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Archive by Vanessa Sanchez

BEXEL WRAPS UP BIGGEST SUMMER OF SPORTS TO-DATE

BURBANK, CA—This summer, Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, supported more sports broadcasts than any other summer in its history, successfully providing major broadcasters with equipment and engineering expertise during the 2012 UEFA European Football Championship (Euro 2012), 2012 Summer Olympics, 2012 Summer Paralympics and 2012 U.S. Open. Working together with SOS Global Express, the team (and equipment) traveled more than 12,000 miles in three months. more

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Clear-Com Announces Expanded Partnership with Optocore at AES 2012

Continued Partnership Broadens Clear-Com Product Portfolio with New Audio Interfaces for Ultra-fast, Low-latency and Redundant Distribution of Audio, Data, Video and Intercom Signals Over Fiber

SAN FRANCISCO, OCTOBER 27, 2012 — Clear-Com®, a global leader in critical voice communication systems, is announcing its continued distribution and technology partnership with Optocore and its new subsidiary, BroaMan. Two new models of the BroaMan DiViNe V3R-FX-ICOM-SDI video and intercom signal transport interface will be shown at AES 2012 in the Clear-Com booth 1218 along with other Optocore intercom/audio interfaces. By combining these new BroaMan interfaces with its current offering of wired, wireless, and IP intercom systems, Clear-Com is the one-stop-shop for audio customers seeking a complete solution for production communications and signal transport.

The DiViNe V3R-FX-ICOM-SDI intercom and video interface is ideal for any setup that requires distribution of multiple feeds of high-quality audio, HD video, data and intercom. For intercom and audio, the V3R-FX-ICOM-SDI is equipped with (four) four-wire RJ45 ports. The ports are duplicated with reversed wiring so that a matrix or intercom key-panels can be connected to the unit using standard CAT cables. Each port can be used as an independently routed analog line level audio input and output.

The V3R-FX-ICOM-SDI comes with up to five SD/HD/3G-SDI coaxial video inputs or outputs that are converted to and from single-mode DiViNe optical fiber links. The model V3R-FX-ICOM-SDI-1-4 features one video input and four video outputs, while the V3R-FX-ICOM-SDI-4-1 will be supplied with four video inputs and one video output. A video clock output module can be installed in either device. This Black Burst output is derived from a synchronized video source. The V3R-FX-ICOM-SDI can also be equipped with a CWDM module with auxiliary fiber ports to allow for connection of external fiber systems.

“We are happy to continue our partnership with Optocore to bring a variety of signal distribution options to our users,” says Simon Browne, Director of Product Management, Clear-Com. “With the DiViNe V3R-FX-ICOM-SDI, V3R-FX-INTERCOM and X6R-FX-INTERCOM, users have the option of transporting audio, video, data and intercom in a very scalable solution.”

The V3R-FX-INTERCOM and X6R-FX-INTERCOM are intercom/audio interfaces without video for the Optocore™ distribution network, and will be featured at Clear-Com’s AES booth. When connected over the Optocore network using the V3R-FX-INTERCOM and X6R-FX-INTERCOM devices, intercom audio can be efficiently routed between Clear-Com Eclipse matrices to Clear-Com intercom key-panels. This adds the benefit of dual redundancy and ultra-low latency.

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.

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.

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RTW SHOWCASES 3G SDI INTERFACE AND 7.1 SURROUND FORMAT FOR SURROUNDCONTROL AND SURROUNDMONITOR LINES AT AES 2012

Enhanced Surround Sound Analyzer Now Supports Blu-ray Disc 7.1 Format

SAN FRANCISCO, OCTOBER 28, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, will introduce at the AES 2012 show (Booth 1144) new options and functional enhancements for its SurroundControl 31900/31960 and SurroundMonitor 11900 ranges. The SD device versions of these products are shipping with a new 3G-enabled SDI de-embedder and Dolby(r) E, DD+ and AC-3 decoders.

The current device firmware now supports the 7.1 DD+ format, ensuring compliance with current 7.1 surround formats for Blu-ray discs and other applications. The 7.1 DD+ format has been implemented alongside the existing 7.1 cinema format on the SurroundControl and SurroundMonitor systems.

RTW’s Surround Sound Analyzer, included in all products in the SurroundControl and SurroundMonitor series, brings the clear and intuitive display method of the original 5.1 format to the enhanced 7.1 environment. Similar to the center channel, the unit displays the newly added side channels using color-coded lines. This way, the user can assess the relationship between the side channels and the phantom sources produced by the lateral-front and rear channels at a glance.

The new software release, featuring a correlation display depicting all possible 7.1 signal combinations, is ideal for professional users working with the 7.1 format. The multicorrelator display has been expanded to read out low-frequency phase errors of all channels versus the LFE, allowing users to make any corrections before phase problems show up acoustically or in bass-management systems.

Featuring the integrated monitoring controller, as well as an optional 3G SDI de-embedder and Dolby decoder, the SurroundControl 31900/31960 flagship unit integrates seamlessly into the production workflows of today’s broadcast applications. The units implement all major loudness standards, including EBU R128, ITU-R BS.1770-3/1771, 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. Apart from the monitoring controller, the eight-channel SurroundMonitor 11900 implements all the same metering functions from the SurroundControl systems.

“Due to Blu-ray discs and other current distribution formats, there is a clear increase in the demand for 7.1 audio,” says Mahmoud Chatah, director of marketing and sales, RTW. “The integration of the 7.1 DD+ format in the SurroundControl 31900/31960 and SurroundMonitor 11900 product lines once again demonstrates RTW’s constant commitment to its customers’ evolving needs.”

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Clear-Com Features Helixnet Partyline at AES 2012

World’s First Networked Partyline Intercom System Delivered Flexibility and Cost-Savings at the 2012 London Summer Games

SAN FRANCISCO, OCTOBER 27, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, is featuring the HelixNet™ Partyline intercom system at AES 2012 (Booth 1218). The industry’s first networked partyline intercom arrives at AES after successfully showcasing its capabilities at 31 sports venues during the 2012 London Summer Games. With 50 HelixNet main stations and 550 HelixNet beltpacks in operation across the game venues, the production teams were able to take advantage of the systems’ efficiency, cost savings and flexibility from setup to operation and maintenance.

Under the initial release of HelixNet Partyline, audio professionals can purchase the HMS-4X main station, HBP-2X HelixNet beltpacks and the HLI-2W2 two-wire and HLI-4W2 four-wire interface modules. They can then experience the first system to combine a revolutionary platform with the superb audio clarity of the digitized Clear-Com sound and the ruggedness to withstand virtually all types of environmental conditions. Also, as users can perform the central administration of the entire system from the main station with a single cable, including firmware upgrades and maintenance, HelixNet can work off one’s existing cable infrastructure.

HelixNet’s ability to be run over cabling that is already in place enables easy deployment and expansion as needed, making it the ideal solution for the Summer Games. Many of the venues where the events were held already had an established cable infrastructure, so integrating the HelixNet with these setups was simple. The committee in charge of selecting audio equipment had specified digital communication systems for the events. The HelixNet partyline system fit this bill perfectly, providing audio professionals with all the functionality of an analog partyline within a digital environment.

“HelixNet offers such audio professionals as those at the London Games the simplicity of running cable anywhere without worrying about each cable type or where it will run,” says Dan Muchmore, Regional Sales Manager, UK, Ireland and Scandinavia, Clear-Com. “Essentially, they only have to run one long cable, along which all of the channels can be run. It doesn’t matter how or where the cable is run—users will have access to every channel. At the beltpack end, audio professionals can choose what channel they want or need to run. Another advantage of HelixNet is that it can operate over inexpensive cabling, such as CAT-5, keeping the cost of deployment low. The ease of setup and reduced costs made possible by the system were a few of the main reasons HelixNet was selected as the intercom system of choice for nearly all of the venues at the games.”

Clear-Com was contracted for the games’ overlay functions, requiring it to provide communications for three separate groups. These included announcers and commentators, along with the on-venue results (OVR) people—who were the primary HelixNet users—as well as the production people who manage the stadiums and events. As the HMS-4X HelixNet main station and interface modules feature a high channel density and professional audio capacity, it was able to provide access to many people and areas at once.
HelixNet’s sleek 1RU main station fits into any standard 19-inch rack, and can provide power and four channels of audio to support up to 20 digital beltpacks. Unlike standard analog systems, the all-digital HelixNet system is immune to electro-magnetic interference and ground loops, so there is never any hum or buzz. The main station settings and menus are quickly accessible, highly flexible and offer intuitive professional audio operations. The system’s firmware maintenance and upgrades can also be achieved easily via USB ports, and it offers greater connectivity with existing analog intercom systems and audio devices.

The expansion bay in the main station allows the optional HLI-2W2 two-wire and HLI-4W2 four-wire interface modules to connect easily with existing analog intercom systems and audio devices, while preserving high audio quality that is free of hum and noise.

Boasting an especially clear audio signal, the HBP-2X HelixNet beltpack offers high channel density and selectable channels to save resources. The rugged, ergonomically designed unit is a two-channel beltpack that can access two of any four system channels, connect program audio and provide individual level control over just one single cable, while distributing networked audio over a twisted pair. These features decrease the required number of cables. The beltpacks are also simple to read and operate, with optimally positioned buttons and volume knobs that are easy to locate, identify and control. Channel labels are simple to read on the high-contrast, ten-character OLED displays. The flexibility of the units allow them to be set up in daisy chain or star configurations, with no need for active split boxes.

The HelixNet beltpacks are highly durable, fabricated from lightweight cast aluminum and come with a sturdy beltclip, rubber bumpons and an integrated strap guide, offering a variety of practical mounting options.

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.

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RTW TOUCHMONITOR TM3-3G TO MAKE ITS U.S. DEBUT AT AES 2012

Latest Version Includes 3G SDI Interface, Eight-Channel Level and Loudness Instruments,16-Channel 3G SDI De-Embedder with AES3 Outputs and an Integrated Monitoring Controller with Stereo Output

SAN FRANCISCO, OCTOBER 27, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, will showcase at AES 2012 (Booth 1144), the TouchMonitor TM3-3G, the latest version of its successful TM3 unit. The TouchMonitor TM3-3G seamlessly allows the TM3′s current hardware and software design to visualize, convert and replay 3G SDI signals in TV and video production and post-production applications, offering a feature set unrivalled in its class.

The TouchMonitor TM3-3G is a compact yet versatile solution for metering, de-embedding and monitoring 3G SDI audio. It features a 4.3-inch touch screen for horizontal as well as vertical orientation that can display any of the eight audio channels contained in a 3G SDI stream. For that purpose, it includes a large number of graphical and numerical instruments depicting single-channel and summing loudness bar graphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. 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. It also features the Magic LRA mode, specifically designed by RTW, for intuitive visualization of the loudness range and integrated-loudness parameters.

If equipped with the corresponding software license option, the integrated de-embedder also outputs up to 16 audio channels from the 3G SDI signal on eight AES3 two-channel ports. The output signals are independent from the visualized audio. In addition, the TM3-3G can be upgraded with a built-in monitoring-controller license. This uses an on-screen fader for output-volume adjustment, a stereo output and a phones out. The optional timecode license expands the feature set of the TM3-3G to allow external or SDI timecode signals to be decoded, displayed and used for additional functions.

The intuitive operating concept of the TM3 allows for quick and easy selection of presets that can be configured using RTW’s Devicer DC1 software (available for Mac OS X(r) and Windows(r)). Using custom presets, the user can easily switch between the various sources, loudness standards and instrument layouts. The configuration software allows users to freely scale and place the required instruments virtually anywhere on the screen.

“With its SDI interface, the de-embedder featuring AES3 outputs and the integrated monitoring controller with headphones out, the TM3-3G will be a welcome addition to any pro audio engineer’s toolbox,” says Andreas Tweitmann, CEO, RTW. “The TM3-3G is just another example of RTW providing the broadcast industry with innovation solutions for its ever-evolving needs.”

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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.

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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.

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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.

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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.

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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.

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