We have launched our new site! The Wire backend has moved to www.svconline.com. Your can log on now with your e xisting credentials. For your reference, posting instructions have been sent to your email. Note: postings made to the old backend will be redirected through Thursday Feb 19th. Please make the switch to www.svconline.com as soon as possible.


If you have questions please email thewire@svconline.com.


Looking forward to seeing you on the new site!

A virtual press conference from Sound & Video Contractor

Archive by Vanessa Sanchez

SSL Matrix and Sigma Deliver EDM Heat For Las Vegas Studios

“There is a creative trust in knowing you’re working on an SSL”

LAS VEGAS Luca Pretolesi and partner Ronnie Lee of mixing, mastering and studio design company Studio DMI (Study of Digital Music Innovation), rely on a Solid State Logic Matrix Console/Controller to deliver EDM heat for the company’s development project at Wynn Studio. The luxury hotel complex is home to a literal who’s who of A-list DJs performing in its suite of world class clubs and the location of Wynn Studio, an EDM production/recording studio designed and built by Pretolesi. With the hotel’s world-renowned clubs featuring the talents of artists such as Avicii, David Guetta, Afrojack, Deadmau5, Zedd, R3hab, Diplo, Dillon Francis and Jermaine Dupri, building a private space for these artists to use for tweaking current projects and creating the next generation EDM tracks became obvious. Employing an SSL Matrix was equally obvious for Pretolesi as was his choice of the Sigma Remote Controlled Summing Engine, which he uses at Studio DMI’s own workspace.

Luca Pretolesi with SSL Matrix2“In the beginning we looked at different options to find a compact console because Wynn Studio has great acoustics, but lives in a small space,” says Pretolesi. “The idea was to create a studio that was multifunctional and could service the needs of EDM/Dance DJs and the way they like to work. What led us to Matrix was the incredible amount of powerful features packed into a small frame. Total Recall™ was a must for us because we needed to be fast and able to jump from one session to another within a few minutes. The analogue summing side was essential because I was looking for a proper analogue mixer. The added bonus with Matrix is that it also has excellent DAW controller capabilities. The full integration of these items was the selling point of the Matrix.”

Pretolesi is the founder/engineer of Studio DMI also located in Las Vegas, and a Grammy-nominated EDM mixing/mastering engineer who has worked with the likes of Tiësto, Skrillex, Diplo, Lil Jon, Major Lazer, Bruno Mars, Iggy Azalea, Morgan Page, Calvin Harris, Pharrell Williams, 2 Chainz, Macklemore and Imagine Dragons, to name but a few. It is this pedigree that landed the job of designing and installing Wynn Studio. Pretolesi is known for his artistic touch and fresh approach to bring the highest level of quality to each project. For Studio DMI’s location, Pretolesi has added an SSL Sigma, which provides 32 channels of remote controllable SSL summing to his mixing/mastering rig.

“The Sigma at Studio DMI’s location gives me the same summing amplifiers that are found in Matrix,” continues Pretolesi. “We deal with an avalanche of in-your-face-types of sounds with EDM, so having the capability to hear the full range of what is there to make accurate, informed sonic decisions is critical for both facilities. The SSL sound is very transparent but has depth and character, and is capable of handling our extreme transients. This is essential for producing EDM. For Wynn, Matrix is also easy to use. Many times we will offer an assistant engineer for routing and patching support, and then let the clients do their thing. Sometimes different artists might collaborate and handle a session themselves without help. Once they are familiar with Matrix, these sessions progress nicely. When the artists come into the room they like seeing the Solid State Logic name. There is a creative trust in knowing you’re working on an SSL.”

Pretolesi and Lee, CEO of European Music Market, the parent company of Studio DMI and an entertainment service company providing management, business, studio, publishing and marketing services in the music industry, also offer experienced engineers an extended workshop in the subtleties of creating compelling EDM productions. These presentations are based on the over 25-years of experience Pretolesi has gained creating various techniques for mixing EDM.

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.

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

Related Topics: News |

RTW and IRT Announce New Partnership

RTW Expands its Product Portfolio with IRT’s Continuous Loudness Controller Technology

COLOGNE, 20 NOVEMBER 2014RTW, the market leader in visual audio meters and monitoring devices, and the Institut für Rundfunktechnik (IRT), the main research and development center of Germany, Austria, and Switzerland’s governmental broadcasters, are proud to announce today at Tonmeistertagung 2014, that RTW will implement the IRT’s newly patented Continuous Loudness Controller into its future broadcast-focused audio equipment. This new endeavor will enable RTW to expand the company’s line of products, further supporting the changing industry needs of the state of loudness control.

Over the last few years, the IRT has developed and patented the Continuous Loudness Controller, a new technology that allows users to continuously readjust the level of audio material they are working on, against a given program-loudness value, as well as a definable loudness range in real-time with minimal artefacts. This next-generation technology is in accordance with EBU-R128 and other worldwide loudness standard specifications.

“We look forward to our collaboration with the IRT,” says Andreas Tweitmann, Managing Director, RTW. “With both partner developments and designs, IRT and RTW have focused on the highest quality of audio in radio and TV decades. The new technique developed by the IRT is groundbreaking and will have a tremendous benefit to our customers. We are very happy to implement the Continuous Loudness Controller in our products.”

About the Institut für Rundfunktechnik GmbH
Based in Munich, the IRT supports broadcasting on a national and international scale with a wide range of services. IRT associates include the ARD, ZDF, DRadio, ORF, and SRG/SSR broadcasting services. In addition, the IRT cooperates with numerous clients from the broadcasting, media, communications, and IT industries as well as with a number of research centers and universities. Established in 1956, the IRT has always been committed to preserving broadcasting and to supporting the adaptation of broadcasting concepts to constantly changing market environments and demands.
Visit www.irt.de for more information.

About RTW
RTW, from Cologne, is a leading vendor of highly innovative first-class meters for audio monitoring and quality control. For almost 50 years, RTW has designed, produced, and marketed pioneering systems for professional recording studios. Today, RTW runs an international sales and service network. Visit www.rtw.com or www.facebook.com/rtw.de for more information.

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

Related Topics: News |

Great Audio Around the House: Cerwin-Vega! Cultivates Creativity with its XLS, SL and XD SERIES at CES 2015

Cerwin-Vega_SL Series FamilyCerwin-Vega, is set to deliver a stunning sonic experience, showcasing its SL Series Home Audio System, XLS Home Theater Audio System and its XD Desktop Speaker Series at CES 2015 (Gibson Tent, CP1/Central Plaza). As a leading manufacturer in loudspeaker design, Cerwin-Vega is known for its ground shaking bass and next-level performance, delivering high quality sound within any form factor.
Whether listening to a catchy tune, watching a blockbuster hit, or following the big game on the screen, the quality of a listener’s experience is defined by the sound. With a choice of six speakers and one subwoofer, the SL Series can be customized to fit any application, from a personal listening environment to larger-scale home cinema systems.

Similarly, there’s never a need to compromise on sound quality when designing the dream sound system for the home with Cerwin-Vega’s XLS Series. Packed with Cerwin-Vega’s legendary drivers, the XLS Series consists of six full range speakers, two subs and one center channel product. With its striking design, red surrounds built onto every driver and horn loaded midrange and tweeter design, the speakers set the tone of power, with a hard emphasis on bass and power handling.

Cerwin-Vega_XD Series FamilyAlternatively, for those looking for all the power and punch of a home theater system in a portable, compact unit, Cerwin-Vega’s XD Series is made to maximize media entertainment. Unlike plastic multimedia speakers, XD Desktop Speakers feature wooden cabinets to ensure tight bass, which is essential for accurate media creation. Gamers will get goose bumps as they listen to the XDs bring the roaring engines and exploding bombs of their fiction fantasies to life on the screen, while EDM fanatics listen to the latest dance track and feel the music pulse through their veins with help from the XD Series’ engaging Vega-Bass enhanced EQ feature. If you want to go deeper in frequency, you can combine any XD speaker with the XD8S Subwoofer, which features a slick desktop remote control. The XD Speakers, fit for any budget or footprint, feature mature sound and multiple input connections to ensure easy setup.

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

Related Topics: New Products |

Sound Devices Announces Expanded List of Approved Media

Comprehensive Testing Process Determines if Media Meets Requirements for Mission-Critical Production Applications

REEDSBURG, WI, NOVEMBER 18, 2014Sound Devices, specialists in audio and video products, announces an expanded Approved Media List designed to identify media fully compatible with and meeting the high-quality standards of the Sound Devices and Video Devices mission-critical production recorders. Since a recording is only as good as the medium in which it is stored, identifying and using approved media ensures that the company’s products will operate with the utmost reliability in the field. Approved Media. more

Sound Devices Brings Complete Range of Rack-Mounted Video and Audio Recorders into Focus at CCW 2014

Video Devices PIX 270i and PIX 250i and Sound Devices 970 Address the Multiple-Source Audio/Video Needs of Today’s Large-Scale Productions

NEW YORK – Sound Devices, along with its new video-products brand Video Devices, will showcase its full complement of rack-mounted production decks, including the Video Devices PIX 270i and PIX 250i video recorders and Sound Devices 970 audio recorder, at CCW 2014 (Booth 1240). Video Devices PIX 270i.jpg 1a

Seamlessly replacing tape- and disc-based video decks, the PIX line of IP-connected video decks with FileSafeTM and PowerSafeTM are a complete offering addressing a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live events and mobile truck production. In addition, at CCW, Sound Devices will feature its first-ever dedicated, audio-only rack-mounted solution, the 970, which boasts an impressive 64 channels of Dante and MADI. The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording.

Video Devices’ PIX 270i and PIX 250i recorders offer significant advantages and time-savings for production workflows, providing tapeless, file-based recording and playback with the ability to access and transfer high-quality files over gigabit Ethernet. The units record edit-ready Apple ProRes (up to ProRes4444) or Avid DNxHD files, and allow simultaneous multiple-drive recording, giving production staff the peace of mind of rock-solid redundancy and backup capabilities (four drives for PIX 270i and two drives for 250i). Their extensive audio capabilities, including 64 channels of both MADI audio and Dante audio-over-Ethernet for PIX 270i, and PIX 250i’s 16 tracks of audio, make each unit a comprehensive, cost-effective replacement for complex video servers, and an effective tool for high-performance video production.

Both PIX products feature extensive network connectivity, and can be connected over Ethernet for simultaneous, frame-accurate grouped recording and playback, delivering a cost-effective, scalable solution addressing the multiple-camera recording and multiple screen playback needs of today’s productions. Any number of units can be grouped, controlled and configured as a single system from either the hardware or the built-in Web browser-based control panel, PIXNet.

Video Devices’ PIX 270i and PIX 250i and Sound Devices’ 970 all feature the company’s proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. In addition, these newest rack-mounted products feature FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. If a drive is inadvertently removed during recording, the user can simply reinsert it to repair the files automatically.

The PIX 270i and PIX 250i include high-performance hardware scalers and frame-rate converters allowing recording of up-, down- or cross-converted 3G-SDI or HDMI signal at the same or a different frame rate. Hardware-based 3:2 pull-down removal is also available. With its built-in Ambient Clockit time-code generator/reader with genlock output, the PIX line is designed for multiple-camera and double-system sound applications. In addition to generating ultra-stable time-code, time-code can be read from the SDI stream, the HDMI stream or external sources. Its convenient 1/2-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through a four-pin XLR connector. The PIX 270i offers a secondary DC input for power supply redundancy.

A powerful tool for professionals requiring a significant number of audio channels, Sound Devices’ 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. These inputs include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying and allows for continuous long-form, high-track-count recordings.

With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is ideal for operation as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports word-clock synchronization from external word clock, video sync, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

The Sound Devices 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names, and reel folders can be done during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also allows for format conversion between analog, AES digital, MADI and Dante.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

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

Related Topics: News |

Masque Sound Custom Equipment Package Provides Intimate Audioscape for Lincoln Center Theater’s Newest Play, The Oldest Boy

NEW YORK, NY – When visionary playwright Sarah Ruhl’s newest play, The Oldest Boy, made its debut at Lincoln Center Theater’s Mitzi E. Newhouse Theater on Monday, November 3, Sound Designer Darron L West once again turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to supply a custom audio equipment package for the much-anticipated production. Main Pic The Oldest Boy LCT - 3

In this moving and delightful exploration of motherhood, love and letting go, The Oldest Boy tells the story of Tenzin, the toddler son of an American woman and a Tibetan man who is recognized as the reincarnation of a high Buddhist teacher. Differing cultures contend with competing ideas of faith and love when two monks seek permission to take Tenzin to a monastery in India to begin his training as a spiritual master. His parents must decide whether to send their young son away or keep him home.

Designing the sound system for The Oldest Boy posed its own unique set of challenges; the first of which was the design of the stage itself. “The stage is a really beautiful, wooden formal circle in the middle of the theater, and in designing the sound I wanted to be able to create layers from the center out,” says West. “We placed an enormous amount of speakers in the theatre to accomplish this, which gave us the added ability of being able to move the majority of the sounds around the room with ease. It was all about radiating the sound from the center out, and the system Masque Sound provided allowed us to achieve our goal.”

For West, his associate, Charles Coes, and Beth Lake, his assistant, however, the biggest challenge in designing the sound was dealing with the delicate nature of the music. Since the musical numbers are all composed on Tibetan instruments, such as bowls and tone bells, with a single, live musician performing onstage, the sound designers had to find a way to integrate all of these understated instruments to work inside the system’s surround.

“We designed the system in rings,” adds West. “There is a center system that only outlines the edge of the round stage, which means that the musician can be performing in the middle of the stage and get a lot of gain before feedback on his microphone. Most of the music in this show is multi-channel, so the audience is almost sitting in a bowl with all of these layers going on behind them that are creating a whirlwind of surround soundscapes. The show features beautiful scenic changes and the sound layers help shape the story for our audience, not only in terms of where it is going, but where it is ultimately headed.”

In order to create the sound he was looking for, Masque Sound provided West with a large Meyer Sound speaker package, including UPA-1P loudspeakers for the mains, a variety of UPMs for fills, UPJ-1Ps for the center ring and USW-1P subwoofers. “It’s about the clarity at the top end,” says West. “With musicians loudly playing these pure tone bells and bowls to fill up the room, it is important to rely on a fast speaker that boasts a lot of top end. To get the dynamic range we needed in the show, the Meyer rig was the only way to go for us. There was no question as to what we wanted to use, and we were very happy that Masque Sound was able to provide it.”

In terms of consoles, West was looking for an efficient board with as much flexibility as possible, which he found in the Yamaha DM1k. The DM1k allowed West to use MADI to send out the multiple outputs, between 26-32, in each with separate QLab channels allowing for the detailed soundscape. For microphones, West employed a selection DPA 4021s and 4022s, as well as a DPA 4061, which is worn on the head of the musician playing the traditional Tibetan nylon stringed instrument.

“We have such a long relationship with Masque Sound, and I know that I am in such good hands when I am working with them and never have to worry about anything,” concludes West. “With this show in particular, there were massive amounts of changes. It’s a brand new, world premiere with a lot of different levels and moving parts. To not have to worry about the implementation of the sound system was just fantastic. Masque Sound also provided its frequency coordination services, which is another item I can check off my list and not even have to worry about. In addition, our mixer at Lincoln Center, Stephen Bettridge, did an amazing job in helping this all come together.”

Directed by Rebecca Taichman, The Oldest Boy is scheduled to run through December 28 at the Lincoln Center Theater’s Mitzi E. Newhouse Theater, located on 150 West 65th Street in Manhattan. For more information, including where to purchase tickets, please visit www.lct.org.

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.

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

Related Topics: News |

SSL AWS The Natural Selection For Unique ‘AudioArena’ Studio Located In A Football Stadium

“We consider SSL a true icon of the global audio market”

SÃO PAULO – As the first high-end, commercial recording studio built in one of the largest football stadiums in the world, the Morumbi in Brazil, AudioArena offers the space, incredible view of the playing field and the sound quality necessary to attract the biggest recording groups and corporate events. At the center of the audio setup within this innovative facility is a Solid State Logic AWS Hybrid Console/Controller, supplied by Music Company, which brings the world-class sound and operational capabilities of SSL to this unique venue.

SSL_AWS_AudioArena_live roomAlong with offering a collection of the industry’s best analogue and digital gear, the studio, created by renowned studio designer Carlos Duttweller of ProStudios Design, also doubles as an exclusive, catered 132-person viewing box during São Paulo Futebol Clube (SPFC) football games. This unique combination has already started to attract the attention of some of the country’s top artists and broadcasters. “We literally just opened the doors when we were chosen to record the soundtrack for the latest drama series on TV Globo, Dual Identity, with the Brazilian metal band Sepultura, a group that has sold over 30 million records world-wide over the years,” says Luiz Fernando Vieira, co-owner of AudioArena with Daniel Chalfon. “Both the band and TV Globo were thrilled with the results.” The TV Globo production was created by producer/composer/musician Andreas Kisser, along with the AudioArena team of Fernando Quesada, Conrado Ruther and Luiz Fernando Vieira.

According to Vieira, innovation was the word that inspired the idea behind AudioArena, in an effort to bring together two of the greatest passions of mankind: music and football. “The SSL AWS 948 is a key part of this story’s beginning,” Vieira continues. “Whether the studio sessions are for an international release, to record a live concert in the stadium or to supply the audio backbone for a corporate event, we know the AWS will deliver. We consider SSL a true icon of the global audio market and would not work with anything less than a console from Solid State Logic.”

SSL AWS at AudioArenaAudioArena boasts a who’s who of enviable outboard gear, used to cater to any musical taste. The AWS 948, however, brings it all together. “We chose AWS for two reasons: the first is the absolute quality of SSL products,” states Vieira. “The level of sound quality that SSL reaches really makes a difference in the final mix of any studio. The second was an enlightening experience we previously had with an SSL Matrix console/controller combined with SSL’s XLogic SuperAnalogue™ X-Racks. We were very happy with the resulting recordings, so moving into the more integrated AWS platform made sense for AudioArena.”

With the intent of becoming one of the best studios in Brazil, the AWS presents the power and flexibility for AudioArena to handle any production situation. “We can say that the AWS easily assumed that vital center position in AudioArena’s equipment universe,” Vieira relates. “It is the absolute heart of our studio/venue. We worked with Carlos Duttweller to create the very highest level acoustics and integrate the very best support electronics. The AWS completely covers our needs and the results are simply state-of-the-art, unique and amazing!”

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.

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

Related Topics: News |

Sound Devices 970 Audio Recorder Earns NAMM TEC Award Nomination

Company’s First Dedicated Rack-Mounted Audio Recorder Features 64 Tracks of Dante and MADI

REEDSBURG, WI, NOVEMBER 4, 2014 – Sound Devices, specialists in professional audio and video products, is pleased to announce that its 970, the company’s first dedicated rack-mounted audio recorder, which boasts an impressive 64 channels of Dante and MADI with FileSafe™ technology, has been nominated for the 30th Annual NAMM TEC Awards in the category of Outstanding Technical Achievement, Recording Devices.Sound Devices 970 - front panel

Founded in 1985, and presented by the TEC Foundation for Excellence in Audio, the TEC Awards are the longest-running awards show specifically recognizing outstanding achievement in product innovation and sound production. The awards ceremony will take place on Saturday, January 24, during the 2015 NAMM Show, one of the world’s largest global music industry trade shows, held annually in Anaheim, CA.

“We are honored that the 970 has been nominated for the prestigious TEC Award,” says Paul Isaacs, VP Marketing and Product Design, Sound Devices. “It’s great to receive such recognition from the professional audio industry for our first dedicated rack-mounted audio recorder. For audio professionals requiring a significant number of audio channels, the 970 is an incredibly powerful and flexible tool, backed by Sound Devices’ reputation for high-quality audio and reliability.”

A half-rack, 2U audio recording device, the Sound Devices 970 simplifies any application requiring high-quality, high-track-count audio recording, including live musical productions, concert recordings, and drama- or reality-based productions. Incorporated into the 970, FileSafe recovers audio files if, during recording, drives are unintentionally removed or power is lost.

Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. These inputs include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying, and allows for continuous long-form, high-track count recordings.

With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is well-suited to operate as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports word-clock synchronization from an external word clock, video sync, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

The Sound Devices 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names and reel folders can be performed during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also operates as a bridging interface between analog, AES digital, MADI and Dante connectivity.

Additionally, the Sound Devices 970 features the company’s proprietary PowerSafe™ technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. In addition, 970 features FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. Should this occur when a drive is inadvertently removed during recording, the user can simply reinsert the drive and FileSafe will automatically repair the files.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Berlin-Adlershof, Germany. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

Masque Sound Struts its Stuff for National Tour of Six-Time Tony Award®-Winning Musical, Kinky Boots

Kinky Boots Tour - Photo by Matthew Murphy

Kinky Boots Tour – Photo by Matthew Murphy

Kinky Boots, winner of six Tony Awards® including Best Musical, sings and dances its way across the United States for its year-long national tour with the help of Masque Sound, a leading theatrical sound reinforcement, installation and design company. Tony Award®-winning Sound Designer John Shivers, along with his long-time associate and collaborator, David Patridge, relied on Masque Sound to provide the custom audio equipment package for the tour.

In Kinky Boots, Charlie Price has reluctantly inherited his father’s shoe factory, which is on the verge of bankruptcy. Trying to live up to his father’s legacy and save his family business, Charlie finds inspiration in the form of Lola. A fabulous entertainer in need of some sturdy stilettos, Lola turns out to be the one person who can help Charlie become the man he’s meant to be. As they work to turn the factory around, this unlikely pair finds that they have more in common than they ever dreamed possible… and discovers that when you change your mind about someone, you can change your whole world.

Kinky Boots, directed and choreographed by the Tony Award-winning Jerry Mitchell, is brought to life by music and lyrics from Grammy® Award-winner and Tony Award-winner Cyndi Lauper and a book by Tony Award-winner Harvey Fierstein.

Shivers’ and Patridge’s goal of recreating and delivering the incredible sound that Broadway audiences are accustomed to, due in part to the custom audio equipment package that Masque Sound also supplied for the Broadway show, proved a daunting task. “When designing the audio we had to plan ahead for venues of vastly different sizes and shapes, as is typical when touring Broadway shows,” says Patridge. “One week, the production may run in a large civic auditorium with five levels of seating; the next week, it may be in a house more akin to a Broadway theatre with 1500 to 1800 seats. This tour really runs the full gamut as far as venues, including outdoor theaters and even hockey arenas.”

d&b audiotechnik V-Series line arrays in the speaker towers comprise the main sound system. “We first auditioned the V-Series when we worked on Holler If You Hear Me on Broadway, and we really liked the fact that the speaker was capable of clear, intelligible sound with a lot of impact, despite the compact size of the box,” adds Patridge. “We had a lot of assistance from Gary Stocker at Masque Sound, who created custom speaker tower designs for the tour. He was able to incorporate the V-Series into the towers, which is something that Masque Sound has never done before. Stocker took our ideas and turned them into reality, which saved us a lot of additional engineering, time and work.”

For the console, Masque Sound provided a DiGiCo SD7T, the same live digital console that is used on Kinky Boots’ Broadway production, as the designer wanted to keep the programming intact matching the Broadway show. “The SD7T’s channel count allows our engineers to incorporate all of the monitor inputs into the same console as front of house,” says Patridge. “The SD7T is the only console that would provide the 128 channels that were needed to handle our requirements along with the features that we were looking for. We are very happy that the Masque Sound crew was willing to go the extra mile to accommodate our requests.”

Masque Sound also supplied d&b audiotechnik D80 amplifiers. The amplifiers fit four channels of amplification into two rack spaces, which is an important space-saving feature for a touring production. In addition, the cast utilized a selection of DPA 4061 microphones, along with Sennheiser SK 5212 wireless packs and EM 3732-II receivers for the roughly 40 channels of wireless used on the show.

“As always, Masque Sound was able to provide us with everything that we needed for the tour,” concludes Patridge. “The challenge, with any tour, is making sure that the sound crew is able to translate the sound design that we envision. A lot of it is very subjective, with the team, at the end of the day, relying on the mixers to make the show work across all of the different venues. In this regard, Head Audio Mixer Ben Madden and Assistant Audio Mixer Brian Kallaher are the people who make this production happen from city-to-city and to them we are very grateful.”

Kinky Boots kicked off its national tour on September 4 at The Smith Center for the Performing Arts in Las Vegas. The tour is scheduled to play through most of 2015 and will make stops in 32 cities, including Portland, Seattle, Denver, Los Angeles, San Francisco, Detroit, Nashville, Houston, Dallas, St. Louis, Philadelphia, Chicago, Minneapolis and Boston.

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.

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

Related Topics: Loudspeakers, Microphones, News, Video |

McGill University’s Schulich School Students Tackle Loudness Control with RTW TM3 TouchMonitor

Renowned Recording Engineers Richard King, Martha de Francisco and George Massenburg Count on Audio Meter to Help Students Create Dynamite Mixes

MONTRÉAL, QUÉBEC, CANADA, NOVEMBER 3, 2014 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to announce that the sound recording department at McGill University’s prestigious Schulich School of Music now uses the company’s TM3 TouchMonitor audio meter to instruct students in the art of loudness control.RTW_SchulichSchool_TM3_Students

Recording engineer and inventor George Massenburg, an adjunct professor of recording arts and sciences at McGill, the largest university-based school for professional music training and music research in Canada, sees loudness normalization as the next major trend to hit the music industry. He points out that Apple iTunes, for example, already features controls for normalizing the sound across one’s library of songs (“Sound Check”). “Normalization for music is spreading, and we want to educate students to take advantage of this trend the best way they can,” he says. “We want them to be able to make good mixes so they can work going forward.”

The RTW TM3 is one way sound recording at The Schulich School of Music is helping his students prepare for this future. With its easy-to-use 4.3-inch touchscreen and large number of graphical and numerical instruments showing single-channel and summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation, the TM3, part of RTW’s TouchMonitor line of audio meters, is a perfect tool for students learning how to measure loudness control for the first time. Its flexible user interface enables the selection of up to 10 presets with the swipe of a finger, allowing students to focus energy on training their ears for loudness differences.
RTW_TM3_DE_027_Stereo_Num_ATSC_web
“Another benefit of having the TM3 readily accessible is when the students are working with multiple projects at once,” explains Massenburg. “To give the students references when they’re learning how to mix, we’ll have them do a new mix but refer to another piece of work. It may not even be the same song—it may be something else, but to reference that on an equal playing field—meaning equal loudness—they’ve got to measure the loudness of that external file. So it’s very useful to have the meter right there. It’s not software. It doesn’t come and go with the project. It’s a part of the setup.”

That setup is located in the Schulich School’s Studio A, where the RTW TM3 is part of a range of solutions the students use to conduct mixes. These include Euphonix MC mixers, Merging Technologies Pyramix, Avid Pro Tools, ATC, Genelec and JBL loudspeakers and monitoring systems, among others.

“The TM3 helps the students adjust the loudness of a mix until it’s roughly in the ballpark of their reference mix,” adds Massenburg. “Then they can move ahead with making better mixing decisions. We find that elements that are punchier, such as a snappier snare or kick drum, really don’t affect the loudness as much as a constant, dense mid-to-upper frequency range, so students don’t have to squash their mixes to make them stand out. It leads to more dynamic mixes. It’s a tool that we think is going to be more and more important to students and practitioners [as loudness normalization becomes more prevalent in the music industry].”

Massenburg says his students find it easy to work with the TM3. “It’s very clear. We have it pre-set so that 85dB SPL is the target playback level, and -24dBFS is the target recording level. Since its relative between their work and an outside work, we can just kind of stay in that one setup. It’s nice that it’s flexible, but we don’t want it to change too much, so everyone is already up to speed on how it is set up.”

For Massenburg, much of his work at the Schulich School ultimately comes down to training students to be excellent critical listeners. “We train our students to listen hard and to pay attention to detail,” he says. “The better they’re trained in critical listening and evaluation skills, the better they’re able to deal with the more varied situations they could encounter out in the workplace.”

This training is obviously a resounding success, as graduates of the Schulich School have gone on to successful, high-profile careers in many different fields. One former student, for example, is the chief engineer of Symphony Hall in Boston. Another handles sound for some of the most popular musical shows in Las Vegas, including Cirque du Soleil’s Beatles LOVE presentation.

“We give our students the skills that they can take anywhere,” says Massenburg. “They can continue with music production, work for a classical operation, go into television production, or go further with their research. We provide them the skills to be able to say, ‘Sure, I can do that.’ [Loudness and the RTW TM3 is part of that.]”

Apple and iTunes are trademarks of Apple Inc., registered in the U.S. and other countries.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

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

Related Topics: Education, News |

About

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

Calendar

March 2015
M T W T F S S
« Feb    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication