A virtual press conference from Sound & Video Contractor

Archive by Vanessa Sanchez

Tekserve Named to CRN’s 2014 Solution Provider 500 List

Annual List Ranks the Channel’s Top Technology Integrators

NEW YORK CITY, JULY 2, 2014 – Tekserve, a leading provider of technology solutions for creative professionals, today announced it has been named to the 2014 Solution Provider 500 (SP500) list by The Channel Company’s CRN. The list ranks the top revenue-generating technology integrators in the U.S. and Canada whose forward-thinking approach to the channel has helped them evolve and thrive in today’s cloud and services-driven IT era. The list spans eight categories from hardware and software sales, to managed IT services.

Revenue size is determined by the amount of annual products and services sold over the course of 2013. Companies with no public documentation were required to submit a notarized affidavit attesting to their 2013 revenue.

“At Tekserve, we are continuously expanding our service offerings. We specialize in developing state of the art workflow solutions for our clients across a wide range of verticals.” says Jerry Gepner, CEO, Tekserve. “We are honored to have ranked within the top 500 solution providers selected by CRN magazine and look forward to bringing our team’s forward-thinking approach to clients that need the best in data management, networking solutions, storage and content creation workflows.”
“The annual Solution Provider 500 represents those companies that truly understand the needs of customers today as the IT landscape evolves,” said Robert Faletra, CEO, The Channel Company. “With so many options, this list has become an invaluable resource for vendors working hard to navigate the solution provider community and identify the best partner for their business. We congratulate the featured solution providers and look forward to covering their continued success.”

A sampling of the 2014 SP500 list is featured in the June issue of CRN Magazine and is featured online at www.crn.com and in the CRN Tech News app, available for iPad and Windows 8.

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.

About The Channel Company
The Channel Company is the channel community’s trusted authority for growth and innovation, with established brands including CRN, XChange Events, IPED, and SharedVue. For more than three decades, we have leveraged our proven and leading-edge platforms to deliver prescriptive sales and marketing solutions for the technology channel. The Channel Company provides Communication, Recruitment, Engagement, Enablement, Demand Generation and Intelligence services to drive technology partnerships. Learn more at www.thechannelcompany.com.

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

Related Topics: News |

Professional Wireless Systems’ Frequency Coordination Hits the Right Note for Telemundo’s Popular Singing Competition, la Voz Kids

ORLANDO, FL, JUNE 30, 2014 – When Telemundo’s highly rated singing competition La Voz Kids kicked off its second season at Universal Studios Orlando, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand to provide all wireless equipment and frequency coordination for the popular show.

La Voz Kids features approximately 140 young vocalists between ages 7 and 15 who are competing for a recording contract and a cash prize to support their education. The second season premiered with over three million viewers on Telemundo.

PWS supplied a range of wireless gear for the show and managed frequencies across the three sound stages, each which were approximately 500 to 1000 feet apart. The main stage, Stage 21, was home to the talent’s performances in front of a live audience and was where the majority of the competition took place. Subsequently, Stage 20 was used as the greenroom and Stage 19, sponsored by State Farm Insurance Company, was where the one-on-one coaching between the judges and talent took place.

PWS provided nearly 50 Shure wireless microphones for the performers throughout the show’s duration. In addition, PWS supplied the show with 40 Telex BTR-800 wireless beltpacks, 32 of which were used on the main stage by the lighting, audio and production crews, camera operators and stage managers. The other eight were kept stationary at Stages 20 and 19 to ensure that the crew had them available for any unanticipated occurrences. To streamline workflow operations, PWS also tied the intercoms into the main PA system, so that the stage announcers’ audio could be projected through the sound system to efficiently communicate with everyone on-location. This proved particularly essential during rehearsals.

In providing its wireless services for the three-phase entertainment show, PWS coordinated and managed a total of 200 frequencies, which included all the performances as well as additional ENG gear that was used to wire up the families to have them reflect on their son/daughter’s most recent performance. PWS’ main RF Coordinator John Garrido faced two main challenges while on set. One of the biggest hurdles centered on the show’s three-phase approach. Each phase or round of the competition was hosted on an entirely new set in order to give the show a fresh look as it progressed. “In between each phase and subsequent rebuild, all of the wiring and equipment had to be reconfigured,” says Garrido. “It was a big task for us, but one that we were happy to take on.”

The location of the show itself also presented PWS with quite a challenge in terms of managing and coordinating neighboring frequencies. “The show was filmed in the middle of Universal Studios, with other shows taping all around La Voz Kids on different, close-by stages,” adds Garrido. “Universal Studios manages approximately 400 frequencies, on a regular basis, and though we were coordinating and managing approximately 200 for La Voz Kids, we always had to be on guard to ensure that surrounding shows’ frequencies were not causing interference. This was particularly difficult to manage, because right behind Stage 21, there was a designated concert stage that hosted multiple live acts during the taping of La Voz Kids, creating the potential for interference. Fortunately, our crew was well prepared, and our expertise allowed us to stay on top of any potential issues.”

To ensure all frequencies were well managed for the duration of the competition, PWS supplied and deployed a majority of its own RF equipment, including a combination of its Domed and Helical Antennas. All in-ear monitors, as well as the Telex BTR outputs were run through GX-8 Combiners for transmission. In addition, PWS utilized its DB Series Multicouplers for all microphone and Telex BTR zoning and distribution. Throughout the show, PWS relied on its own Intermodulation Analysis Software System (IAS), a complete frequency management tool that helps coordinators quickly choose the clear frequencies for each specific wireless system and tuning range.

La Voz Kids proved to be a very successful show for PWS,” says Jim Van Winkle, general manager of PWS. “Working on a competition of this magnitude for such a long duration can be a cumbersome task, but our crew was well prepared to take on the challenge and did a fantastic job in ensuring that there were no frequency or signal interference problems during the show’s tapings.”

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.

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

Related Topics: Events, Microphones, News |

SSL Live Hits Summer Festivals with The Killers

“This console is the most analogue-correct digital console; it sounds phenomenal”

SAN FRANCISCO – Following The Killers’ wildly successful 2013 Battle Born world tour, performing in 50 countries and headlining arenas on six continents – including a sold-out Wembley Stadium show for which they wrote The Wembley Song – the Las Vegas-based phenomenon is back on the road this summer in support of their Direct Hits greatest hits compilation. With appearances at North American and U.K. music festivals, the band’s FOH engineer, Kenny Kaiser, is delivering their chart toppers with help from the new SSL Live console.

Kaiser works for Delicate Productions of Camarillo, California, serving as PA tech or system tech for Selena Gomez, Train and as monitor tech and crew chief for The Foo Fighters, among others. After moving to the Killers’ camp last year, he took over the helm for their 2014 tour. However, Kaiser was not fond of their previous FOH console and knew instantly that he’d need to make a switch.

“Delicate is a great partner of Hi-Tech Audio [supplier of the SSL Live console for the tour] in San Francisco, where I’m based,” he says. “Louis Adamo, president of Hi-Tech, called to say they had a new SSL console, so I went down and played with it. I found it fluid and the surface very intuitive. I also had a chance to take a class for engineers and production companies. After I took the class, I found the console even more intriguing. One thing that stuck in my mind was actually taking it apart and looking inside at how it’s made – it’s built like a tank. Plus, with the name SSL, you can’t go wrong; that’s a great name in consoles.”

As Kaiser is part of a new breed of engineers, The Killers’ previous mix platform just wasn’t his style. “There was too much button pushing to get to certain places and it was too spread out,” he continues. “There were fader banks on either side, so I had to do a lot of left and right movements. With Live, it’s more centralized. I don’t have to move around the console and I can stay in one spot, hit one button and quickly do what I need to do.”

Kaiser, who will occasionally use other consoles for events supported by Delicate, finds SSL Live to be more convenient to work on due to its flexibility and the manner in which an engineer can customize the fader banks. “It’s very intuitive and user-friendly,” he adds. “There are a lot of options as to how you can set up SSL Live.”

The accuracy of the console also stood out to Kaiser. “Because my background is a system tech, I’m an audio measurement and phase dork,” he explains. “Some engineers might have an eight or 10 dB boost or cut on an EQ band and my thought, if you have to do that, is that something is wrong – either the wrong mic or the console isn’t doing what the engineer needs. I now find that certain things I used to do, I don’t have to do anymore because the EQ does what it says its doing. When you’re on the first band and you want a cut at 120 Hz, it actually does 120. Some consoles say they’re doing 120, but then when you actually plug it in and check, it’s not quite there. Sometimes the Q isn’t quite what it says; with this console, it’s precise.”

Another big hit was Live’s onboard effects. “Everything is built-in, the reverbs sound glorious and it’s all on board,” says Kaiser. “I don’t have to go out and buy a console and then say, ‘Okay, now I need some external piece of software or hardware to get what I want.’ Everything I need is right there in one box to make the sound how I need to make it, which makes my job easier.”

But it doesn’t just stop at the effects, the console’s all-pass filters were also a big selling point for Kaiser. “As a system tech, I use all-pass filters to align side hangs to the mains,” he explains. “Being able to have that on inputs to align a pair of kick or snare drum mics is a huge tool to get the phase just right.”

Kaiser also mentions the clarity and distinctness that each instrument has in his mix. “On other consoles, once you start adding more stuff, you hear them start to overload and hear the coherence start to go away, but not with the SSL Live. SSL definitely did their homework to make it sound as analogue as possible. This console is the most analogue-correct digital console I’ve ever encountered. It sounds phenomenal.”

The Killers recently headlined the Hangout Festival on the sandy beaches of Gulf Shores, Alabama where the console was put to the true test of the weather. Kaiser notes, “despite the heat, high humidity, wind and sandstorms that we encountered that weekend, the console was just great.”

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.

Masque Sound Brings the Powerful and Influential Lyrics of Tupac Shakur to the Stage in Holler if ya Hear Me

Custom Audio Equipment Package Keeps the Beat for First Hip-Hop Musical in Broadway History

NEW YORK, JUNE 23, 2014 – As the curtain rose and the beat dropped on Broadway, the rhymes of Tupac Shakur engulfed the Palace Theatre during the highly anticipated hip-hop musical Holler If Ya Hear Me. Sound Designers David Patridge and John Shivers turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the riveting new production.

Holler If Ya Hear Me transports audiences to the world inside Tupac Shakur’s lyrics, and blazes to life in a non-biographical story about friendship, family, revenge, change and hope. The production brings to light the struggles for peace against the daily challenges of inner city life in this entertaining and original musical. Through the poetry of one of the 20th century’s most influential and culturally prominent voices, audiences are given a window into realities of the street, which are still relevant today.

Unlike a typical musical, which focuses mainly on reinforcing the audio coming off the stage, Patridge and Shivers’ goal in designing the sound for Holler If Ya Hear Me was to not only reinforce but amplify the audio to bring it to a level that was much more impactful. To do so, they worked with Masque Sound to obtain a custom equipment package, which included a DiGiCo SD7T Live Digital Console, d&b audiotechnik V-Series line array system, d&b D80 amplifiers and a Yamaha PM5D-EX digital console. The performers were outfitted with Sennheiser SK5212-II radios and EM 3732-II receivers, as well as DPA d:fine microphone booms fitted with a 4066 element.

“This was the first time that we used the d&b V-Series and D80 amplifiers and we were very impressed. The PA system needed to have more volume than a typical Broadway show in order to adhere to the punchy, hip hop score,” says Patridge. “The capacity and quality of the d&b D80 amplifiers was excellent. Working in an older theater also presented its challenges, architecturally speaking. We needed a line array system that was compact enough to fit the space, not block sight lines and not weigh too much; the V-Series was the perfect choice. Masque Sound went above and beyond in purchasing an abundance of high-end equipment for us, because the team knew that it was necessary for a show of this caliber. We are very appreciative that they were willing to go that extra mile to help bring our vision to life.”

The designers called upon two different d&b models in order to more evenly disperse the audio throughout the theatre. “We put the 120 degree boxes at the bottom of the array and had the narrower pattern going further distances, so when the audio opens up, it keeps some of the energy off the walls of the room,” adds Patridge. “When designing for sonic signature, you have to look at everything—it has to sound good, be coherent, be able to control the pattern and it has to have power. The d&b PA that Masque Sound provided allowed us to do just that.”

The location of the mix position also presented a unique challenge for the designers. The seating of the Palace Theatre is configured with a continuous slope, which provides a stadium seating effect instead of the traditional separate levels (orchestra, mezzanine and balcony). As a result of the angle of the chairs, the FOH mixer cannot see the actors on stage, as he would have to look through the console.

“Not having a good line of sight can be quite a challenge, so we incorporated a video monitor system into the design,” says Patridge. “As a one-stop shop, Masque Sound was able to supply the video component that we needed to overcome this unexpected challenge.”

In addition to his praise of Masque Sound, Patridge also credits his long-time production engineer Kevin Kennedy for a job well done. “The sound turned out great, and we are really excited and thankful to be part of this history-making musical,” concludes Patridge.

Holler If Ya Hear Me opened on June 19, 2014 at the Palace Theatre. For more information and to purchase tickets, please visit: www.hollerifyahearme.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.

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

Related Topics: Events, Large Venue, Microphones, News |

RTW Expands Into Additional Markets with New Products

Masterclass PlugIns Software and TM3-Primus Provide Entry-Level Offerings to Creatives Everywhere in the Audio Industry

COLOGNE, GERMANY, JUNE 23, 2014 – RTW, the market leader in visual audio meters and monitoring devices, recently announced that the company is expanding into new applications with three product segments, thus enabling a larger pool of professionals to access the company’s award-winning metering tools.

RTW has launched a new product segment that serves Software-based products. The Masterclass PlugIns Loudness Tools, a standard-format plug-in for Windows and Mac OS platforms, is the first item of this product line to serve the needs for users in the DAW sector.

In addition, the new Smart products segment includes the TM3S, TM3-3GS, TMR7S and the company’s latest innovation TM3-Primus – all compact, fully loaded, specialized meters at an attractive price point. This product segment is ideal for individuals working in smaller production environments such as mixing and recording studios and OB vans.

The RTW Premium product segment includes the flagship products of RTW’s flexible and scalable TouchMonitor range. This consists of all versions of the TM7, TMR7 and TM9 audio meters, as well as the SurroundControl products, all of which are good choices for larger television and radio broadcast environments.

For more information, please visit www.rtw.de or www.rtw.com.

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.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.

RHC Holdings Discusses Targeted Marketing Strategies at InfoComm 2014

LAS VEGAS, JUNE 19, 2014 – Representatives from RHC Holdings will be on hand at InfoComm 2014 (Booth C9516) to discuss the company’s new targeted marketing strategies, which were announced earlier this year. Under this plan, RHC Holdings, comprised of well-known dependable brands, such as RapcoHorizon, Momentum, Pro Co, RAT, RoadHog and StageMASTER, will promote and market its brands to their specific industries. Pro Co Data will be the main focus for this year’s InfoComm show in Las Vegas.

This marketing strategy ensures that RHC Holdings can offer comprehensive audio and cable solutions for a variety of budgets and projects, from 100,000-seat stadiums to single-room houses of worship and everything in between. RHC’s collection of brands affords users the options of low-, mid- and high-grade data, instrument, speaker or microphone cable options. Fans will also find solutions such as guitar pedals, digital snakes, personal audio interfaces, digital facility design software and personal monitor systems.

“We are very excited about the future of RHC Holdings,” says Darius Seabaugh, Vice President of Marketing for RHC Holdings. “With this strategy, each of the brands will now have a very individualized marketing plan that will focus on a targeted customer base for areas such as live sound, retail, studio and installation.”

Pro Co and Pro Co Data represent RHC’s professional line of customizable audio, video, data, communications and fiber-optic interfacing solutions. With product lines such as LifeLines high-end signal transfer cable; TradeTools industrial strength and sized device boxes; RoadMaster heavy-duty touring snakes and PlateWorks standard and custom wall plates designed through DesignVision, ProCo truly defines what it means to be in the professional market.

As RHC’s mid-to-upper-range line of audio solutions, RapcoHorizon products are tailored to the entire retail music industry to meet the demands of both live sound and studio recording. The brand comprises three different series of products, including the Players Series, a rugged solution for nightly club performers; Concert Series, a diverse line of professional interfacing products for live stage performances and Studio Series, an elite selection of cables with superior sound quality and rugged, durable construction for professional performances and studio sessions. With RapcoHorizon, fans can be assured they will attain the same sound on the road as they do in the studio.

A personal monitoring and digital audio distribution network, Momentum is designed to replace traditional analog audio wiring wherever audio distribution is needed. Difficulties in executing the increasingly complicated audio systems can be simplified by capturing audio at the source, converting it to digital and distributing it over a standard Ethernet network. This reduces the amount of field terminations, making installation less time-consuming. With the mTweak app for the Momentum mo8me Mix Engine, an average smart phone or tablet becomes a handheld wireless interface to control a user’s mix and settings right from his hand or music stand.

From its beginnings as a pedal created in a Michigan basement, RAT has become an iconic legend in the mainstream of rock music. Built with the traditional rock musician in mind, RAT products have a rough, vintage, rebellious and dark sound. The newest product to make its way into the brand is the FAT RAT, which is also being presented at NAMM.

RoadHog touring cables are uniquely designed for touring performers. Engineered “Road Ready and Tour Tough,” RoadHog cables utilize the most rugged construction for those who don’t have the time to be neat and careful with their gear, while always providing high-quality sound. For those who want even more superior sound, there is also the SilverHog, which features the same RoadHog construction with silver-plated conductors and shields. RoadHog also comprises Hog, HogCloth, HogM, HogMPro, HogMCloth and SilverHogM, and will forever remain devoted exclusively to cables.

RHC Holdings, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications interfacing products. Comprising RapcoHorizon, Momentum, Pro Co, Pro Co Data, RAT, RoadHog and StageMASTER, each RHC Holdings brand has developed a reputation in many industries for reliability, and superior sound performance. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, the company’s products provide optimal flexibility and premium performance.

Sound Devices 970 Brings Rackmounted Audio to InfoComm 2014

64-Track Dante and MADI-Equipped Multi-Track Audio Recorder Makes AV Debut

LAS VEGAS, JUNE 18, 2014 – Sound Devices, specialists in audio and video production equipment, showcases the 970, its first-ever dedicated audio-only rack-mounted solution, which boasts an impressive 64 channels of Dante and MADI, at InfoComm 2014 (Booth C6443). The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording, including live events such as concerts and sports recording, corporate events, houses of worship (HOW), studio and mobile production, as well as theater and museum presentations.

Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. Inputs available 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. The 970 is a powerful tool for professionals who require a significant number of audio channels. 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.

The Sound Devices 970 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. In mission-critical audio-over-IP AV installations, where hundreds of audio channels are distributed between zones, setting up a redundant network to protect against loss of audio due to network failure provides peace of mind. The ability to have one drive transferring files over Ethernet, while another continues recording, offers significant production time savings. Corporate, HOW, theater and museum presentation videos that are created, edited and rendered remotely can be transferred directly to the venue.

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, acting as a bridge and routing matrix between these types of audio I/O.

Sound Devices 970 is designed with a large five-inch screen for metering of up to 64 tracks and for fast and intuitive menu control. It also features the Sound Devices 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, the 970 features FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. This occurs when a drive is inadvertently removed during recording, with the 970, simply reinsert the drive and it automatically repairs its files.

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 external synchronization from word clock, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

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 Highland Park, IL. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

RHC Holdings Unveils New Pro Co DURACAT Solid-Core CAT6 Cables at InfoComm 2014

LAS VEGAS, JUNE 18, 2014 – Pro Co Data, an RHC Holdings brand, introduces its new DURACAT Solid-Core CAT6 Cables, ideal for digital transmission of data signals, at InfoComm 2014 (Booth C9516). Intended for use in a wide range of environments, DURACAT is perfect for portable, permanent or live audio/data applications. It can be used for connectivity between consoles, amps, DMX lighting control and digital snakes, among other computer data signal equipment.

Available in single (DURACAT), double (DURACAT2X) and four-time (DURACAT4X) run options, each solution can be custom cut from one to 330 feet. The interiors are comprised of one, two or four 23AWG solid bare copper cables encased in .225-inch jackets for use with standard RJ45 terminations, such as the Neutrik® EtherCon® Series RJ45 connector. The rugged cables are housed in a sturdy flame retardant, thermoplastic PVC outer jacket and .3-inch sub cable jacket, both of which ensure enhanced durability for portable applications and harsh environments.

Each option is compatible with 10/100/100BASE-T Ethernet, token ring, Dante™, CobraNet™ and ATM Coax over twisted pair. Additionally, the DURACAT2X and DURACAT4X are ITA/EIA Category 6-ROHS compliant. Like all Pro Co Data products, the DURACAT Solid-Core CAT6 Cables are made in the U.S.

RHC Holdings, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications interfacing products. Comprising RapcoHorizon, Momentum, Pro Co, Pro Co Data, RAT, RoadHog and StageMASTER, each RHC Holdings brand has developed a reputation in many industries for reliability, and superior sound performance. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, the company’s products provide optimal flexibility and premium performance. RHC Holdings also has a state-of-the-art Custom Shop to modify existing products or build new devices to meet any need.

DPA Microphones Unveils Latest d:screet™ Miniature Solutions at InfoComm 2014

LAS VEGAS, JUNE 18, 2014 – DPA Microphones is presenting its new d:screet™ Omnidirectional Miniature Necklace Microphone at InfoComm 2014 (Booth C11936). Also on display will be the company’s heavy-duty d:screet™ 4060 and 4061 Omnidirectional Miniature Microphones and d:screet Omnidirectional Miniature Mics with reinforced cable relief.

Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace Mic is ideal for quick costume changes. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

“Our expansion of the d:screet Miniature Microphone Series is in direct response to increasing market demands for a large variety of solid workhorses that deliver superb sound under challenging conditions,” says Christian Poulsen, CEO of DPA Microphones. “We identified and meet a need with our new d:screet Necklace Microphone for a mic that can be mounted and removed quickly, and several times, by untrained talent without a sound expert nearby. Additionally, with the heavy-duty and reinforced cable relief solutions for our d:screet Omnidirectional Miniature Microphones, we’re fulfilling requests from users for high-quality sound with a highly-durable housing and cable.”

During the show, the company is presenting at is booth two options that address these needs. Incorporated on all d:screet Miniature Microphones, the robust strain relief version ensures that people who are not used to handling miniatures can feel reassured by the increased reliability. The heavy-duty 4060 and 4061 microphones, which are ideal for people who require even more enhanced security and for whom the visual appeal is of less importance, are perfect for placement in rigorous production situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. It features a stainless steel housing, sturdy cable relief and a thicker .08-inch cable. Both enhanced versions are exceptionally durable and ideally suited to the rigors of various productions.

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

DPA Microphones is Newest Member of the Jersey Boys Big-Screen Quartet

Company’s d:vote™ 4099 and d:screet™ 4061 played a key role in the audio quality for Clint Eastwood’s Film Adaptation of the Broadway production

LOS ANGELES, JUNE 17, 2014 – When production started on the film adaptation of the Tony Award-winning musical Jersey Boys, set to hit the big screen this Friday, June 20, crew members knew they would need to capture all audio, music and vocals live without any pre-recordings. As instrument miking was not available during the 1950s to 1970s era of the film, the production team also needed to conceal the musicians’ mics on set. To address these unique challenges, they turned to DPA Microphones.

Tim Boot, production music mixer for Jersey Boys, relied primarily on DPA’s d:vote™ 4099 Instrument Microphones and d:screet™ 4061 Omnidirectional Miniature Microphones to capture the live instruments on set. Easy to conceal during filming, these mics provided a very natural sound quality and proved to be the perfect complement to the era of the film. Further keeping with the film’s theme, the crew used vintage instruments, such as Fender guitars and Ludwig drums, to maintain a classic sound, while the mics allowed them to record discreetly.

“You always have to be prepared when you have live music on set,” says Boot. “DPA was my hero when it came to miking the drums. I couldn’t use prop mics, so I bought myself a kit of DPA d:vote 4099 and d:screet 4061 mics. Depending on the setup, we buried five to 12 microphones on the drum kit. You don’t see the mics on camera, but each element of the kit was individually miked, just as you would do in the studio.”

Boot achieved the studio-recording results by placing the d:screet 4061 under the cymbals and in other areas that were more challenging to conceal. He relied on the d:vote for the snare and kick drums. “When you’re looking to hide a microphone, you need a lot of options,” he continues. “The d:vote’s ability to handle the kick and snare drums is absolutely amazing. It has no distortion and is very natural. The type of sound we were looking for is not a produced rock sound; it’s a natural sound. We were trying to capture the sound of the instrument, not over-produce it. The d:vote achieves that.”

In one of the film’s biggest musical numbers, featuring Frankie Valli (played by John Lloyd Young) and The Four Seasons, the audio crew faced their biggest miking challenge. The performance employed a live guitar, bass, drums and a keyboard, accompanied by a big band of five saxophones, trumpets and trombones, an acrylic drum set, a grand piano and an upright bass, which were revealed behind the curtain on stage where the group was performing.

“The whole reveal was done live and everybody was miked,” continues Boot. “If you look at performances from the 1970s, there were only a few mics on stage and they were usually for the vocalists. It’s only been in the last 20 years or so that we’ve been able to mic everything individually. This production was such a stickler for accuracy that we couldn’t violate that.”

To achieve the big stage number, Boot placed a d:screet 4061 on the stand of every sax, trombone and reed instrument. The drum set, which for this scene had a transparent body, posed an even bigger challenge for masking the mics, which again included a combination of d:votes and d:screets. The scene was recorded with a total of 47 inputs, each of which was concealed.

“We pushed the limits of hiding the mics,” explains Boot. “It just goes back to the d:vote and d:screet being such tiny mics with even tinier capsules and just being so amazingly musical sounding. You just don’t get that with other brands. No one else can do it. I’ve used DPA for years and I think the d:screet 4061 is especially the most musical lavalier microphone ever made. I think it’s the only lav mic I would ever feel comfortable putting on an instrument to get a musical sound. It was a no-brainer to put it on the musical instruments that required masked microphones.”

In addition to using the d:screets for the main band members during the big band number, Boot also relied on the mics to complement the flute for that scene. “We had a flautist playing live and, even though it looked liked it was miked through a vocal mic, we used the d:screet, which made it much more musical.”

In addition to Boot, production sound mixer Walt Martin and music playback mixer Mark Agostino played vital roles in the audio production of the film. “Between the three of us, we created this totally new way of doing music,” says Boot. “It was amazing to be on the set of Jersey Boys, because even great session players perform a little bit differently every time. Even though the guitarist may have been off camera at times, it felt as if he was right there. They were all in the space playing together, and that’s the way this music was recorded back in the 1950s, so it was really cool.”

Tim Boot has recorded and edited music for film for over 20 years. Additionally, he has recorded and mixed live music in some of the world’s greatest venues with world-renowned artists. He also operates a consulting firm at which he designs high-end audio and video systems for performing arts venues around the world.

Directed by Clint Eastwood, Jersey Boys is based on the true-life story of The Four Seasons, comprised of Frankie Valli (John Lloyd Young), Bob Gaudio (Erich Bergen), Tommy DeVito (Vincent Piazza) and Nick Massi (Michael Lomenda). The group rose to fame in the 1960s, known for hit songs including “Sherry”, “Big Girls Don’t Cry” and “Walk Like a Man.” Young previously earned a Tony Award for his depiction of Valli on Broadway. Christopher Walken also stars in the film as Angelo “Gyp” DeCarlo, a mobster and friend of Frank Sinatra, who played a big role in helping The Four Seasons achieve fame.

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.

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

October 2014
M T W T F S S
« Sep    
 12345
6789101112
13141516171819
20212223242526
2728293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication