sound put together a package comprising state-of-the art equipment from d&b, Peavey Electronics Corporation, Crestron, Blackmagic and L-ACOUSTICS. “From a functionality standpoint, we wanted to provide Brooklyn Tech with a turnkey solution,” says Matt Peskie, systems engineer, Masque Sound. “From the cabling infrastructure to the speakers, and all other audio equipment in between, everything has been replaced.”

A significant part of Masque Sound’s involvement in the project was speaker and sound reinforcement. The existing setup in the auditorium never had speakers that could completely cover underneath the first balcony or the upper balcony. Masque Sound installed two rows of delay speakers under the balcony, and one row in the upper balcony, which significantly improves the clarity of sound for those seated in those areas.

Peskie integrated an array of speakers from d&b for the upgrade. “I like the tonality and flexibility of the d&b speakers,” he notes. “They provide a very natural sound straight out of the box. We used seven different models of their speakers on this particular job. d&b has a wide array of products for different needs and applications, so we were easily able to install a speaker that was the size we needed and would give us the output and coverage required.”

Masque Sound also incorporated all d&b proprietary D6 & D12 amplifiers, which are loaded with every preset required for the individual speaker models. The speakers work in conjunction with the d&b R1 control software system, making it easy to set up user pages to aid in system tuning. The amplifiers, in turn, also utilize a Lyntec sequencer, making it simple to power them on and off. Users can get the system up and running with the push of a button in 20 seconds. Masque Sound also used the Peavey MediaMatrix units for all of the audio DSP. Media Matrix allowed the audio system to interface with Crestron, as well as all other venue audio distribution and processing.

Masque Sound also installed a Crestron TPS-6X tilt touch screen to give the end user a straight forward interface with the system. It combines a 5.7-inch active-matrix display and powerful Isys engine to produce stunning 16-bit color graphics with extreme versatility and lightning-fast performance. Users control all the technology in the upgraded auditorium with the Crestron TPS-6X interface.

“The auditorium is absolutely spectacular. It now sounds as amazing as it looks,” adds Peskie. “Masque Sound is committed to providing schools with state-of-the art solutions that will allow students and those involved in the arts programs at the schools to have the audio resources they need to create whatever they can dream up.”

Built on its present site in the 1930s, at a cost of $6 million, Brooklyn Technical High School, commonly known as Brooklyn Tech, is the largest specialized high school for science, technology, engineering and mathematics in the United States. Twelve stories high, it covers more than half a city block. Operated by the New York City Department of Education, the school was cited by The Washington Post in 2006 as one of the best magnet schools in the United States.

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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