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Archive by Vanessa Sanchez

Mexican Rock Band Zoé Travels the World with SSL Live Console

“The SSL Live is totally different than other consoles: much warmer, far superior”

MEXICO CITY – One of Mexico’s most popular rock groups, the platinum-selling, Latin Grammy® Award-winning band Zoé is world renowned, having played concerts across North America, Europe and South America. For their latest world tour, which has already made more than 40 stops in the U.S. and Mexico, the band’s monitor engineer, Gustavo Zertuche, is using an SSL Live console to drive the group’s wedges and in-ear monitors. Supplied by Meridian Proaudio, the first rental company in Latin America to offer SSL Live, the console’s ease of configuration makes it perfectly suited to handle monitoring for a fast-paced tour such as Zoé’s.

“The board is really amazing,” Zertuche says of the SSL Live, which allows an engineer to choose their own balance of touch screen and hardware functionality. “You can use the control surface the way you want to, put any channel in any place and configure it the way you want. It’s great for an engineer because you’re not limited; you don’t have to conform to somebody else’s workflow.”

After selecting the SSL Live for Zoé’s world tour, Zertuche, owner of Audioarquitectura and considered one of Mexico’s leading engineers, flew to Los Angeles for a training session. “Live is very simple to learn,” he says. “I was taught how to use it in two days! I was very grateful that the training didn’t require a lot of time; the console is just that great. I used to use a different digital console, but when I heard the SSL, I said ‘no more!’ This is perfect for me now.”

“The audio is incredible,” he continues. “Our mic preamps are being split from our FOH console, but that doesn’t affect the sound. It’s the most clarity I have ever heard from a digital console. It’s like you are using an analogue board—the preamps are very accurate and sound excellent.”

Zertuche uses the console for all of his stereo mixes for in-ear monitors and mono mixes for wedges with a complex cue system that routes audio for three or four monitor switch boxes on stage. “I use this wonderful reverse communication function for the SSL Live,” he explains. “I use it for all of my talkbacks through an intercom matrix, which I also use to set my cues. Even if I’m just using one solo, I can still hear the musicians, which is great. It’s a unique way to mix, but it’s helpful for me. For instance, if my stage right technician needs something, he only has to press a button and he can speak to me directly.”

As part of their world tour, Zoé recently brought the SSL Live to the Stereo Picnic Festival 2014, a massive music event in Bogota, Columbia. According to Zertuche, the band members appreciate what the SSL Live has brought to their monitor mixes during this and other performances. “They love it! They are very impressed by the sound,” he says. “Live made its debut on the final day of rehearsals, following the auditions of competing consoles, and the guys could hear a clear difference between them. They said the SSL Live is totally different: much warmer, far superior.”

With nearly two decades of engineering and six years monitoring Zoé under his belt, Zertuche’s current lineup includes the band Caifanes, pop duo Ha*Ash, singer Benny Ibarra and MTV’s World Stage, as well as recording and mix engineer duties at Control Room Studio and MAS Audio Studio. He also serves as audio crew chief and monitor engineer for the Lunas del Auditorio Nacional, an awards show recognizing live musicians and sound companies in Mexico.

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

SSL Live Delivers The Sound For Triple Platinum Country Artist Jason Aldean’s Burn It Down Tour

“Live mixes the functionality of a digital console with the sound of an analogue desk, including all the transparency, clarity and transient response”

NASHVILLE
– The engineering team for Jason Aldean’s Burn It Down tour is bringing the artist’s popular brand of country rock to the next sonic level with an SSL Live console for both FOH and monitoring. A triple platinum artist who has released such albums as My Kinda Party, Relentless and Wide Open, Aldean has been wowing fans for years, packing in tens of thousands of enthusiastic attendees at each of his shows. For his latest U.S. tour, Aldean’s team is benefiting from the flexibility of Live and its trademark SSL sound quality.

Chris Stephens, Aldean’s front of house engineer, has been working with the artist for the past five years and was previously with Michael McDonald and Wynonna. When he first sat down with the Live console, Stephens knew that he found his console of choice. “As each tour became progressively more complicated, Evan [Richner, Aldean’s monitor engineer] and I knew we had to make a change,” explains Stephens. “The SSL Live fits all of our needs. It has an extensive feature set and amazing sound quality because it mixes the functionality of a digital console with the sound of an analogue desk, including all of the transparency, clarity and transient response. I’ve never heard a digital console that sounds like this, ever.”

The true test for Stephens was when he was able to do an A-B comparison on his old console and Live at the same time during tour rehearsals. “I was impressed with Live when prepping for the tour on my studio monitors, but once we were able to pull audio up on the PA in an arena, we were able to make a true comparison,” continues Stephens. “It is difficult to get an accurate sense of a console’s sound when you’re in a small room. When we were finally on the road with Live, I realized how much processing I had been using to compensate for the sound of the old console. The difference in sound quality was apparent from the first note. Even people who don’t know anything about audio thought Live was noticeably better.”

Richner has been with Aldean since 2005 and finds the sound and features of Live to be a real asset along the tour. “The sound quality is amazing; it’s a great sounding desk,” states Richner. “At music rehearsals, using Live for the first time, the guys came in and our guitar player walked up, put his ears in, hit four notes and was blown away. He was like, ‘We’re good!’ While the sound quality was a big bonus for us, the thing that is most important is that console also is extremely flexible, easy to use and powerful. The automation functions and grouping capabilities are spot on. It’s nice to be able to make the SSL Live do whatever I want. Depending on the way I need to use it, it can be a completely different console from one performance to the next. I have never seen another console with the features of Live.”

Stephens echoes Richner’s sentiments regarding the flexibility of the Live console. For the FOH mix, he uses both SSL plug-ins and a Waves MultiRack Soundgrid outboard processor to accomplish the final sound. “As far as routing capabilities, I don’t know of any other console that allows me to have the flexibility of Live,” explains Stephens. “Being able to rearrange the signal path of each channel individually and the capability of routing stem groups to each other are two features you don’t usually find in a console. I haven’t run into a routing scenario with Live that I haven’t been able to work out. No other console works like Live.”

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

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Sound Devices Announces Three Key Appointments

REEDSBURG, WI, MAY 14, 2014Sound Devices, specialists in audio and video products for production, is pleased to announce the appointment of Paul Isaacs to VP of Marketing and Product Design, Dan Desjardins to Manager of Software Development and Quality Assurance and Gabriel Benitez to Sales Manager.

“These three new key appointments represent a significant step forward in our ability to develop and promote superlative video and audio products,” says Matt Anderson, CEO, Sound Devices. “Paul, Dan and Gabriel bring an essential wealth of sales, market and technical knowledge and experience to the company at a time when Sound Devices products are expanding into several important new markets.”

Prior to joining Sound Devices, Isaacs worked in broadcast engineering with the BBC, product development with HHB Communications and as an audio/video consultant with Applied Audio Consultants. Since 2008, he has been a key player in the definition, user-interface design and software development of Sound Devices’ award-winning video and audio recorders. In his new role as VP of Marketing and Product Design, he will educate new and existing markets about the benefits of using Sound Devices video and audio products. In addition, he will continue to be a main player in the design and definition of new products. In his off hours, Isaacs plays keyboard in a number of bands.

Paul’s outstanding in-depth product knowledge and industry experience is a huge asset in all of our future marketing efforts,” says Jon Tatooles, Co-Founder and Chief Business Development Officer, Sound Devices. “We are excited about all three announcements as it is representative of our overall growth and success as a company.”

Desjardins brings 24 years of experience as a software specialist, designer, manager and developer with Dynatech, iNEWS, Avid, Weather Central and WSI with him to Sound Devices. He also spent 11 years in broadcast television as a reporter, photographer, engineer and manager. As Manager of Software Development and Quality Assurance, he will oversee the development of the latest firmware for all of Sound Devices audio and video products, while also ensuring that all hardware products from Sound Devices meet the company’s high-quality criteria before reaching the customer. Desjardins is a member of the Society of Broadcast Engineers and SMPTE, and an avid still photographer.

Benitez joins Sound Devices as Sales Manager. He has 15 years of experience working in the Latin American markets, with a background in audio engineering and radio frequency coordination of wireless devices. A native speaker of both English and Spanish, he is also fluent in Portuguese. He will focus on increasing Sound Devices’ presence in the Latin American markets, while also strengthening the company’s reseller and distributor networks in the region. In his free time, Benitez enjoys playing guitar, drums and bass.

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, live event and acoustical test and measurement applications. Founded in 1998, the 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 Exhibits Masterclass PlugIns, LQL Software and TouchMonitor Family of Meters at BroadcastAsia 2014

Broad Range of Tools Give More Customers Access to Renowned Company Products

MARINA BAY SANDS, SINGAPORE, MAY 14, 2014 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to exhibit its new RTW Loudness Tools from the new Masterclass PlugIns range of software, the LQL Loudness Quality Logger software and its TM3, TM7 and TM9 TouchMonitor audio meters at this year’s BroadcastAsia Show (Booth 5E6-01).

Masterclass PlugIns
The new Masterclass PlugIns software provides RTW’s renowned metering tools as standard-format plug-ins for Windows and Mac OS platforms, allowing a larger number of RTW customers to access the tools. The RTW Loudness Tools are the first of the company’s products available as part of the new software.

The RTW Masterclass PlugIns Loudness Tools visually depicts audio with all relevant level and loudness values as specified by international standards. Conforming to the EBU R128 loudness standard, as well as ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, CalmAct and custom as well as SPL mode, it is a handy tool for quality control, offering the precision and ease of use required to ensure compliance with custom specifications. Operation of the plug-in is highly intuitive, so that even users without a great deal of experience in monitoring loudness can use it effectively. The plug-in includes RTW’s Peak Program Meter, TruePeak, and Spot Correlator instruments and also offers all common loudness displays plus MagicLRA mode or SPL view.

The user interface of each plug-in is based on the award-winning RTW TouchMonitor TM7 and TM9 units, and offers the same degree of functionality and clarity as the hardware models. The instruments provide graphical/numerical, as well as bargraph views, and can be freely rearranged and scaled. Various function parameters, such as integration time, operational range and tolerance, along with a number of viewing options for metering data and scales, offer extra flexibility. The plug-in window dimensions can be set to the native resolution of RTW TouchMonitor display screens, including 480×272, 800×480, 1024×800 (landscape view) or 272×480, 480×800, 800×1024 (portrait view). Users can store all setups and layouts as presets in their DAWs.

The RTW Masterclass PlugIns Loudness Tools require Windows 7/8 (32-bit or 64-bit) or Mac OS 10.6 or higher. RTW has first made them available in the VST 2.4 format for Windows systems and the RTAS format for Mac OS. VST, RTAS and native AAX64 support on the two platforms will follow.

LQL Quality Logger Software
The LQL is a natural extension of RTW’s range of innovative software options for the 7- and 9-inch line of TouchMonitor audio meters, as it was developed for logging, true-peak data analysis and reporting. It is compatible with the TM7, TMR7 and TM9 TouchMonitor line of products running with the Logging Data Server license (SW20014).

Once activated, LQL enables measured Loudness and TruePeak data to be derived directly via an IP connection from a capable TouchMonitor audio meter, as well as from external storage media such as a USB stick. The software also includes dual limit weighting, status information, marker and various other reporting features. The new PC software is free of charge to users; however the SW20014 Logging Data Server license is required to enable a TM7, TMR7 or TM9 series meter to be compatible with data export and additional display functions.

TM3, TM7 and TM9 TouchMonitors
Controlled using a touch-sensitive display, the TM3 TouchMonitor has a budget-friendly base price, a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. It includes a large number of graphical and numerical instruments showing single-channel and summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. It offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85,ARIB, OP-59, AGCOM, CalmAct and custom as well as SPL mode. As with all TouchMonitor products, it features the Magic LRA instrument, designed by RTW for intuitive visualization of the loudness range and integrated-loudness parameters.

The TM7 and TM9 TouchMonitors, which include the innovative Magic LRA instrument, feature a seven- and nine-inch touch-sensitive display, respectively, and provide unparalleled flexibility and modularity combined with intuitive control. The software visualizes multiple sources simultaneously. Both support 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 also capable of providing a view of up to 32 digital channels when the 3G-SDI option is implemented. Along with RTW’s entire TouchMonitor range, the TM7 and TM9 were created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, CalmAct and custom as well as SPL mode.

About RTW
RTW, based in Cologne (Germany), has nearly 50 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.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office houses all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

Tekserve to Host Gathering of the Gear Event at Retail Store

Audio Technology Fair Gives Customers Unique Access to Top Audio Vendors on Thursday, May 22, 2014

NEW YORK CITY, MAY 12, 2014 – Tekserve, a leading provider of technology solutions for creative professionals is hosting its Gathering of the Gear event, an audio fair on Thursday, May 22, 2014, from 3 p.m. to 8 p.m. The event, with support by media partner WBGO, will take place at the Tekserve retail store, located at 119 West 23rd Street in New York City.

Gathering of the Gear will kick-off at 3 p.m., when audio producers, musicians and consumers will have the opportunity to test the latest gadgets, gear and technology from a variety of top audio manufacturers and speak with the experts behind it all. Confirmed vendors include: Avid (featuring Pro Tools), Apogee, Ableton, Magma, LaCie, G-Tech, iZotope, Universal Audio and Genelec.

Tekserve will also be providing wireless speaker and headphone testing stations for audiophiles looking to upgrade their headphones, home studio or home audio systems. Additionally, WBGO will stream a live radio feed of the station’s programming through the headphone and speaker demo stations, so that fans of WBGO can listen to content while testing out a pair of the headphones.

Later, at 5 p.m., Tekserve will begin serving refreshments to accompany musical performances by Brooklyn-based electronic musician Erin Barra and The People’s Republic of Sound Presents Thomas Piper Jr. In addition, there will be a Pro Audio Gear sale set up in the lower level of the store, featuring up to 75 percent off of last season’s stock.

“The pro audio community is thriving,” says Ben Casey, Professional Audio Retail Manager, Tekserve. “There are so many exciting new technologies this year that marry the high tech with the best classics of yesteryear. We are proud to connect our customers with leading vendors in the industry. Whether you’re a production pro seeking workflow support, an experienced consumer or a newbie just starting to build your home studio or audio system, our Gathering of the Gear event is sure to have just what you’re looking for and more.”

Attendees are welcome to visit tekserve.com/werock to register and for more information. Those attending are encouraged to share their live experiences via social media. Attendees and even audio fans not in attendance, can use #TekAudio when referencing the event on: Facebook (www.facebook.com/Tekserve), Twitter (@Tekserve), Instagram (@Tekserve) YouTube (www.youtube.com/tekserve) and LinkedIn (www.linkedin.com/company/tekserve).

Following the event, Tekserve will be hosting educational seminars in late May and early June for creatives working in the audio production industry. Each seminar session will be an intimate educational opportunity to interact with Tekserve’s Audio Specialists, a variety of audio vendors and professionals using the products represented, in their workflows.

As educational seminars and guests are finalized, Tekserve will update registration details here: events/tekserve.com.

About Tekserve
Tekserve delivers a broad range of enterprise services, solutions and products to support the technology needs of businesses in fields ranging from finance and retail to media and entertainment. Employing best in class products from a wide range of technology manufacturers, Tekserve helps clients by identifying, engineering, deploying and supporting the best possible solutions for their technology challenges.

From its famous New York City retail location in Chelsea, Tekserve, stocks a wide variety of Apple products, accessories, storage solutions and display devices. Tekserve also provides system rentals, workshops and certified training, as well as the finest repair and support services. Since its inception in 1987, Tekserve has been dedicated to the service of its customers and the surrounding community. For more information, visit www.tekserve.com.

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SSL Live Gives Clarity To Santana’s Monitors


“Once I finally got to see the console, it drew me right in … for me, it’s about design, use, accessibility and layout”

LAS VEGAS – Mixing multiple wedges and in-ear mixes for a large band with a dynamic musical set requires a flexible console that can quickly be operated manually. For this reason, an SSL Live console is on the road with iconic Latin rocker Carlos Santana, whose perennial monitor engineer, Brian Montgomery, is using it to mix both stereo wedges for Carlos and IEMs for his band. Following last winter’s residency at Mandalay Bay’s House of Blues (HoB), Santana has been globetrotting, making stops at the Dubai Jazz Festival, Johannesburg’s FNB Stadium, Cape Town’s Grand Arena and the New Orleans Jazz Festival as part of its Corazon tour. Carlos and his crew will then join Rod Stewart for The Voice, The Guitar, The Songs tour this spring and summer.

Carlos is the winner of nine Grammy® Awards – the most for a single project – for Supernatural, which revitalized his career, leading to the first Las Vegas Hard Rock residency and his ongoing HoB appearances each winter. An industry legend in his own right, Montgomery has mixed Santana’s monitors for 16 years. “I was an analogue guy for a long time, but, it got to where I’d actually outgrown most of the analogue consoles on the market,” he explains. “I was using a pair of competitor consoles to get 26 mixes, and I needed more space. When we went to Japan, the model I’d been using wasn’t available, so we switched to another competitor, which I’ve used as my primary console for Santana ever since. That is, until the SSL Live came out. I’m an old school guy and I like that SSL has an additional focus channel screen, which gives me all of the control that I need, alongside the main screen. This setup lets me have multiple modes of accessibility to my work surface, which is key.”

Montgomery was introduced to SSL Live by Rob Mailman, FOH for Santana and GM of Touring for Sound Image, which supplied the console. “I’d been looking to switch consoles, so when Rob started telling me about the way SSL Live’s control surface was laid out, I was extremely interested,” explains Montgomery. “Once I finally got to see the console, it drew me right in. I actually never heard the console before I decided to use it. I know what an SSL sounds like in the studio; they’re sonically incredible. For me, it’s mostly about design, use, accessibility and how I could lay the desk out for what I need to do. I don’t have any static mixes with the band, every song is different, so there’s never quite the same setup each night. I have to have a console that I can get around on very rapidly.”

With eight stereo wedge mixes across the front of the stage, Montgomery has them set as post-fade mixes that are tapered, so when Carlos is near somebody, the sound is turned down a little to give him an even mix across the stage. With this setup, Carlos can go anywhere and still hear what he wants or move away from sounds that he’s not interested in hearing.

“I’ve always liked to have Carlos’ setup accessible through post-fade on my surface so that I can do anything for him at any point in time, even if I’m messing around with the mix for somebody else in the band,” continues Montgomery. “Most of the band members are on in-ear monitors, so I need the versatility to mix Carlos while I’m changing the IEM feed for another band member. With many other digital consoles, that’s difficult to do because you have to stop what you’re doing for one performer to do something for another. With the SSL Live, I don’t have to do that. I tap the screen for the mix and I can change something for someone else rapidly without popping through four different layers.”

Montgomery first used SSL Live at HoB Las Vegas during a sound check. “I did a line check with the backline members and I started to notice how sonically I didn’t need to EQ as much,” he says. “The preamps sound very nice, very natural, no additional high-end, no tin that I often hear out of other digital consoles, very warm and very forgiving. With our current set, which is very loud, I might get plenty of input gain as well as a lot of output. All in all, with the SSL Live, I don’t have to EQ vocal mics to avoid feedback. It gives me a good natural sound and, regardless of the mic placements, I don’t have drastic EQ changes on the instruments.”

After Montgomery started using the SSL Live, every band member was impressed with its quality. “They all came to me and said it sounds brilliant,” he concludes. “It was something that kind of threw them because it was very natural sounding. Over the years, a lot of them have gotten used to something that was a little brighter or a little thin sounding. No matter what you did to the midrange, you had that digital imperfection. Now that I’ve switched to SSL Live, all of the musicians have come to me and said that sonically they’re very pleased with how it sounds. With a lot of my ear mixes, I don’t have to drive the units as hard. The musicians actually have to turn their packs down and I don’t have to send as much signal.”

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

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Masque Sound Raises the Roof and Brings the Power to the Party in Here Lies Love

NEW YORK, MAY 7, 2014 – Sound Designers Cody Spencer and M.L. Dogg were charged with taking audiences back to the late 70s and early 80s for a fully immersive show about Filipina First Lady Imelda Marcos, while incorporating the popular beats and rhythms of disco music for the smash hit, Here Lies Love. Playing at The Public Theater’s LuEsther Hall, they relied on Masque Sound, a leading theatrical sound reinforcement, installation and design company, to bring the party to the people.

Here Lies Love, a revolutionary musical experience from David Byrne and Fatboy Slim, returns to The Public after its sold out, limited engagement last year. Directed by Alex Timbers, this thrilling show retraces the astonishing journey of Filipina First Lady Imelda Marcos from her meteoric rise to power to her descent into infamy and the People Power Revolution. An adrenaline-fueled, 360-degree multimedia spectacle, Here Lies Love blends the passion of politics with heart-pounding dance beats for an exhilarating blast of pure joy.

In designing the sound, Spencer and Dogg wanted to immerse the audience in a club atmosphere while maintaining vocal intelligibility. “We put a lot of energy into making it feel like a club (with lights, videos, strobes and haze), but, at the same time, we wanted to make sure that the people standing and watching the show would be able to hear every word and understand the story that David Byrne is trying to tell in this process,” Spencer says. “Masque Sound was very attentive to our audio requirements and provided us with the sound solutions that we needed to be successful. Craig Freeman, the show’s sound mixer, then played a huge role in helping this all come together for each performance.”

To bring the club feel to the theater, Masque Sound supplied the designers with a DiGiCo SD10T digital console along with the DiGiCo UB MADI, which provides the ability to playback up to 48 channels over two MADI cables from QLab. “The SD10 gives us more matrix outputs, which is a real benefit,” adds Spencer. “Another reason that we went with the SD10 is its crosspoint delay matrix. The SD10 is an excellent console that provides excellent versatility and flexibility.”

Another key factor to the show’s success was speaker selection. The designers’ goal was to create a sound that would not make the vocals piercing on top. “I wanted the vocal speakers to be mellow and blend really well,” Spencer says. “In order to make that happen, we selected the L-Acoustics 112P, which work great. For the music speakers, we went with the EAW KF695Z Compact Virtual Array three-way system. Although not something that you traditionally see in the theater world, this tried-and-true speaker was ideal for the music component of the sound design. For our subs, we used the L-Acoustics DVs. We wanted a very musical sound as opposed to a vocally heavy sound, which is more the norm in musical theater.”

Masque Sound also provided 28 channels of wireless, featuring Sennheiser EM3532 receivers with 5012 transmitters and DPA 4065s microphones, which help deliver the really pristine vocals needed in a room that has sound from the speakers flowing over all of the actors the whole time. For his handheld microphones, Spencer chose the Shure UR2 series handhelds, which he favors due to their durability and excellent tonality.

“Another key component to the show’s success is that the lighting and video is synched to SMPTE timecode that is being generated from Q-Lab,” adds Spencer. “The timecode gives the video and lighting the ability to lock on to what the music is doing, which is really beneficial to the whole process. The timecode is making things that need to be precise, precise. The show looks amazing, and thanks to Masque Sound, sounds great.”

Here Lies Love began previews on April 14, 2014 and officially opens on May 1, 2014. For more info, visit herelieslove.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 Vice President 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,” “Once” and “Kinky Boots” 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.

Tekserve Named Adobe Creative Cloud Reseller for Education Market

Solutions Provider Will Offer New Device Licensing Option for Classrooms and Labs

NEW YORK CITY, MAY 5, 2014 – Tekserve, a leading provider of technology solutions for creative professionals in a variety of markets, is proud to announce that as of May 1, it has received certification as an Adobe® Creative Cloud™ reseller for the education and non-profit markets. Geared for easy centralized deployment and administration by IT professionals, Creative Cloud for Education provides staff and students access to the same creative and production tools that professionals use commercially around the world in all areas of media and communication applications.

With this certification, Tekserve is able to tap into its breadth of experience creating and deploying workflow solutions in the Media, Entertainment and Publishing markets and provide the highest level of expertise and service to its education customers seeking to offer students the best and most appropriate technology to enhance their studies.

“Tekserve is a firm believer in supporting the next generation of creative professionals through education and by offering educators Adobe Creative Cloud, the infrastructure required and the support, we are enabling them to create a learning environment that mirrors one that students will face in the real world,” says Matt Cohen, Principal, Tekserve. “Our vast experience with enterprise workflows and technology infrastructure solutions for pro video, broadcast and publishing companies makes Tekserve an ideal partner for designing and deploying a school’s Creative Cloud needs. We look forward to working with customers in this market.”

In addition, Tekserve will also be offering Adobe’s new device licensing option for Creative Cloud, which assigns a license to each computer rather than to each user. This new option streamlines the learning process, allowing multiple students to interact with the same application on a single computer. Students, faculty and staff receive access to the latest creative apps for design, web, video, and photography, right on their desktop.

Creative Cloud for education will be available through Tekserve via the Adobe Value Incentive Plan (VIP), a subscription-based licensing program designed for educational institutions of all sizes. The program is also applicable to non-profit organizations.

In addition to being an Adobe Creative Cloud Reseller for education, Tekserve is also an Adobe Pro Video Gold Partner for commercial Creative Cloud customers and one of the few Adobe AnywhereTM Authorized System Integrators nationwide.

For more information about Tekserve’s Adobe solutions, please visit:
http://www.tekserve.com/tekserve_vendors/adobe/

About Tekserve
Tekserve delivers a broad range of enterprise services, solutions and products to support the technology needs of businesses in fields ranging from finance and retail to media and entertainment. Employing best in class products from a wide range of technology manufacturers, Tekserve helps clients by identifying, engineering, deploying and supporting the best possible solutions for their technology challenges.

From its famous New York City retail location in Chelsea, Tekserve, stocks a wide variety of Apple products, accessories, storage solutions and display devices. Tekserve also provides system rentals, workshops and certified training, as well as the finest repair and support services. Since its inception in 1987, Tekserve has been dedicated to the service of its customers and the surrounding community.

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Professional Wireless Systems’ Stellar Frequency Coordination Dances to the Beat at the 2014 Billboard Latin Music Awards

On-Site Technical Expertise, Support and Equipment Ensures Interference-Free Coverage for Live Telemundo Telecast

MIAMI, MAY 5, 2014 – When the 2014 Billboard Latin Music Awards kicked off on April 24th at the Bank United Center at the University of Miami, Professional Wireless Systems (PWS) was on-site to support Telemundo’s live broadcast of the star studded event. This marks the 16th year that PWS has been providing wireless solutions and equipment for the show.

The Billboard Latin Music Awards, the longest running and most prestigious awards show in the Latin music world, honors the most popular albums, songs and performers in Latin Music, as determined by the actual sales, radio airplay, streaming and social data from Billboard’s weekly charts.

In addition to the main stage, PWS provided its wireless services for various indoor and outdoor locations before, during and after the live broadcast, including the red carpet, the press room, mun2 network coverage, the Telemundo Morning Show, Un Nuevo Dia as well as two digital media areas. Due to the extensive equipment requirements needed for the various components of the show, PWS worked with Bill Saltzer of East Shore Sound, an AV and integration company based in Jarrettsville, Maryland, to ensure that all the equipment needs were met.

“This was a large show from an equipment standpoint and James Stoffo, the main RF coordinator, once again did a great job of managing all of the wireless microphones, in-ear monitors and IFBs for the technical production and musical elements of the awards show and its associated broadcasts,” says Jim Van Winkle, General Manager, PWS. “Live broadcasts always present their own unique set of challenges and our team worked very hard to ensure that all wireless operations went off smoothly and without any interruptions.”

This year, PWS was faced with more of a challenge than usual due to the size of the video and lighting walls that ran across the main stage. “Our receiver antenna position was behind the stage, which placed all of the live music artists’ microphones and hosts on the other side of the lighting wall,” Stoffo says. “In addition, the overall frequency count was the largest it’s ever been, with more wireless positions than we have ever had, including two media centers operating inside of the venue. The PWS team ensured that everything came together seamlessly, and we had a flawless show.”

For the pre-show red carpet activities, PWS supplied 10 Shure UHF-Rs and five Telex BTR 800 intercom systems along with six Lectrosonic IFBs. PWS provided an additional 10 channels of Sennheiser wireless (3732-II receivers with 5200-II handhelds and 5212-II belt packs) as well as two Telex BTR 800s and nine Lectrosonics IFB’s for the Telemundo Morning Show, as well as four IFBs, eight Shure UHF-Rs and three Telex BTR 800s for Mun2’s coverage. In addition, the press room was outfitted with 30 listen-only Williams Sound FM Systems receivers and headsets.

For the main show, PWS employed 12 channels of the Shure Axient wireless microphone system along with the Shure PSM1000 personal monitor system. Four channels of Sennheiser wireless (3732-II receivers with 5200-II handhelds) were used for the main talent, including Marc Anthony, Enrique Iglesias, Ricky Martin and Andrea Bocelli. Laura Pausini used a Sennheiser SKM2000 Handheld outfitted with a 935 capsule. Nine Telex BTR 800s and 10 Shure UHF-R wireless microphones were also utilized. In addition, Masque Sound’s headphone monitor system was deployed to ensure that all microphones were interference-free before hitting the stage.

PWS provided its GX-4 and GX-8 Series Combiners, as well as the RAD TX-8 Transmitter Combiner. Several PWS DB Series Multicouplers were used for the microphone receivers and intercoms. PWS’ Helical Antennas and Domed Helical Antennas were also onsite, both inside and out throughout the full-day event.

“Our goal is to have a perfect, interference-free show every time and we do whatever it takes to accomplish that,” adds Van Winkle. “By creating customized equipment packages and bringing in our filtered products, RF monitors and antennas, we are able to pull off these large shows. This year’s Billboard Latin Music Awards was another successful event for us.”

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 live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports 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,” “Mama Mia,” “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, historic St. Bartholomew’s Church and NYU’s James L. Dolan Recording Studio. 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.

Aladdin Finds a Whole New World of Audio Solutions with DPA Microphones


Sound designer for hit new Broadway musical comedy relies on large collection of the company’s mics to achieve pristine audio

NEW YORK, APRIL 30, 2014Aladdin is the most recent of Disney®’s beloved animated films to come to life on Broadway and DPA Microphones is in a leading role for this musical comedy, engaging audiences with dramatic sound and theatrical adventures. To help make the magical experience come alive, Ken Travis, sound designer for the show, calls on the company’s d:screet™ 4061 Omnidirectional Microphones to close-mic the entire cast, along with a combination of d:dicate™ 2011C Twin Diaphragm Cardioid and d:vote™ 4099 Instrument Microphones to amplify the natural sound of the orchestra.

Featuring all of the original Academy® Award-winning songs from the hit animated film, as well as new material written especially for the stage production, Aladdin combines elements of magic, adventure and comedy to captivate audiences. For Travis, this means producing a phenomenal sound to bring the cinematic experience to stage in the most vibrant way possible, lending this his desire to create an audio masterpiece that feels like the original film mixed with a classic Broadway musical. Whether costumes had to be designed around the mics or actors were equipped with several mics to account for costume changes, every setup was tested to achieve optimal audio amplification.

“This is the most collaborative production at this level that I have ever been involved with,” Travis shares. “For instance, we were working directly with the costume designers because we don’t want any wires to be seen on the cast. One unique thing we created was a prosthetic chin for the Genie, which has a DPA d:screet 4061 inside. While designing the chin, we tried multiple microphones, manufacturers and styles in order to find the perfect sound. The day we switched to the d:screet 4061 everyone said, ‘wow, whatever you guys did to the Genie, that’s it!’ ”

Like the Genie, the entire ensemble uses d:screet 4061s, as Travis finds they provide a natural sound, with the benefit of being easily concealable. The mics are also designed to withstand the toughest of conditions, including humidity and sweat, and have a reinforced cable relief built to handle the constant twists, bends and pulls, which is perfect for a production of this magnitude.

Since the show requires as many as 72 costume changes in four minutes, the mics are hidden along the actors’ hairline or turban to ensure the fast-paced environment is always perfectly wired for sound, allowing the ensemble to instead focus on their performances rather than mic placement.

“Sometimes the cast only has a second to make sure the mic is in the proper placement after a wardrobe change,” shares Travis. “In those instances, we tell them to try and hit their mark, but just in case, we also built a transmitter for the mics that we hide in the costumes, such as under a jewel in the turbans. There are some cases when cast members are triple-miked because they’ll have multiple hat and turban changes. Whether the number requires an actor put on a new turban, which covers the primary mic, or take off a turban to reveal another hat, equipped with a backup mic, we always have a redundant mic just so we don’t lose any audio.”

While it was crucial to Travis to find the best sound solution for the cast, he knew the orchestra also plays a big role in the Broadway experience. For Aladdin, a song such as A Friend Like Me, which is three minutes long in the movie, is a 10-minute production onstage. When it came time to select the mics to amplify the orchestra, Travis tested every mic available to ensure the sound quality of the instruments matched the vocal abilities of the performers. Again, DPA Microphones was the clear winner.

“I’m never happy with the sound of snare drums, so we wanted to try different microphone varieties and pick whichever sounded the best,” recalls Travis. “Eric [Mayer, president of DPA, Inc.] suggested we try the d:dicate 2011C microphonesM. He felt they were just what we were looking for, so we included one in our blind test and he was right.”

After finding the perfect orchestra mic, the audio team needed a setup to match, so they hung two d:dicate 2011C Twin Diaphragm Cardioids from a custom harness above the grand piano and orchestra to create what Travis describes as a very accurate sound. Additionally, they clipped d:vote 4099s to the toms and ethnic drums. From piano, guitar and strings to woodwinds, brass and drums, the d:vote 4099 sounds incredible on every instrument as it amplifies their natural acoustics and removes any unwanted noise. Ideal for the Broadway stage, a single d:vote model can reinforce an entire orchestra.

“What we like about this setup is that the piano goes from very legato into the Genie performances that are really rocking,” he explains. “Those songs were our biggest test for the d:vote 4099s and d:dicate 2011Cs, because we use a lot of snares and ethnic drums, which can get loud. Some mics don’t seem to reproduce that type of sound very accurately, but both micsstood up to the challenge. We are really happy with the sound, so we’re trying the d:votes on some brass instruments next.”

Per Travis’ request, Masque Sound supplied a custom audio equipment package, which included the DPA d:screet 4061 mics, to support his creative design for the show, which opened at the New Amsterdam Theatre on March 20. His vision was additionally brought to life by associate sound designer Alex Hawthorn, production audio head Lucas Indelicato and front of house mixer Gabe Wood, who each had a hand in selecting all of the DPA mics.

Travis is no stranger to the theater environment, as he has been providing his audio genius to the Great White Way since 1997. His recent works include Newsies; Jekyll & Hyde; and A Christmas Story, the Musical, both on and off-Broadway.

Directed by Tony Award®-winning director and choreographer Casey Nicholaw, Aladdin is based on the book by Chad Beguelin, music by Alan Menkin and lyrics by Howard Ashman and Tim Rice. The show stars Adam Jacobs (Aladdin), James Monroe Iglehart (Genie) and Courtney Reed (Jasmine). Jafar is portrayed by Jonathan Freeman, who also voiced the character in the movie.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

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

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